摘要
徐政夫先生最早是大学教师,之后因缘际会,进入了艺术品经营行业。天生好奇、兴趣广泛的个性使得他不拘泥于经营一种艺术,而是玩转于各种艺术之间。世界性的眼光,使得他能够敏锐地发现国际艺术品市场的发展动向,弹性地调整经营策略,并且每次调整都能获得成功且引发不小的风潮。在台湾整个艺术品市场处于低迷的状态下,他依然游刃有余,获得几亿身家。可贵的是,在个人艺术品经营红火的同时,他仍积极促进台湾整个艺术品市场的发展。他策划筹建了收藏家的团体“清玩雅集”和古董商的团体“聚英雅集”,并促进两个团体的交流和融合,靠团体的共同力量推动整个艺术品市场的发展。徐政夫不但是个艺术品经营者,还是个讲求生活美学,将艺术融入生活的人。他着手打造了艺术与生活合一的现实家园,在古典的苏州园林重现了明代文人生活的精致品味。虽然徐政夫投身艺术二十多年,为整个艺术市场作出非凡贡献并拥有举足轻重的地位,但他对未来的艺术道路仍有期许,他的一个个艺术的理念和创意不断为艺术市场增添着美丽色彩。
Xu Zhengfu once worked as a college teacher.For some reason he later entered the business of artworks.Born to be curious and with wide interests,he never confined himself to any single art form,instead he enjoyed himself changing over among various arts.His cosmopolitan insight helps him keenly locate the developmental trends in international art market,and in turn adjust his managing tactics.Each of his adjustments won great success,and even led to market fluctuation. Although the overall art market in Taiwan has been in a downturn,he still does his job with skill and ease,and has already become a billionaire. What is most estimable is that,when his personal artistic business is getting prosperous,he still makes great efforts to promote the overall development of art market in Taiwan.He has planned and established a group among collectors,called“Qingwan Ya Ji”,and a group among antique dealers,which is called“Juying Ya Ji”.He also tries to advance communication between the two groups,driving the market to expand with the power of the groups.Xu Zhengfu is more than an artwork dealer. He thinks much of aesthesis in daily life.With his own hands,he created a realistic homestead combining art and life,recurring the delicate taste of literators at the time of Ming Dynasty in classical Suzhou gardens. Although he has been devoted to art for more than 20 years,contributing greatly to the comprehensive art market,and with significant status in the market,he still perceives some expectations for the future path of art.The glimmering ideals and creation will be continuously adding beautiful gloss to the art market.
出处
《大美术》
2006年第9期64-71,132,共9页