海巖的黃花梨之夢(mèng)

他有多種身份，并在其中轉(zhuǎn)換自如、游刃有余。他曾經(jīng)這樣總結(jié)自己：一流的室內(nèi)設(shè)計(jì)師，二流的酒店管理者，三流的作家，四流的編劇。他雖然身為酒店業(yè)國企高層，也曾是中國最富有的作家之一，但因?yàn)檫@些年來深深癡迷黃花梨收藏，夢(mèng)想打造一座獨(dú)一無二的中國黃花梨藝術(shù)館，他傾其所有，樂此不疲，成為國內(nèi)黃花梨藏品最多的收藏家。對(duì)他來說，黃花梨已經(jīng)變成新的事業(yè)的一部分，也成為他最熱衷的文化傳承的事業(yè)。

他就是“一腳踏在文化里面，一腳踏在文化外面”的海巖先生。

He wears many hats and seems to be extremely comfortable with whatever role he is playing at any given moment. He mocked himself as a first-rate interior designer， a second-rate hotel manager， a third-rate writer and a fourth-rate screen-writer. He is a senior executive of a state-owned hotel， and one of the richest writers in China. Obsessed with Huanghuali， he dreams of creating the one and only China Huanghuali Museum. He gives all he has for this purpose and is arguably the No.1 collector of Huanghuali in China. He loves nothing better than this mission.

You know him. He is Haiyan， the celebrity who moves in and out of the circle of culture at ease.

近日，在北京昆侖飯店的巖酒廊里，海巖接受了《私人飛機(jī)》雜志的專訪，以一位收藏家的身份向我們講述了他的收藏故事。

緣起：元亨利的那一眼

海巖說，他戀上黃花梨只是由于那偶然的一瞥。11年前，海巖和同事到河北香河看中式家具，回來的路上經(jīng)過燕莎的元亨利明清家具店，他想進(jìn)店看看，朋友們說那里賣的是黃花梨家具，看了會(huì)中毒，就拔不出來了?！奥犓麄冞@么說，我更要下車一看究竟，果不其然，這一看，中的毒到現(xiàn)在還沒有消退。”

“那是我第一次接觸黃花梨，我當(dāng)時(shí)看了一眼就被強(qiáng)烈地吸引住了。逐漸開始迷戀一個(gè)完整的黃花梨文化，不僅是它的歷史，還包括形、意、材的整個(gè)審美。然后開始不斷學(xué)習(xí)，直到在木器這個(gè)圈子里有了點(diǎn)名氣?！焙r回憶道。

海巖認(rèn)為，黃花梨不溫不燥，不卑不亢，不寡不喧，特別適合打造簡(jiǎn)潔凝練的素身家具，但凡喜愛中國傳統(tǒng)文化的人，都會(huì)對(duì)明式黃花梨家具產(chǎn)生共鳴，黃花梨家具也被稱為文人家具。也許正是海巖骨子里的人文氣質(zhì)與黃花梨的獨(dú)特魅力相輔相成才讓他扎根其間?，F(xiàn)在海巖已是中國家具協(xié)會(huì)傳統(tǒng)家具委員會(huì)高級(jí)顧問和中華文化促進(jìn)會(huì)木作文化工作委員會(huì)的副主任。黃花梨專家對(duì)他來說名副其實(shí)。

海巖的前幾件黃花梨家具是馬未都介紹撮合的，第一件黃花梨是一件有400年歷史的明代條案，之后他又買了一件新做的黃花梨條案，條案上有黃花梨特有的流水紋，案上還有雀眼，俗稱“鬼臉”。“馬未都說這上面28個(gè)小‘鬼臉’，就像銀河系里的28個(gè)星宿。后來元亨利的老板楊波也教了我很多相關(guān)知識(shí)。”從此海巖便開始癡迷其中。

從無到有，積少成多，現(xiàn)在海巖手中的黃花梨藏品已多達(dá)400多件，這些藏品無論器形無論材質(zhì)皆為其心頭所好，海巖也無法舉出最喜歡的一件來。他迷戀明式家具那種不事雕琢的造型與線條，熟知這對(duì)西方現(xiàn)代家具的極簡(jiǎn)風(fēng)格具有啟蒙價(jià)值，只要說起黃花梨，他就興趣盎然娓娓道來，但誰會(huì)想到，商人兼文人的海巖也會(huì)為缺錢所困擾呢？

