From home to calligraphy – 陈燕飞:书法与家居的相生浸染 – English

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不在上海投资买房子,把资金投资在营造一个更有味道的家,“让生活变得更富有品质”这是陈燕飞的价值观。他租住在静安区一座高楼民宅的23层,每天练习书法,并设计出自己的家居品牌“璞素”。

我和陈燕飞相识有十年了。十年前我们一同进入《21世纪经济报道》工作。那时两个人都刚毕业,基本还是属于愣头青,我是记者,他是美编。但那是媒体大潮的最后一波,每个人都有一些奇怪的机遇。我做了半年便成了21旗下某杂志的北京站站长,管着七个比我年长的记者。而他,则因为书法出众,被选中成为撰写21世纪扩版广告词的执笔人。“一生二、二生三,三生万物”那饱满而张扬的书法,很难想象是出自一名23岁的年轻人之手。

后来我们都辗转到了上海,从那之后也一直没正式离开过这座城市。媒体风云一直变幻莫测,我中间离开了媒体七年。而他则从21世纪,到《金卡生活》、又到《外滩画报》,最后到了《ELLE DECORATION家居廊》任设计总监。

那些年间,他开始收集老家具,从南到北收来不少体积庞大的桌桌椅椅。在我们彼此都居无定所的时候,一度他还把一条超长的书案寄放在我家达一年之久。对于我们这些事业尚且漂泊不定的青年来说,收藏好像是一个和我们不搭调的奢侈爱好。然而他却一路坚持了这么多年。

直到有一天我到他租住的静安区某高楼里的一个房子里参观他的藏品,才见识了他的珍藏。那间外表普普通通的房子,被他完全改装成中式家居氛围的宅子。有几有榻,有茶有书法,还有他众多的藏品。

不在上海投资买房子,把资金投资在营造一个更有味道的家,“让生活变得更富有品质”这是陈燕飞的价值观。

半年前,陈燕飞和朋友合资在常熟路一个弄堂里创建了自己的原创家居品牌“璞素”。这个名字来自于《庄子》的一句话:“朴素,而天下莫能与之争美”。他提出了“当代文人家居艺术”的概念。他为“文人”这个定义提供了新的解释。

而他自己,从一个文化人,也踏足了商业领域。尽管创业开始他需要方方面面照顾,他最想做的仍然是主导产品灵魂的设计师。对于一名33岁的年轻人来说,这一切来得正是时候。

 

Q:你是什么时候开始学书法的?

A:很早就学了。懂事的时候就开始了。最早是我爸引导,也没有请老师,就是买了些书和笔墨纸砚。到后来我就自己迷上了。

Q:你父亲是文化人吗?

A:我父母都是医生。现在看来他们对艺术确实不太懂。他们是从爱好来引导的。对我影响很大的还有我父亲的藏书。他学医,但是他有数量不少的藏书,比较杂。

Q:你家一直在东莞吗?

A:以前是在广东河源。我们是传统的客家人。小学五六年级搬到了东莞。

Q:那你有没有想过做医生?

A:没有,我从来都对这方面不感兴趣。

Q:那你走上了“艺术生”这条道路,是父母设想的么?

A:不是的,从小他们就知道我是一个自己拿主意的人,即使帮我买衣服我也不太喜欢。他们知道我很多东西都自己判断。包括上大学,我要上什么大学,选什么专业,都是自己决定的,他们都很支持。

Q:考广州美院,需要提前准备专业考试对吧?

A:对,要提前三个月去广州接受培训。宿舍都要自己找。

Q:你是怎样决定做一个艺术生的?很多人觉得艺术生比较麻烦,投入比较大,或者也代表了学习成绩不好。

A:我是高三的时候,发现几个同学想考艺术专业,他们从高一就开始准备了。我觉得挺好的,去他们画室看,觉得自己和他们差距也不大。我就买了一些书自学,也没有找老师。后来去了广州美院培训班,一下就眼界大开了。接触了很多高手。

Q:培训班的上美院录取率有多高?

A:我那年大概有300多人报考同一专业,但录取就20名左右。竞争还是蛮激烈的。

Q:你在美院里读什么专业?

A:平面设计。以前叫装潢设计。它涵盖了平面、多媒体、插画等。大二时我还申请过转系到室内设计,但没有成功。我一直觉得自己对空间比平面更感兴趣。

Q:大学毕业时,你的同学一般去哪里?

A:通常是广告公司,他们招的人最多,也最直接。也有去电视台的。但我对广告不感兴趣。我对媒体还是挺有兴趣的,觉得媒体是一种更综合的表达方式。广告的核心就是商业而已,而媒体要承载的东西更多,所以我觉得进入媒体,对我来说也是一个比较幸运的选择。

Q:从最开始的商业杂志,到后来的生活类杂志,到最后更专业的家居杂志,你是怎么看待自己的媒体道路的?

