Artworks

羅禎符的藝術藏品共有書法五十二件和畫作三十四件。這些藏品主要是其友人在二十世紀早期贈予羅太醫的禮物，若按時空順序分類，則為羅太醫分別在身處北京、回到家鄉順德大良時和寓居香港期間收下。總括而言，這些藏品不但點出了羅禎符在香港殖民地時期的人際關係網絡，亦能為我們揭示當時本港社會的文化包容度。羅禎符曾為清末的太醫，祖籍順德大良南門羅氏。清末民初期間的政治局勢變化，與羅禎符早期的書法藏品種類和交際網絡均有一定關係。從一些下款標註了日期的書法可以看到，他在一九二五年前的人際關係網絡，結交的對象主要為北京地區的政治人物。這些藏品的贈送者，能說明羅太醫在北京居住期間，明顯有一定的政治影響。從一屏江太史的書法作品可知，羅禎符於一九二五年前後來港。從是年開始，羅禎符的書法藏品中開始湧現各種有關於詩社、佛教、國畫和醫學的作品，說明羅氏開始參與本地各類文化活動。一九四零年，中國文化協進會在香港大學馮平山圖書館先後舉辦了有關明代佛教畫作和廣東文物的展覽，而該會主要關注國畫和廣東藝術文化的發展。羅禎符藏品中，作品署名可查找的人物當中，有來自佛教講經會的鄧爾雅（1884-1954）、來自藝彀社的蔡守（1879-1941）、李鳳公（1884-1967）、吳昌碩（1844-1927）、蘇六朋（1791-1862）等人，這些文化界的人物均與該會的執行委員黃般若（1901-1968）有關。由此可見，羅禎符的藏品點出了二十世紀香港較為活躍的各個文化領域內，均出現了一種實際意義上的重疊關係。羅禎符收藏中最早能追溯日期的畫作，是一份明代士人、收藏家項叔子（1525-1590）的扇面畫。羅氏的繪畫藏品涵蓋了傳統風格的國畫作品和幾種具「現代化」特色的新派畫作，反映了國畫風格的近代發展。通過考察此系列藏品，能讓我們認識到羅禎符所代表的中醫及中藥業，在本地宗教、藝術和文化等領域間千絲萬縷的社會聯繫。The Luo Zhenfu artwork collection series contains 52 calligraphies and 34 paintings. The collection primarily includes artworks gifted to Luozhenfu in the early 20th century, throughout his journey from Beijing, Shunde to Hong Kong. In sum, the collection reveals the inclusive nature of Hong Kong as a colonized city in the 20th century that unifies different forms of cultural affairs Luo has engaged. Luo was an imperial doctor in the Qing dynasty, and he came from the southern sect of the Luo family in Shunde Daliang. In the republican era, the reforms and political turbulence in China affected his early life experience. The calligraphies indicate the timeline regarding a change in his social network. The calligraphies dated before 1925 centralize by the political elites in Beijing. The owners’ identities in these calligraphies indicated that his living in Beijing was highly politized. The first record showing Luo’s arrival in Hong Kong comes from the calligraphy by Jiang Taishi in 1925. From this year onwards, calligraphies pertain to Poets’ Societies, Buddhism, Chinese paintings and medicine bulged. Luo began reaching out to different forms of cultural activities in Hong Kong. In 1940, the Chinese cultural progression association organized the Guangdong heritage and Ming dynasty Buddhist painting exhibitions consecutively in Fung Pingshan Library in HKU. The activities of the association focus on Chinese painting and artistic development in Guangdong. Serval artists listed in Luo’s painting collection, such as Deng Erya from Buddhist Preaching Association; Caishou,the artist who founded Artistic Trap Association; Lifenggong and famous Chinese paintings artists, such as Wu Changsuo and Su Liupeng are all related to Huang Bore, the executive member of this association. The earliest painting found in the collection can be dated back to the Ming dynasty, and those are the fan painting related to Xiangsuzi, a collector and literati in Hangzhou. Besides, a more salient dimension of Luo’s painting collection lies in the modernity of Chinese painting. This type of his painting includes both the traditional Chinese painting style and several forms of contemporary style. Thus, Luo’s collection reveals an intricated web of connections in the cultural industries of 20th century Hong Kong, where Luo signifies a medical stream that converges with religious, literal and artistic streams.