收藏：搶拍與軟磨硬泡

海巖自述其每一件藏品到手都極為不易，有的看中了幾年以后才能到手。對(duì)于收藏者來說，最大的遺憾就是錯(cuò)過，海巖也不例外?！耙?yàn)辄S花梨誘惑太大，我曾給自己定下一個(gè)規(guī)矩，去看黃花梨只帶來回打車的錢。這樣，看到中意的黃花梨家具，雖然心癢，但只能忍下。隔一周再去看，如果仍然愛不釋手，那么第三周就帶上錢包。但有很多次，第二周去看時(shí)，那件黃花梨就已經(jīng)被人買走了……”有“錯(cuò)過”的遺憾就有“撿漏”的意外之喜，海巖透露，有一次拍賣行公開拍賣黃花梨家具，競(jìng)爭(zhēng)激烈，本來他沒抱任何希望，沒想到競(jìng)價(jià)對(duì)手被一個(gè)朋友電話影響了注意力，拍賣槌落下，他也因此獲得了一份意外之喜。

自從海巖在圈內(nèi)出名后，很多行家就會(huì)告訴他藏品藏家的信息，雙方坐在一起談轉(zhuǎn)讓。而黃花梨原料價(jià)現(xiàn)在的價(jià)格已經(jīng)達(dá)到每噸2000萬元至3000萬元，如此高價(jià)讓海巖著實(shí)吃不消，看中哪件材料、工藝都特別好的新黃花梨，他就先交幾萬元的定金，然后就開始為資金犯愁，拖延付款日期。

“因?yàn)楫?dāng)時(shí)沒錢啊，但拿不出錢這件東西就沒有了，有的店里就給這件黃花梨貼上‘海巖老師已購’的標(biāo)簽，當(dāng)?shù)曛鞔呶腋队嗫顣r(shí)，我就借口不在國內(nèi)，有個(gè)別情況是我拖了兩三年才把錢湊夠去提貨，但價(jià)格已經(jīng)漲得很高，比如這件黃花梨交定金時(shí)是40萬，兩年后已經(jīng)100萬了，店主說有人出80萬我都沒賣，海巖你得補(bǔ)點(diǎn)。我沒辦法就只能軟磨硬泡想辦法買到手?！彼自捳f“一文錢難倒英雄漢”，外人恐怕無法想象海巖會(huì)以這種狡黠的方式來收購藏品。

“中式家具有一種文化傳承，每次欣賞都會(huì)有新發(fā)現(xiàn)、新感覺，別人是大隱于市，我是‘大隱于古’。”他還調(diào)侃稱，黃花梨還能抵抗自己的輕微抑郁癥，“有一段時(shí)間我看見什么都煩心，醫(yī)生說可能是輕微抑郁癥，不是多大的事兒，要是有一個(gè)愛好，病就能不藥而愈?！?/p>

被稱為文化奇人的張伯駒曾為了一幅名畫把自己的四合院變賣，老婆不給錢他躺在地上不起來耍賴，這些看似瘋顛的故事，海巖說他喜歡收藏后才真正理解了這種癡迷。

黃花梨藝術(shù)館：完成大師遺愿

有了這400多件黃花梨珍品，海巖正在籌建中國第一家黃花梨藝術(shù)館，選址在順義，由于藝術(shù)館正在進(jìn)行暖氣改造，所有黃花梨家具都拆卸并包裝起來，本刊也暫時(shí)無緣得見。

海巖告訴本刊，這個(gè)藝術(shù)館還在規(guī)劃中，擬分幾期建設(shè)，并增加體驗(yàn)項(xiàng)目，這也是文物研究與收藏大家王世襄先生的遺愿。而他與王老神交已久，王世襄在很多國家看到過黃花梨明清家具的藏品，有些還是鎮(zhèn)館之寶，他希望世界上有一家藝術(shù)館能在明清建筑里面按照古人的生活方式來陳列這些珍品家具。