A:2007年去了《家居廊》,是猎头来找我。我觉得这本杂志的内容非常吸引我,因为又回到了家居这个我感兴趣的领域。之前的2006年,我在广州给父母买了套房子,自己设计了一套家具。那时是我设计好样稿,让西塘的一位老师傅做的。那套家具现在还在我家里,算是我的处女作吧。进《家居廊》让我觉得好像是冥冥之中注定的,自己要转到这个行业中来。

Q:家具设计画图这些本领是怎么学的?

A: 这些是大学里学的基础。大学里就开始帮人做过一些室内设计。进《家居廊》之后,我的视野更开阔了。以前接触的还是比较传统的家具,现在的视野更加国际化,每年也有机会到国外参观家具展,亲眼看到顶级大师的工作室,和他们交流,看他们背后的故事。他们的工艺、设计上的思路,对我产生很大的影响,使我对家具的认识更全面。

Q:璞素家具现在的风格是怎么形成的?

A:璞素的风格是我接触了国际化的理念回来之后,用新的眼光看传统家具而慢慢形成的。我也去了很多地方,包括青岛、北京、广州、苏州等地看待各地的人文环境、地理环境对家具的影响是怎么样的。另外阅读很多书籍。对中西风格有了提炼之后,来做我现在的家具。强调现代生活背景下的功能性和美感。

Q:你从哪里取得了璞素家具的灵感吗?

A:我觉得我特别喜欢线条,最根深蒂固的原因就是我喜欢书法。书法的线条感和明式家具的线条是相似的。以圈椅为例,它圆润的扶手,实际上和书法的婉转顿挫是一样的。

Q:所以是书法影响了你的家具设计?不过我看你现在的书法大多是块状的,并不是线条感的。

A:我希望书法有立体感,传统的书法大多都是平面的。我希望能够立起来,有交错感。所以家具设计反过来又影响了我的书法。

Q:你之前提到了地理对家具的影响,那璞素的作品是不是特别适合江南这个地方?

A:对。岭南比较浓墨重彩,比较适合那里的繁花似锦。北方多是一些枯山剩水,家具一般也苍茫大气。而秀美的江南人氏对园林、石头、家具的爱好也是和这里的环境相关。

Q:你提出了“文人家居”这个概念,这怎么理解呢?

A:“文人”其实相当于现在的中产阶级这个概念。我认为古代基本都可以划成三个阶层,最上一层是皇族,即统治阶层。中间是官宦或地主,也即是文人。最下一层是平民百姓。我觉得对社会影响最大的是中间那个阶层。

Q:你谈到中间阶层是文人,但今天你的作品,可能是需要上层社会才能用得到呢?而普通人是处在一种“蜗居”的状态。这种“蜗居”的氛围能不能容纳你的家居作品呢?

A:这确实是一个很分裂的问题。我也在努力去避免这个问题,如何让好的设计给更多人能消费得起。所以我会选择比较价廉物美的材料(榉木),但我会在设计方面下足功夫,保证品质。如果我用的是红木,从材料上价格已经翻了几番了。

Q:我其实讲的是古代那种氛围和情怀,在现代变成了一种奢侈的氛围。你觉得在上海普通两室一厅的格局,能不能营造这种氛围呢?

A:同样可以啊。这个问题我自己思考比较多。现在大部分人居住在100平方米的楼房里。但我觉得这和生活品质不是完全对立的。你可以看日本或者台湾的居住状态,他们的居住资源比中国还有限,但他们仍然很有风格,他们对品质的要求很高。

Q:这些家具比较适合四合院,人们可能很难把它和楼房联系起来。

A:古代的房屋面积比较大,带来空旷的效果,相应地家居也体量比较大。而我现在在设计璞素家居的时候,已经考虑到100平方米房间的需求。也给很多人试用了,感觉都不错。其实这和生活方式是有密切关系的,如果你喜欢喝茶,喜欢书画,你和这些家具配起来,就很契合。我自己的家里也就是这样的。

Q:另外从文化的角度来看,你会不会觉得传统中式家具给人带来一种正襟危坐感,会让人觉得比较要照顾礼数?

A:我觉得优良的传统中式家具用起来是很舒服的,虽然它躺上去和沙发的感觉是不一样的。我觉得礼数只是一种表面形式,比如说“三分坐”,但它和家具没有必然的联系。如果你还是拘谨的讲究礼数,坐沙发也不会舒服。

另外要注意的一个特点是清式家居和明式家居是有很大区别的。明式家居强调书房、园林等功用性的空间,而清式比较强调厅堂。明式比较轻松,明代的人非常崇尚室外的交际,人们经常把家具搬到室外园林里去使用。这就造成明式家具的风格更轻松,摆放也随意。清式就严谨很多了。这和统治氛围有关,因为清朝统治者是从白山黑水过来的,属于外来统治者,他们更需要强调这种秩序感。

Q:宋代是不是有很多榻?

A:对唐宋,乃至以前的魏晋,有更放松的氛围。所以会出现“竹林七贤”这种放浪形骸的人。他们崇尚思辨和人性自由,所以那时的起居习惯非常随意,不太受礼节的束缚。

璞素一角

Q:你觉得现在推行这种“复古”主义的意义在哪里呢?

