「如果沒有開古道具店，你現在會在做什麼？」
「應該還是在日本的建築公司上班，每天趕上最早開出的列車、一個多小時的車程回公司，然後晚上又會在加班。」Pete坐在鋪上軟墊的地上一邊修復古鐘，一邊笑說。說回當初，Pete說是母親鼓勵他在香港開古道具店的。「她說如果我在日本做這件事，將會是一個普通的存在；但如果在香港做，將會面對很多困難，卻是一件獨特的事情。相比買賣，我認為經營古道具店更像一種教育，所以我在大門旁以花草做了一隻耳朵，寓意前來的人來聽我說這些古道具的故事，以聆聽者來看這個空間，從而對日本歷史、文化多一份認識和了解。即使是去日本旅行，也會因為認識而多一份歸屬感。」
日文有一詞語「究極 」，意指對事物歸根究底的探問、研究，這正好用來形容Pete對古道具、修復，或是更簡單地說，對喜愛事物的態度。他研究的東西廣泛，植物、盆景、關西文學、鄉土研究，到明治骨董等等，投入時不分晝夜，說起來滔滔不絕，讓人感受到他對這些事物的熱情。「在日本居住時，我最常到的地方是神保町古書街，因為我經常買很多書，所以認識了一些古書店店主，他們會送些專門的古書給我，認為我能用得上它們。有時候，我會把書整理成一些淺白的文字、圖表，讓香港的大眾也能了解更多。」他的「究極」精神令人十分佩服，現實很少人能做到。「日本朋友會說這是『鬥顛』，了解到最極致的程度才收手。」
Pete說，黑池是透過器物、修復和呈現各種日本文化的過程，來表現物件的本質和故事；而不是一家單純追求收藏價值的古道具店。談到修復，一般的理解是物理性的還原，把破碎、殘缺的物件回復到它原來的狀態。「對我來說，修復最重要的是認識古道具在它的身處的時代扮演著什麼角色、名字的定義，而修復的目的是為了以舊還舊，還是對它重新理解和賦予全新的定義，並應用在現代生活中。」
在Pete的眼中，每一次修復都是一場學習。「很多人認為修復是為了迎合社會的功能主義，但我認為不一定是這樣。如果把很多元素放在一樣物件上，很容易會變得不論不類，所以要很清楚修復的目的，像時鐘的修復，便需要以功能性來滿足現代的需要，以電池代替上鏈的零件；而上鏈的零件卻成為支撐燈具的結構」修復除了是一門工藝，也是修復師與創造者及使用者之間的微妙連結。
「『格物致知』是黑池的理念，對我來說，『格物』是深究事物的起源，『致知』則是後續的分析、沉澱和總結，是得到知識的一個過程。」 好像是古鐘的修復，若打開它看到圓形的榫、部份十字螺絲的話，就屬於昭和後期修復或製作的；若是一字螺絲，則是明治至大正年份，或昭和初期也有；而江戶年代則大多使用鐵釘。「例如是我店裡賣的一個書紙用櫃，我會畫下結構圖及細節給客人。若日後某部分壞了，客人也知道該怎樣去修復。若然不去深入研究，對事物的認知就會變得很淺薄。」
修復與工藝、時間是密不可分的，對事情總是抱有「究極」精神的Pete來說更甚。「有些待修復的物件對物主來說是別具意義的，有些則是若然我不修復，它便成為垃圾被掉棄。有次，一位退休的太太給我一張陪伴了她很久的法國摺檯作修復，它曾被火燒、殘缺不齊，後來我想到以蓮花於夏天開花前被稱為つぼみ（摺疊前）的概念作修復。」Pete把木腳重新入榫固定結構，並以和菓子模具「木製菓子木型」（つぼみ）作為花床。天板則利用日本昭和時期製作家具剩下的橡木板改裝，利用香港枯葉草木灰的灰汁淺染上色。當摺檯打開時，便等於蓮花開了，他賦予了桌子優美的意境，同時以日本物料來呈現西方的摺檯方式，體現不同文化的融合。「對客人來說，與物件一起經歷久了就是一種陪伴。古時的日本人形容古道具和骨董或古董的分別是「昔ながらの日用品」，古道具指的是有溫度的物品，如果沒溫度，人們便不會珍惜它。」
「修復的過程中最令人感受到的是『物哀』，透過修復的過程讓人感受到事物的沉澱與轉變。修復時也會抱有萬物有靈的心態，首先要尊重那物品，才能做好每一次的修復。另外，探索、理解事物也是很有趣的過程。日本現在也不太流行傳統的古道具，大多是經修改的、時代感較重的古道具。例如桌子多會洗去面漆，看上去才不會亮晶晶，現代人才會接受到。我大多會先洗漆，後加泥染，再做乾燥，木材收緊後重染使表面很滑，在現代使用也不會有違和感。」
關於初心，Pete說他沒有多大的轉變，因為他不太理會外面的人在做什麼，甚至不太主動社交。「我相信想法相近的人自然會走在一起。這樣，我才能一直保持著原有的想法，專注做事，不被別的東西影響。」難怪經營了6年的黑池古道具店，也能一如當初。身處於工廠大廈，由站在門口看江戶時期淺野家的大門，已能感受到Pete的用心經營。「一進門便會看到的木雕裝置，是用了打風被吹斷的香港樹樹幹，用火燒成枯木，把中間雕空，放了一個木雕的人在裡面，想藉此表達城市的人想走進大自然，理解自己的原始本質。這種裝置是想提醒自己，就算住在城市裡，也別忘了原來的自己。」
那天聽Pete說了許多故事，我們走到日本大正年代，又走回現代的香港，談江戶時期木作建築牆上的土壁細部到以香港木造的桌子，黑池古道具承載的不只是古物、修復，還有當中的故事和情感，修復物件的同時，也在修復內心。
“If you hadn’t opened an antique shop, what would you be doing now?”