“看到的不僅僅是家具之美，還能看到我們祖先的居住文明和生活品味?？赡芪鞣降陌l(fā)達(dá)國家還在經(jīng)歷海島文化和游牧文化時(shí)，中國人的生活品味情趣、人生哲學(xué)就已經(jīng)達(dá)到了如此的高度，建藝術(shù)館就是想通過藝術(shù)館全景式地介紹中國傳統(tǒng)文化。美國的一個(gè)基金會(huì)曾愿意幫王老實(shí)現(xiàn)這個(gè)心愿，并在舊金山買了一塊地，王老也曾親自赴美踏勘并表示滿意，但是由于資金問題，項(xiàng)目直到王老去世也未做成?！闭勂鸾⑺囆g(shù)館的初衷，海巖一改之前的收藏之樂，更加執(zhí)著與真誠。

海巖的設(shè)想是藝術(shù)館以中國傳統(tǒng)的建筑，按照生活的常態(tài)，讓來參觀的人能親身感受到中國傳統(tǒng)的生活起居狀態(tài)，設(shè)置體驗(yàn)功能，比如在黃花梨大床上睡一覺，在桌上吃一頓飯，喝茶聽?wèi)虻?。與一般會(huì)所的盈利不同，這里以文化展示為目的，甚至把貴重家具擺出來讓參觀者直接接觸和試用。但是仿明清建筑的成本投入非常大，人工也很難找，甚至建筑設(shè)計(jì)、園林規(guī)劃、彩繪等等海巖都在學(xué)習(xí)并努力親自設(shè)計(jì)。海巖也坦言，因?yàn)橘Y金問題只能把藝術(shù)館項(xiàng)目作為文化項(xiàng)目尋求合作，尋求多方投資者加入，再利用貸款，因?yàn)轫?xiàng)目盈利并不樂觀和現(xiàn)實(shí)?！叭绻且粋€(gè)很好的盈利項(xiàng)目會(huì)有一堆人圍上來，但現(xiàn)在只能看在文化的面子上，誰是真正的愛好者，誰對(duì)弘揚(yáng)傳統(tǒng)文化有興趣才愿意真正投資而不問回報(bào)?！痹谏探缥幕缃嗄甑暮r深知當(dāng)今社會(huì)的功利與文化傳承的抵觸。

傳統(tǒng)文化：需要傳承與敬意

盡管擁有如此一批巨量的黃花梨家具，但海巖始終為了打造藝術(shù)館這個(gè)夢(mèng)想堅(jiān)守著，藏品只進(jìn)不出，或者以物換物來優(yōu)化藏品。

海巖告訴本刊，他會(huì)問清楚投資藝術(shù)館的人是為盈利還是為公益事業(yè)，當(dāng)有人提到投資回報(bào)率時(shí)就無法再談了?！澳壳皣鴥?nèi)的慈善公益事業(yè)救助性質(zhì)的很多，偏重文化傳承事業(yè)的很少。像我這樣傾其所有、不自量力地做一件事情，會(huì)有很多人不理解?！?/p>

正因?yàn)楹r的多重身份，所以他看待文化的角度和深度更與眾不同。海巖認(rèn)為，現(xiàn)在中國文化面臨被邊緣化的危機(jī)，有句話叫“民族的就是世界的”，但近幾十年社會(huì)文化發(fā)展證明，越是西方的才越是世界的。

“我因?yàn)樽鳇S花梨收藏獲得了2009年中華年度文化人物的稱號(hào)，我在發(fā)表獲獎(jiǎng)感言時(shí)說，現(xiàn)在中國任何一個(gè)的城市鄉(xiāng)鎮(zhèn)中，年輕人喜愛的歌曲、愛吃的東西、愛看的節(jié)目電影、使用的品牌基本上都是西方的。如果作為一個(gè)中國人對(duì)中國的傳統(tǒng)文化一不喜歡，二不熟悉，他會(huì)真正愛這個(gè)國家嗎？我們的年輕人不容易理解自己的民族。正因?yàn)槿绱?，傳承民族文化精華的工作必須要有人做?！薄肮娢磥碓谶@家藝術(shù)館會(huì)感受到中國的傳統(tǒng)文化非常美，進(jìn)而對(duì)中華民族、對(duì)中國人產(chǎn)生敬意，我覺得這一點(diǎn)非常重要。我的想法是別光我自己喜愛，要像我寫劇本和小說一樣把感動(dòng)也分享給其他人，讓更多的人參與到這項(xiàng)文化精粹的傳承事業(yè)上來。”