A:我觉得这也不算复古,而是把中国人的情怀拿出来。比如中国人本来就很喜欢木头,这和中国古代儒家道家思想有关系,比较亲近自然,而审美上比较喜欢素雅,和西方喜欢色彩艳丽,更有视觉冲击力并不一样。现在中式家具回归,和中式生活的回归是密切联系的,就像现在越来越多的人喜欢喝茶一样。这也是“慢生活”的一种体现。或者在外面快生活之后,你更加要在家里制造一种“慢生活”的氛围。

Q:你从一个媒体人、文化人转型到开店做生意,有没有碰到什么性格上的冲突?

A:当然这是我每天都碰到的。我不但要跟顾客打交道,还要跟厂里的技术、材料人员打交道,还要进行成本控制。这些东西以前都没碰到过。以前只是上班,做好自己该做的事情。从一开始注册公司、商标等已经花了很多功夫,筹备了一年。接下来还会碰到很多挑战,不过我想尽快专注到设计上去。

Q:现在工厂的规模多大?有什么扩展计划?

A:一开始只有10来个人。分工很细,各种工序都有。最近也在扩大工厂规模。已经把工厂规模扩大一倍。而且我们也在接一些企业工程,也在考虑加盟店等。

Q:你在上海还没拥有自己的房子,你觉得遗憾吗?

A:很多人觉得房子很重要。但我对房子倒真的不是很渴望。我觉得把每天的生活过得有质量才是最重要的。

Q:书法、收藏和家具设计,三种东西你怎么排序?

A:我想应该是书法、家具和收藏。书法排在最前面,是因为我觉得它是我整个价值体系的核心,是我安身立命的基础。不是要靠它生活,但它就像人的自信心一样。即使工作很忙我回家都要写几个字,就像自己休息一样。我现在什么字帖都临一临,博众采之长。

Q:你最喜欢哪种字体?

