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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。
WU GUANZHONG (1919-2010)
吳冠中 咆哮 設色紙本 鏡框
細節
吳冠中 咆哮 設色紙本 鏡框
鈐印：吳冠中印、八十年代
出版
出版：《名家翰墨 — 吳冠中/故城》，翰墨軒出版有限公司，香港，1997年4月，第26-27頁。
更多詳情
Mountains and waters are transformed into twisting, meandering and crisscrossing fluid dots and lines in Wu Guanzhong's Roar. This river scene is the result of Wu Guanzhong's extensive travel in China, where he sought places and scenery that captured his creative imagination. When he was on the hunt for creative inspiration in nature, he never used photographs as materials for copying, because he believed they inhibit the artist's direct and true experience and perception of nature. Instead he utilized his innate artistic instincts to transfer his own unique artistic vision onto paper, thus creating something completely unique. The artist once said: "Sketching is primarily intended to paint misimpression." He argued that 'misimpression' in an artistic sense that exudes the artist's nature, temperament and instincts. In Roar, the passion of the artist emerges with unbridled sound and fury.
Water thundering downwards, the abstract, the concrete and the illusionary, combined to transcend reality but bore some resemblance to the actual river, During the 80s', when Roar was created, Wu's style became increasingly abstract. Wu's style of abstraction is in the harmony found between concreteness and abstraction, which Wu so skillfully demonstrates here. Another significant factor in Roar is rhythm. The dancing of dense dots as well as flowing curvaceous lines is a kind of visual music the artist calls "musical composition". Wu believed that rhythm is the soul of his paintings and the reason for his creation. In Roar, abstraction, rhythm and artistic vision fuse seamlessly, to reveal Wu Guanzhong's tremendous artistic vision, freedom and passion.
Water thundering downwards, the abstract, the concrete and the illusionary, combined to transcend reality but bore some resemblance to the actual river, During the 80s', when Roar was created, Wu's style became increasingly abstract. Wu's style of abstraction is in the harmony found between concreteness and abstraction, which Wu so skillfully demonstrates here. Another significant factor in Roar is rhythm. The dancing of dense dots as well as flowing curvaceous lines is a kind of visual music the artist calls "musical composition". Wu believed that rhythm is the soul of his paintings and the reason for his creation. In Roar, abstraction, rhythm and artistic vision fuse seamlessly, to reveal Wu Guanzhong's tremendous artistic vision, freedom and passion.
榮譽呈獻
Ben Kong
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