曾經(jīng)有位國畫收藏家攜巨資赴海外競(jìng)拍一幅國畫珍品，未能得取得成功，國畫依然被外國人拍走，但這位收藏家依然說他已經(jīng)非常幸福，因?yàn)檫@幅名畫在競(jìng)拍的過程中有那么一秒鐘在法律意義上是屬于他的，因?yàn)檫@是他從小就喜歡，想摸想看，想把它帶回中國的畫。“收藏的境界莫過于此?！焙r淡然地說道。

Recently， at the Rock Lounge of Kunlun Hotel in Beijing， U-Jet had the opportunity to have a look of this classy exclusive club. We then chatted with the designer Haiyan about Huanghuali.

It all started at Yuanhenry

Haiyan said that for him Huanghuali was a love-at-the-first-sight affair. 11 years ago， he and colleagues had been to Xianghe of Hebei to look at some Chinese furniture and passed by Yuanhenry Ming-Qing Furniture Store in Yansha on their way back. Friends tried to stop him， warning him Huanghuali could be addictive. “The more they said so， the more I wanted to see. They are right， I became addictive hopelessly， and the fascination refuses to go away even today.”

“That was my first encounter with Huanghuali and it was irresistible. I fell in love with it， besotted with its history， its form， its concept and the entire aesthetics. I have been learning about it and gradually people in the circle heard of me，” recalled Haiyan

Huanghuali is so incredibly measured， classy， standing on its own but never imposing in Haiyan’s eyes. The wood lends itself perfectly to simple， no-ornament yet elegant furniture. Traditional Chinese culture lovers invariably find Huanghuali furniture irresistible， and it is naturally recognized as the furniture for the cultivated. Today， Haiyan is a senior advisor for The Traditional Culture Committee of China Furniture Association， and the associate director of Wood Culture Stream of Chinese Culture Council， and a recognized Huanghuali expert.

For the first few acquisitions， Haiyan had Ma Weidou to thank for. He bought a 400-year plus Ming long narrow table and then a newly-made one with typical flowing water pattern and peacock eyes called “ghost face”. “Ma Weidou said the 28 ghost faces are the 28 stars of the Galaxy. I also learned a lot from Yang Bo， the boss of Yuanhenry.” Haiyan’s infatuation with Huanghuali started from then and never ends.

Now he has more than 400 pieces. Haiyan loves each one of his collections and cannot bring himself to name any favorites. He loves the unassuming shape and the lines of Ming furniture， the inspiration for modern minimalist western furniture. When he starts to talk about Huanghuali， Haiyan cannot stop. But who would have imagined that the businessman-cum-writer is bothered financially?

Collection is all about auction and patience

Haiyan told us the difficulties of obtaining every single piece of his collections. Sometimes he had to wait years for a particular item. For a collector， each lost opportunity is to be regretted for a long time. “Huanghuali is too addictive and I had to make a rule for myself – having with me only the cash for taxi when going for a viewing. This way， when I see something I like， I cannot do anything the first time. I will go again a week later. If I still cannot part with it， I will go again the week after with my wallet. But many times the second week I went， it was gone…” On the other hand， Haiyan sometimes had his luck. Once at an extremely competitive auction， he had no expectations， but it so happened that his fellow bidder was distracted by a phone call and the hammer struck at Haiyan’s bid.

Haiyan became a celebrity and people started to alert him about collections and collectors. He could meet with owners to talk about a direct sale. Today raw Huanghuali is sold as high as Rmb20 to 30 million per ton， even Haiyan cannot afford it. He spotted a good new design and paid his down payment. He then had to find the cash and sometimes he had to delay payment.

“I had no cash but the item could be gone soon. A shop labeled the piece ’sold to Haiyan’ and the owner would urge for payment. I had to reply I wasn’t in China. Sometimes it took me a couple of years to get the money and took delivery. But prices had gone up so much and the owner wouldn’t honor the original deal. For example， I bought a piece for 400，000 and the price went up to 1million two years later. The owner said to me there had been a buyer offering 800，000 so you had to make it up to me. I tried my best to get what I wanted.” There is a Chinese saying， “a hero can be at his wits’ end when he is short of even one penny”. Who could have imagined Mr. Haiyan’s forced cunningness to acquire a piece of Huanghuali?