A:我小时候最喜欢颜体。大学时比较喜欢隶书。现在我更喜欢古朴的字体,像小篆、大篆乃至一些石刻碑文。可能对字的感觉,也会随着年龄的增长而变化吧。

P.S. “中国三明治”的LOGO书法体也是陈燕飞的墨宝。



Source : China 30s

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March 14, 2015 @ 13:43:25Current Revision
Content
不在上海投资买房子,把资金投资在营造一个更有味道的家,“让生活变得更富有品质”这是陈燕飞的价值观。他租住在静安区一座高楼民宅的23层,每天练习书法,并设计出自己的家居品牌“璞素”。  
我和陈燕飞相识有十年了。十年前我们一同进入《21世纪经济报道》工作。那时两个人都刚毕业,基本还是属于愣头青,我是记者,他是美编。但那是媒体大潮的最后一波,每个人都有一些奇怪的机遇。我做了半年便成了21旗下某杂志的北京站站长,管着七个比我年长的记者。而他,则因为书法出众,被选中成为撰写21世纪扩版广告词的执笔人。“一生二、二生三,三生万物”那饱满而张扬的书法,很难想象是出自一名23岁的年轻人之手。  
后来我们都辗转到了上海,从那之后也一直没正式离开过这座城市。媒体风云一直变幻莫测,我中间离开了媒体七年。而他则从21世纪,到《金卡生活》、又到《外滩画报》,最后到了《ELLE DECORATION家居廊》任设计总监。  
那些年间,他开始收集老家具,从南到北收来不少体积庞大的桌桌椅椅。在我们彼此都居无定所的时候,一度他还把一条超长的书案寄放在我家达一年之久。对于我们这些事业尚且漂泊不定的青年来说,收藏好像是一个和我们不搭调的奢侈爱好。然而他却一路坚持了这么多年。  
直到有一天我到他租住的静安区某高楼里的一个房子里参观他的藏品,才见识了他的珍藏。那间外表普普通通的房子,被他完全改装成中式家居氛围的宅子。有几有榻,有茶有书法,还有他众多的藏品。  
不在上海投资买房子,把资金投资在营造一个更有味道的家,“让生活变得更富有品质”这是陈燕飞的价值观。  
半年前,陈燕飞和朋友合资在常熟路一个弄堂里创建了自己的原创家居品牌“<a href="http:// www.inpusu.com/" target="_blank" >璞素</a>”。这个名字来自于《庄子》的一句话:“朴素,而天下莫能与之争美”。他提出了“当代文人家居艺术”的概念。他为“文人”这个定义提供了新的解释。  
而他自己,从一个文化人,也踏足了商业领域。尽管创业开始他需要方方面面照顾,他最想做的仍然是主导产品灵魂的设计师。对于一名33岁的年轻人来说,这一切来得正是时候。  
&nbsp;  
<strong>Q</strong> <strong>:你是什么时候开始学书法的?</strong>  
A:很早就学了。懂事的时候就开始了。最早是我爸引导,也没有请老师,就是买了些书和笔墨纸砚。到后来我就自己迷上了。  
<strong>Q</strong> <strong>:你父亲是文化人吗?</strong>  
A:我父母都是医生。现在看来他们对艺术确实不太懂。他们是从爱好来引导的。对我影响很大的还有我父亲的藏书。他学医,但是他有数量不少的藏书,比较杂。  
<strong>Q</strong> <strong>:你家一直在东莞吗?</strong>  
A:以前是在广东河源。我们是传统的客家人。小学五六年级搬到了东莞。  
<strong>Q</strong> <strong>:那你有没有想过做医生?</strong>  
A:没有,我从来都对这方面不感兴趣。  
<strong>Q</strong> <strong>:那你走上了“艺术生”这条道路,是父母设想的么?</strong>  
A:不是的,从小他们就知道我是一个自己拿主意的人,即使帮我买衣服我也不太喜欢。他们知道我很多东西都自己判断。包括上大学,我要上什么大学,选什么专业,都是自己决定的,他们都很支持。  
<strong>Q</strong> <strong>:考广州美院,需要提前准备专业考试对吧?</strong>  
A:对,要提前三个月去广州接受培训。宿舍都要自己找。  
<strong>Q</strong> <strong>:你是怎样决定做一个艺术生的?很多人觉得艺术生比较麻烦,投入比较大,或者也代表了学习成绩不好。</strong>  
A:我是高三的时候,发现几个同学想考艺术专业,他们从高一就开始准备了。我觉得挺好的,去他们画室看,觉得自己和他们差距也不大。我就买了一些书自学,也没有找老师。后来去了广州美院培训班,一下就眼界大开了。接触了很多高手。  
<strong>Q</strong> <strong>:培训班的上美院录取率有多高?</strong>  
A:我那年大概有300多人报考同一专业,但录取就20名左右。竞争还是蛮激烈的。  
<strong>Q</strong> <strong>:你在美院里读什么专业?</strong>  
A:平面设计。以前叫装潢设计。它涵盖了平面、多媒体、插画等。大二时我还申请过转系到室内设计,但没有成功。我一直觉得自己对空间比平面更感兴趣。  
<strong>Q</strong> <strong>:大学毕业时,你的同学一般去哪里?</strong>  
A:通常是广告公司,他们招的人最多,也最直接。也有去电视台的。但我对广告不感兴趣。我对媒体还是挺有兴趣的,觉得媒体是一种更综合的表达方式。广告的核心就是商业而已,而媒体要承载的东西更多,所以我觉得进入媒体,对我来说也是一个比较幸运的选择。  
<strong>Q</strong> <strong>:从最开始的商业杂志,到后来的生活类杂志,到最后更专业的家居杂志,你是怎么看待自己的媒体道路的?</strong>  
A:2007年去了《家居廊》,是猎头来找我。我觉得这本杂志的内容非常吸引我,因为又回到了家居这个我感兴趣的领域。之前的2006年,我在广州给父母买了套房子,自己设计了一套家具。那时是我设计好样稿,让西塘的一位老师傅做的。那套家具现在还在我家里,算是我的处女作吧。进《家居廊》让我觉得好像是冥冥之中注定的,自己要转到这个行业中来。  
<strong>Q</strong> <strong>:家具设计画图这些本领是怎么学的?</strong>  
A: 这些是大学里学的基础。大学里就开始帮人做过一些室内设计。进《家居廊》之后,我的视野更开阔了。以前接触的还是比较传统的家具,现在的视野更加国际化,每年也有机会到国外参观家具展,亲眼看到顶级大师的工作室,和他们交流,看他们背后的故事。他们的工艺、设计上的思路,对我产生很大的影响,使我对家具的认识更全面。  
<strong>Q</strong> <strong>:璞素家具现在的风格是怎么形成的?</strong>  
A:璞素的风格是我接触了国际化的理念回来之后,用新的眼光看传统家具而慢慢形成的。我也去了很多地方,包括青岛、北京、广州、苏州等地看待各地的人文环境、地理环境对家具的影响是怎么样的。另外阅读很多书籍。对中西风格有了提炼之后,来做我现在的家具。强调现代生活背景下的功能性和美感。  
<strong>Q</strong> <strong>:你从哪里取得了璞素家具的灵感吗?</strong>  
A:我觉得我特别喜欢线条,最根深蒂固的原因就是我喜欢书法。书法的线条感和明式家具的线条是相似的。以圈椅为例,它圆润的扶手,实际上和书法的婉转顿挫是一样的。  
<strong>Q</strong> <strong>:所以是书法影响了你的家具设计?不过我看你现在的书法大多是块状的,并不是线条感的。</strong>  
A:我希望书法有立体感,传统的书法大多都是平面的。我希望能够立起来,有交错感。所以家具设计反过来又影响了我的书法。  
<strong>Q</strong> <strong>:你之前提到了地理对家具的影响,那璞素的作品是不是特别适合江南这个地方?</strong>  
A:对。岭南比较浓墨重彩,比较适合那里的繁花似锦。北方多是一些枯山剩水,家具一般也苍茫大气。而秀美的江南人氏对园林、石头、家具的爱好也是和这里的环境相关。  
<strong>Q</strong> <strong>:你提出了“文人家居”这个概念,这怎么理解呢?</strong>  
A:“文人”其实相当于现在的中产阶级这个概念。我认为古代基本都可以划成三个阶层,最上一层是皇族,即统治阶层。中间是官宦或地主,也即是文人。最下一层是平民百姓。我觉得对社会影响最大的是中间那个阶层。  
<strong>Q</strong> <strong>:你谈到中间阶层是文人,但今天你的作品,可能是需要上层社会才能用得到呢?而普通人是处在一种“蜗居”的状态。这种“蜗居”的氛围能不能容纳你的家居作品呢?</strong>  
A:这确实是一个很分裂的问题。我也在努力去避免这个问题,如何让好的设计给更多人能消费得起。所以我会选择比较价廉物美的材料(榉木),但我会在设计方面下足功夫,保证品质。如果我用的是红木,从材料上价格已经翻了几番了。  
<strong>Q</strong> <strong>:我其实讲的是古代那种氛围和情怀,在现代变成了一种奢侈的氛围。你觉得在上海普通两室一厅的格局,能不能营造这种氛围呢?</strong>  
A:同样可以啊。这个问题我自己思考比较多。现在大部分人居住在100平方米的楼房里。但我觉得这和生活品质不是完全对立的。你可以看日本或者台湾的居住状态,他们的居住资源比中国还有限,但他们仍然很有风格,他们对品质的要求很高。  
<strong>Q</strong> <strong>:这些家具比较适合四合院,人们可能很难把它和楼房联系起来。</strong>  
A:古代的房屋面积比较大,带来空旷的效果,相应地家居也体量比较大。而我现在在设计璞素家居的时候,已经考虑到100平方米房间的需求。也给很多人试用了,感觉都不错。其实这和生活方式是有密切关系的,如果你喜欢喝茶,喜欢书画,你和这些家具配起来,就很契合。我自己的家里也就是这样的。  
<strong>Q</strong> <strong>:另外从文化的角度来看,你会不会觉得传统中式家具给人带来一种正襟危坐感,会让人觉得比较要照顾礼数?</strong>  
