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羅桂祥博士舊藏中國書畫
羅桂祥，1910年出生於廣東梅縣三鄉鎮寨上村，10歲時隨母親到馬來西亞。他的父親羅進興在該地“仁生堂藥店”任職帳房，1934年他在港大畢業後，出任余東璇的商務秘書，兩年後更升任香港余東璇有限公司(也就是後來著名的中藥公司余仁生)的經理，同時兼任余的私人法律代理，期間建立良好的商業網絡，為日後創業打好基礎。
羅桂祥於1936年底到上海開會，偶然出席由美國派駐中國的商務參贊雅諾氏的“大豆 — 中國之牛”公開演講，內容介紹大豆營養豐富，其含蛋白質與牛奶一樣高，這次會議影響他往後的一生。羅桂祥返回香港後，目睹同胞在戰後嚴重營養不良，遂萌生“實業救國”的理想。他希望能夠為一般家庭提供一種廉價而蛋白質豐富的飲品“為國民強身健體”，他認為由大豆製成的豆奶，可成為牛奶替代品，因此研製出維他奶。羅博士在1940年創立香港荳品有限公司，即維他奶國際集團有限公司的前身。自此，業務發展迅速擴張，成為香港至亞洲地區最知名品牌之一。
除擁有超卓的商業成就，羅桂祥博士對發揚中國藝術亦不遺餘力。他對中國藝術文化，尤其對宜興紫砂陶藝特別愛好。自五十年代起，他一直致力收集和保存各種茶具。為持續推廣中國茶藝和陶瓷文化，羅博士於1981年慷慨地把他的陶瓷茶具藏品悉數捐贈香港市政局。茶具文物館的其中一個展館 —“羅桂祥茶藝館”— 因而以之命名。
羅桂祥博士藏品展示出他的收藏興趣，以及對文化藝術的熱愛。
XU BEIHONG (1895-1953)
徐悲鴻 雲海 — 天目山 設色紙本 立軸 一九三四年作
細節
徐悲鴻 雲海 — 天目山 設色紙本 立軸 一九三四年作
題識：甲戌 (1934年) 之秋遊西天目山所見，雲海氣象如此，非其真景也。悲鴻。
鈐印：徐悲鴻
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Xu returned to Shanghai from Europe in 1927 and settled at the National Central University in Nanjing in 1929, while actively exhibiting in South East Asia. A great supporter of "realism", this painting harks back to Xu's training in Western techniques in watercolour and perspective. Tianmu Mountains are revealed through a water-colour-like misty execution. Using a square composition and placing a single man at the edge of the cliff gazing towards the majestic rolling hills, Xu juxtaposes the diminutiveness of the man against the greatness of the cypress trees, which stand in further contrast to the great hills in the beyond, enveloped by light mist. Paintings such as these reflect Xu's travels around China to sketch different scenery and find inspiration in nature, with underlying tones of yearning for a peaceful life and peace in his home country without the worries of war.
Created in 1934, Xu used brushstrokes of varying wetness, intensity and tones to give form to the mountains, the light wash at the crucial meeting points of mountain and mist that give the former a faraway distance . The hardness of the cliff and the sturdiness of the trees achieved through Xu's use of colour and brushwork contrast with the light wash of the mountains, complementing one another to create an ambience of harmony and elegance. The unpainted paper in the lower right corner is particularly effective in giving viewers an illusion of distance as it cuts the composition, giving further distance to the mountains receding in the background.
This rare example is the epitome of Xu's belief in blending Western techniques with Chinese subject matters to achieve a new form of Chinese modern painting.
Created in 1934, Xu used brushstrokes of varying wetness, intensity and tones to give form to the mountains, the light wash at the crucial meeting points of mountain and mist that give the former a faraway distance . The hardness of the cliff and the sturdiness of the trees achieved through Xu's use of colour and brushwork contrast with the light wash of the mountains, complementing one another to create an ambience of harmony and elegance. The unpainted paper in the lower right corner is particularly effective in giving viewers an illusion of distance as it cuts the composition, giving further distance to the mountains receding in the background.
This rare example is the epitome of Xu's belief in blending Western techniques with Chinese subject matters to achieve a new form of Chinese modern painting.
榮譽呈獻
Ben Kong
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