吾國家(jia)具事業,發于(yu)(yu)周(zhou)秦,備于(yu)(yu)唐宋,盛于(yu)(yu)明清(qing)。有(you)明家(jia)具,文人相參,皇家(jia)督造,采東亞諸木(mu)(mu),格古今情(qing)懷(huai),無務繁飾,師從自然。暨乎清(qing)代,則有(you)宮廷御制,工于(yu)(yu)雕琢,推尚重(zhong)器,蔚為大觀。兩(liang)代之(zhi)(zhi)(zhi)制,文質各擅其(qi)勝,皆光耀后(hou)(hou)人。洎乎清(qing)末,國運替(ti)凌,內憂外患,幾(ji)至百年。其(qi)間雖(sui)有(you)艾(ai)克、楊耀合(he)著之(zhi)(zhi)(zhi)《中國花梨家(jia)具圖考(kao)》,堪(kan)為經典,然木(mu)(mu)作之(zhi)(zhi)(zhi)藝,仍(reng)漸式微。建國之(zhi)(zhi)(zhi)后(hou)(hou),亦未重(zhong)振,且(qie)文革之(zhi)(zhi)(zhi)際,目罔傳統,明清(qing)制器,多遭棄毀,世(shi)傳秘技(ji),幾(ji)于(yu)(yu)斬(zhan)決(jue)。
幸自改(gai)(gai)革開(kai)放,萬象更新,古(gu)木事業,亦逢(feng)其(qi)(qi)春。《明式家(jia)(jia)具(ju)研究(jiu)》及《明式家(jia)(jia)具(ju)珍賞(shang)》著作(zuo)問世(shi),集(ji)(ji)列(lie)舊制(zhi),按類(lei)剖解(jie),我中華之(zhi)(zhi)(zhi)(zhi)良材美器(qi),始(shi)得重現(xian)光輝,一時(shi)四(si)海響應(ying),搜(sou)若至寶。更有廣東(dong)伍炳亮(liang)先生(sheng)早(zao)謀于青黃(huang),力致收集(ji)(ji)之(zhi)(zhi)(zhi)(zhi)外(wai),并(bing)創修復、改(gai)(gai)良、制(zhi)作(zuo)之(zhi)(zhi)(zhi)(zhi)業,借傳統(tong)文化復興(xing)時(shi)勢,開(kai)當(dang)代仿古(gu)家(jia)(jia)具(ju)先河(he),于上世(shi)紀八十年代初建伍氏(shi)興(xing)隆明式家(jia)(jia)具(ju)藝(yi)術有限(xian)公司,倨南海之(zhi)(zhi)(zhi)(zhi)濱,臺山一隅,精(jing)(jing)選黃(huang)花梨、紫檀等名木,襲(xi)古(gu)制(zhi)精(jing)(jing)髓,集(ji)(ji)南北大成,將中華木器(qi)之(zhi)(zhi)(zhi)(zhi)廣、蘇、京作(zuo)之(zhi)(zhi)(zhi)(zhi)風格,融匯(hui)貫通。精(jing)(jing)工巧作(zuo),避(bi)其(qi)(qi)糟(zao)粕,擷其(qi)(qi)菁華,并(bing)推陳出(chu)新,匯(hui)有《伍炳亮(liang)作(zuo)品珍賞(shang)》多集(ji)(ji),華彩(cai)問世(shi)。令民族技(ji)藝(yi),不絕紙上,其(qi)(qi)新創之(zhi)(zhi)(zhi)(zhi)作(zuo),無愧古(gu)人(ren)!
伍氏興隆地靈人(ren)杰,歷三十年風霜雨(yu)雪,厚積薄(bo)發,制千百樣椅柜案榻,將(jiang)中華木作文化推向感人(ren)境界(jie)!天下藏(zang)家,趨之若(ruo)鶩,不僅(jin)享譽(yu)四海(hai),并(bing)且輝(hui)燭(zhu)京都王府,永駐國(guo)家藏(zang)館,為時代所器重!
伍炳(bing)亮先(xian)生孜(zi)孜(zi)敬(jing)業,勤勉(mian)以(yi)求,故能技(ji)藝(yi)精微,眼(yan)界高遠,首(shou)倡型、藝(yi)、材、韻之品評要則,繼古(gu)開今,化古(gu)為新,伍氏興隆(long)家(jia)具(ju)藝(yi)術得以(yi)眾(zhong)望所(suo)歸,成為當代(dai)傳統家(jia)具(ju)制作之大(da)家(jia),之典范(fan)!并(bing)推動吾(wu)國(guo)古(gu)典家(jia)具(ju)步入新的黃(huang)金時代(dai),功莫(mo)大(da)焉,善莫(mo)大(da)焉!