A:我觉得优良的传统中式家具用起来是很舒服的,虽然它躺上去和沙发的感觉是不一样的。我觉得礼数只是一种表面形式,比如说“三分坐”,但它和家具没有必然的联系。如果你还是拘谨的讲究礼数,坐沙发也不会舒服。  
另外要注意的一个特点是清式家居和明式家居是有很大区别的。明式家居强调书房、园林等功用性的空间,而清式比较强调厅堂。明式比较轻松,明代的人非常崇尚室外的交际,人们经常把家具搬到室外园林里去使用。这就造成明式家具的风格更轻松,摆放也随意。清式就严谨很多了。这和统治氛围有关,因为清朝统治者是从白山黑水过来的,属于外来统治者,他们更需要强调这种秩序感。  
<strong>Q</strong> <strong>:宋代是不是有很多榻?</strong>  
A:对唐宋,乃至以前的魏晋,有更放松的氛围。所以会出现“竹林七贤”这种放浪形骸的人。他们崇尚思辨和人性自由,所以那时的起居习惯非常随意,不太受礼节的束缚。  
  <p>Invest not to buy a house in Shanghai, but to create a home of better taste, “improving quality of life”, these are Chen Yanfei’s values. He rents a place in a tall 23-story building in Jing’an District, practices calligraphy every day, and designed his own home decoration brand, “Pu Su.”</p>
  <p>Chen Yanfei and I have known each other for ten years. Ten years ago we got together and worked for the “21st Century Business Herald”. At that time, we had just graduated. We did not know much. I was a reporter, he was an arts editor. It was the last wave of the media tide, everyone had surprising opportunities. After half a year, I became the Beijing manager for the 21 Century magazine, and managed seven correspondents older than myself. And he, since he was an outstanding calligrapher, was chosen to support the expansion of 21st Century advertising. It's hard to imagine that the very difficult calligraphy of the “One becomes two, two becomes three, and three becomes the universe, came from the hand of a 23 year old. </p>
  <p>Then we have the way to Shanghai, and since then it has not officially left the city. Media situation has been unpredictable, I left in the middle of the media for seven years. And he from the 21st century, the "Gold Life", went to the "Bund" and finally to "ELLE DECORATION home gallery 'design director.</p>
  <p>In those years, he began to collect old furniture, from south to north close to a lot of bulky chairs tables and chairs. We movin each other when he was also a book case long parked at my house for a year. For those of us cause Shangju vagrant youth, the collection seems to be one and we are not in tune with luxury-loving. But he insisted the way for so many years.</p>
  <p>Until one day I went to his rented rise in Jing'an Area to visit a house his collection, only seen his collection. That room looks ordinary house, which he converted into a Chinese home atmosphere completely Zhaizi. There are a few couch, tea calligraphy, as well as his numerous collections.</p>
  <p>Investment to buy a house is not in Shanghai, the funds invested in creating a better taste of home, "make life richer quality" This is Chen Yanfei values.</p>
  <p>Six months ago, Chen Yanfei and friends joint venture created their own original home brand "Pu factor" in an alley Changshu Road. The name comes from the "Zhuangzi" the sentence: "simple, monensin America and the world." He proposed a "contemporary literati art home" concept. He offers a new explanation for the "literati" this definition.</p>
  <p>He himself, from an intellectual background, also set foot in the business world. Although all aspects of the business began to take care of his needs, he most wanted to remain the dominant product designer soul. For a 33-year-olds, this is all just in time.</p>
  <p>Q: When did you start to study Calligraphy?</p>
  <p>A: I learned it a long time ago, since I was sensible. At first, my father leaded me to learn calligraphy so I didn’t have a teacher. I just bought some writing brush, some ink, and some paper. As time elapsed, I got fascinated in Calligraphy.</p>
  <p>Q: Is your father well educated?</p>
  <p>A: Both my parents are doctors. They are not very good at arts. They just like arts. My father’s books have a great influence on me. Even though he studied medical, he had collected a large number of books.</p>
  <p>Q: Your family lived in Dongwan?</p>
  <p>A: We lived in Guangdong Heyuan. We are traditional Guangdong citizens. When I was in grade five or six, we moved to Dongwan.</p>
  <p>Q: Have you ever thought to be a doctor when you grow up?</p>
  <p>A: No, I am interested in medical.</p>
  <p>Q: Do your parents hope you to study art?</p>
  <p>A: No, they know that I am a person that likes to make decisions by myself—I even don’t want them to buy clothes for me. Including going to university, what universities, what major, myself decide all these factors. They supported me as well.</p>