“There is culture in Chinese furniture. I look at a piece， and each time I discover something new， and I feel something new. The ultimate hermit lives in city centre. Haiyan the hermit lives in antiques.”

Haiyan teased that Huanghaui was his medicine for his minor depression. “I was very disconnected for a while and the doctor diagnosed minor depression. If one has a passion， it kills your illness more effectively than drugs.”

Zhang Bojun the legend tried to sell his courtyard for a famous painting. His wife refused to give him money and he resorted to lying on the ground in a tantrum. Haiyan said he started to understand this sort of behavior after he became a collector himself.

A museum to complete what the master had left off

With more than 400 pieces in his collections， Haiyan is preparing the first Huanghuali museum in Shunyi. The building is going through some heating works and U-Jet regretfully didn’t see Haiyan’s collections.

Haiyan told U-Jet the museum was still being planned and would be built over several phases. There will be an immersion section， just as Wang Shixiang， the mater of antique research and collections intended. Haiyan respected master Wang very much. Wang had seen many Huanghuali items all over the world. He hoped that there would be a museum displaying precious furniture in a Ming or Qing style house， and recreating the way people lived in those times.

“Visitors see not only the beauty of furniture， but also the way our forefathers lived their lives， their superb taste. When westerners were at the stage of island and nomadic civilizations， we Chinese had already created high level of life philosophy and taste. An American foundation was willing to help Master Wang and even bought a piece of land in San Francisco. Wang inspected it and was satisfied with it. Unfortunately the project didn’t pull off due of financial issues and Wang had passed away.” Haiyan is very keen to carry the torch forward.

He planned to build the museum to recreate the way ancient people lived. There will be an immersion sector. Visitors can sleep on a Huanghuali bed， have a meal on a Huanghuali table， drink tea and watch a Chinese opera.

Haiyan isn’t thinking of making money by running a club. The museum focuses on exhibitions. Precious furniture will be accessible to visitors. Investments will be huge to build a Ming or Qing building and craftsmen are hard to come by. Haiyan studies architectural design， landscaping， color painting tirelessly himself. He said frankly that this is a cultural project and he needed to find investors as well as loans. He doesn’t expect profits.

“If it is profitable， many people will chase me. But now we will have to rely on true cultural champions who are not in it for money.” Haiyan has been in business and culture communities for years and knows deeply the conflicts between profit-seeking and cultural pursuits.”

Traditional culture:

carry it forward

For his dream of a Huanghuali museum， Haiyan doesn’t sell any one of his large collections， although he occasionally trades certain items to optimize his collections.

He told U-Jet that he would ask prospective investors into the museum whether they were in it for profits or for public good. Any mentioning of return would be a show stopper. “There are enough charity organizations， but very few on cultural heritage. People don’t understand why I throw all that I have to do a task beyond my means.”

Haiyan moves around in many communities and he sees culture in a very deep and different way. He thinks Chinese culture is experiencing a crisis of being marginalized. We might say “the more vernacular， the more global.” But what has been proven over decades is that western civilization still prevails.

“I was awarded ‘Cultural Men of the Year’ in 2009 and gave a speech at the award ceremony. In any one of the Chinese cities and towns， young people love western songs， food， films and brands. If a Chinese doesn’t like traditional culture and doesn’t know much about it， will he or she truly love this country? The young don’t understand our nation and we have to carry cultural heritage forward.” Haiyan added， “When visitors come to our museum， they will see the beauty of traditional Chinese culture. They will then respect the Chinese nation and the Chinese people. I think it very important. I am thinking， it is not enough for me to love Chinese culture， I want to share it with others， just the way I write novels and scripts， to share my feelings. I hope more people can join to safeguard our cultural heritage.”

A Chinese painting collector participated in an overseas auction with a lot of money but still failed to get the painting he desired. But he said he was happy. During the auction， the painting legally belonged to him for a short second. He loved the painting since he was a child， wanted to touch it and bring it back to China. “That’s what collection is all about，” commented Haiyan in a measured tone.