  <p>Q: Do you have to prepare the professional test before you have the exam in GuangZhou Art College?</p>
  <p>A: Yes, I have to go to Guangzhou mouths earlier to receive the training. I even have to find the dorms by myself.</p>
  <p>Q: How do you make your decision to become an art student? Many people think that be an art student is very complicated, and it requires a large amounts of money. Some people even consider that the art students are poor at study.</p>
  <p>A: When I was in grade 12, I discovered that several classmates wanted to be an art student. They prepared for this test since grade 10. I think it’s a good idea, and then I visited their drawing rooms. As a result, I think that my drawings are as great as theirs. I bought some books and studied by myself. After going to the training class in Guangzhou Art College, I broaden my outlook because there’re so many talented students there.</p>
  <p>Q: How is the Yield Rate of Guangzhou Art College?</p>
  <p>A: In that year, about 300 people applied for one major, but the college only admitted 20 students. The competition was quite fierce.</p>
  <p>Q: Which major were you in when you were in college?</p>
  <p>A: Flat design. That was called decoration designed before. It covered flat, multimedia, illustration and so on. When I was in grade 2, I applied for a transition to indoor design, but I failed. I always think that I am more interested in dimensions than in flat.</p>
  <p>Q: Where do your students usually go to work when they graduate?</p>
  <p>A: Normally advertisement companies. These companies hire a lot of people directly. Some students went to television stations. I am interested in media instead of advertisements because I think media is a more overall form of expressing ideas. The core of advertisement is commercial, but media contains more. Step into media is a great choice for me.</p>
  <p>Q: You design the commercial magazines in the beginning, then the magazines about daily life, in the end the professional furniture magazines. How do you think of media road?</p>
  <p>A: In 2007, I went to work in  <em>Jia Ju Lang</em>. I thought that this magazine attracts me a lot so I went to furniture, this familiar field, again. In 2006, I bought a house for my parents in GuangZhou. I designed a group of furniture by myself and asked an old worker in XiTang to produce that for me. This group of furniture can be considered as my first masterpiece. Working in <em>Jia Ju Lang </em>is  predestined, I am sure I am going to work in this area.</p>
  <p>Q: How do you study the skills of designing and drawing furniture?</p>
  <p>A: These are some basic skills that studied in college. I did some indoor design for some people. When I started my work in <em>Jia Ju Lang</em>, I broadened my field of vision. I only saw some traditional furniture in the past, but now I know furniture around the world. Every year, I have the chance to visit the furniture exhibitions abroad, to see the grand designer’s masterpieces. I communicated with them and knew their stories. Their skills, their designing ideas all influenced me a lot. All these enabled me to have a more comprehensive understanding on furniture.</p>
  <p>Q: How is the style of PuSu furniture formed?</p>
  <p>A: As I learned many ideas about furniture around the world, I developed new views on traditional furniture. I went to many cities, including Qingdao, Beijing, Guangzhou, Suzhou to study how their culture and geologic environment influence their furniture. I also read many books. Having purified the styles in Eastern and western, I make my furniture as nowadays. I emphasize on the function and the beauty of furniture.</p>
  <p>Q: How do you get your inspiration?</p>
  <p>A: I like lines very much is because I like calligraphy. The sense of line is similar as the Ming Furniture. For example, the chairs have round handrail is like the round lines in calligraphy.</p>
  <p>Q: So calligraphy affects your design? But I think that your calligraphy works are always square-shaped, not lined.</p>
  <p>A: I want calligraphy to have some senses of stereoscopic but the traditional calligraphy is always plain. I want to works to stand and criss-cross. As a result, furniture design influenced my calligraphy as well.</p>
  <p>Q: Previously, you mentioned that geography affects the furniture, is your artworks (furniture) more suitable for the South.</p>
  <p>A: Yes it is, the style of the furniture in Lingnan is thicker and heavy which is more suitable for the scenery there.  The scenery in the north is drier therefore the style of the furniture is bolder. Because of the environment in the South, the people over there have developed a deep fond of gardens, stone sculptures, and furniture.</p>
  <p>Q: You started the idea of an “educated furniture”, how should we interpret this?</p>
  <p>A: Educated mean an educated person (olden time) that is the equivalent of middle class person. In my opinion, I think the olden society can be classified into 3 classes. The 1<sup>st</sup> one is on the top, which is the emperor, then in the middle is the officials and land lords (educated people), at the bottom is the peasant (farmers). I think the officials and landlords contributed the most to the society during the olden time.</p>
  <p>Q: You talked about the middle class, the educated people, but your artworks is used most by the upper class. The middle class people is now in “snail living”. In the situation they ar living in can they have your artwork in their houses?</p>
  <p>A: This is indeed a very conflicted problem and I am trying to avoid this problem by trying to design furniture which most middle class and afford. This is why I used birch, a rather cheaper wood, but I assure you that it is still stop quality furniture. If I have used redwood, the price would have doubled and tripled.</p>
  <p>Q: The olden times style of furniture, is now luxurious today. Do you think that in a Shanghainese house with 2 bedrooms with 1 living room can have the same style?</p>
  <p>A: I have thought about this problem and I think we can achieve it. Most people live in a house of 100m<sup>2</sup> but the size of the house will not affect the person’s living quality. In Japan and in Taiwan, they have a more limited housing space than China’s yet their house have style and have a strict requirement.</p>
  <p>Q: These furniture is more suitable for courtyards. People have a hard time connecting this furniture with apartment buildings.</p>
  <p>A: Houses in the olden times are larger therefore their furnitures are larger. And when I designed these furniture, I have already considered the 100m<sup>2</sup> space. Many people have tried it and it all felt right. Actually, the furniture has a connection with life. If you like drinking tea or writing calligraphy it all connects with the furniture seamlessly. I have one in my house.</p>
  <p>Q: In a cultural view, don’t you think traditional Chinese furniture will bring a sense of seriousness and will make people want to follow rules?</p>
  <p>A: Although traditional Chinese furniture does not have sofas but I think a good traditional Chinese furniture is really comfortable. I think the rules are only a formality, for example the “three minute sit”, it has nothing to do with the furniture itself. If you are so hard on the rules even with sofas, you will not enjoy it.</p>
  <p>There is also a differene between Qing style house and Ming style house. Ming style houses emphasizes on the study room and the functions of the garden. The Qing style focuses on living room. In all, the Ming style houses is more relaxed interior designed wise. The Ming advocate the multiple use of the garden, many people during the Ming dynasty moved furnitures out into the garden.  This made the Ming houses more relaxed. On the other hand, Qing styled houses are stricter. This has to do on how they came to power, because they invaded so they have to maintain a sense of order.</p>
  <p>Q: Was there a lot of bamboo beds during the Song dynasty?</p>
  <p>A: Yes. During the Tang and the Song and even during WeiJin dynasty bamboo beds were widely used.  It gives people a sense of relaxation.  Because of this, there are the 7 wise guys in in the bamboo woods(WeiJin dynasty) who advocate freedom of thought and humanity. During that time period, housing was very casual and not confided by traditional rules.</p>
  <div id="attachment_2062">
<div id="attachment_2062"><a href="http:// marcopoloproject.org/ ?attachment_id=6046" rel="attachment wp-att-6046"><img title="pusu" src="http://s.china30s.com/ uploads/2011/ 11/pusu.jpg" alt="" width="600" height="385" /></a>璞素一角</div>  <a href="http:// marcopoloproject.org/ ?attachment_id=6046" rel="attachment wp-att-6046"><img title="pusu" src="http://s.china30s.com/ uploads/2011/ 11/pusu.jpg" alt="" width="600" height="385"> </a>璞素一角</div>
<strong>Q</strong> <strong>:你觉得现在推行这种“复古”主义的意义在哪里呢?</strong>  
A:我觉得这也不算复古,而是把中国人的情怀拿出来。比如中国人本来就很喜欢木头,这和中国古代儒家道家思想有关系,比较亲近自然,而审美上比较喜欢素雅,和西方喜欢色彩艳丽,更有视觉冲击力并不一样。现在中式家具回归,和中式生活的回归是密切联系的,就像现在越来越多的人喜欢喝茶一样。这也是“慢生活”的一种体现。或者在外面快生活之后,你更加要在家里制造一种“慢生活”的氛围。  
  <p>Q: What do you think is the purpose of Revivalism?</p>
  <p>A: I don’t think my work counts as Revivalism. I have only brought out the Chinese feelings about the things around us. From the olden times to the modern times, Chinese have always love wood. This has a lot to do with Confucianism and Taoism beliefs. Because of these beliefs, Chinese furniture are closer to nature and in aesthetics view, it is simpler. Compared to western style which is more colorful it has a different visual impact. The returning of Chinese furniture has a lot of things to do with out way of life. It is like how more and more people enjoys drinking tea, it is a form of “slow life”. In fast world that we live in, it is very important to design your house with the style of a “slow life”.</p>
<strong>Q</strong> <strong>:你从一个媒体人、文化人转型到开店做生意,有没有碰到什么性格上的冲突?</strong>  <p><strong>Q< /strong><strong> :你从一个媒体人、文化人转型到开店做生意,有没有碰到什么性格上的冲突?< /strong></p>
A:当然这是我每天都碰到的。我不但要跟顾客打交道,还要跟厂里的技术、材料人员打交道,还要进行成本控制。这些东西以前都没碰到过。以前只是上班,做好自己该做的事情。从一开始注册公司、商标等已经花了很多功夫,筹备了一年。接下来还会碰到很多挑战,不过我想尽快专注到设计上去。  
<strong>Q</strong> <strong>:现在工厂的规模多大?有什么扩展计划?</strong>  
A:一开始只有10来个人。分工很细,各种工序都有。最近也在扩大工厂规模。已经把工厂规模扩大一倍。而且我们也在接一些企业工程,也在考虑加盟店等。  
<strong>Q</strong> <strong>:你在上海还没拥有自己的房子,你觉得遗憾吗?</strong>  
A:很多人觉得房子很重要。但我对房子倒真的不是很渴望。我觉得把每天的生活过得有质量才是最重要的。  
<strong>Q</strong> <strong>:书法、收藏和家具设计,三种东西你怎么排序?</strong>  
A:我想应该是书法、家具和收藏。书法排在最前面,是因为我觉得它是我整个价值体系的核心,是我安身立命的基础。不是要靠它生活,但它就像人的自信心一样。即使工作很忙我回家都要写几个字,就像自己休息一样。我现在什么字帖都临一临,博众采之长。  
<strong>Q</strong> <strong>:你最喜欢哪种字体?</strong>  
A:我小时候最喜欢颜体。大学时比较喜欢隶书。现在我更喜欢古朴的字体,像小篆、大篆乃至一些石刻碑文。可能对字的感觉,也会随着年龄的增长而变化吧。  
<strong>P.S. “中国三明治”的LOGO书法体也是陈燕飞的墨宝。</strong>  
  <p>A: This kind of events comes up almost every day. Not only do I communicate with customers, but also talk with the technology and material works in the factories. Lower the cost is always very difficult and unfamiliar to me. I haven’t met this kind of tasks in the past when I was working for my boss. It took me 1 year to register my company and brand. New challenges are coming forward, but I hope that I can focus on designing as soon as possible.</p>
  <p>Q: How is the size of the factory? How about the expansion plan in the future?</p>
  <p>A: At first, there were only about 10 people. The division of the work is quite detailed; a lot of procedures are required as well. I am thinking about expanding the size of factory recently. I have already expanded the size of my factory about 2 times. Now, we are also accepting some enterprise work and considering about other company’s joining.</p>
  <p>Q: You don’t have a house in Shanghai. Do you feel regret about that?</p>
  <p>A: Many people think that owning a house is very important, but I am not very desirable on houses. I think that making everyday life high-quality is the most important.</p>
  <p>Q: Calligraphy, collection and furniture, how do you like these three things?</p>
  <p>A: Calligraphy the most, then furniture, then collection. Calligraphy is the most important because it’s the core of my value system. It is the base of my living. I don’t have to live depend on calligraphy, but it gives me confidence. No matter how busy I am, I will practice calligraphy when I back home. It’s like a rest. I copy many artist’s masterpieces in order to learn more.</p>
  <p>Q: Which style of calligraphy do you like best?</p>
  <p>A: I liked Yan style when I was a little boy and I liked official script when I was in the university. Now, I like some simple and unsophisticated calligraphy, like lesser seal character, big seal character and some works carved on stone. Probably, the sense to the words will change with the increase of age.</p>
  <p>P.S.: the black and white calligraphy logo for 'China30s' is also a secret gift from Chen Yanfei.</p>

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About julien.leyre

French-Australian writer, educator, sinophile. Any question? Contact julien@marcopoloproject.org