“I would probably still be working at a construction company in Japan, catching the earliest train every day, commuting for over an hour to get to the office, and then working late into the evening,” Pete said with a smile as he sat on a cushioned floor repairing an antique clock. Reflecting on the past, Pete revealed that it was his mother who encouraged him to open an antique shop in Hong Kong. “She said that if I did it in Japan, it wouldn’t be anything extraordinary; but in Hong Kong, it would present numerous challenges and be something truly unique. I believe that running an antique shop is more like an educational experience rather than a mere business. That’s why I placed a flower arrangement resembling an ear near the entrance, signifying that visitors are here to listen to me sharing the stories of these furui dougu (in Japanese: 古い道具, meaning antique). By engaging as listeners, they can acquire a deeper understanding and appreciation of Japanese history and culture; and armed with this knowledge, they would develop a stronger sense of belonging when they eventually journey to Japan.”
In Japanese, there is a term called kyukyoku (in Japanese: 究極) , which encompasses the thorough exploration and study of the essence of things. This term perfectly describes Pete’s attitude towards antique, restoration, and his passion. His dedication knows no bounds as he delves into a diverse array of subjects, such as plants, bonsai, Kansai literature, local studies, Meiji antiques, and more. Day and night, he immerses himself in these pursuits, eagerly sharing his boundless enthusiasm with others. “During my time in Japan, the place I frequented the most was Jimbocho Antique Book Street. I bought numerous books there and eventually developed connections with some bookstore owners who would occasionally give me special antique books that they believed would be of value to me. Sometimes, I would organize the information from these books into simple texts and diagrams so that the general public in Hong Kong could understand more.” His kyukyoku spirit is truly remarkable, as it is rare for people to reach such an extreme level of understanding. “My Japanese friends would describe it as ‘reaching the utmost level of understanding before stopping’.”
Pete explains that Douguya Hatcharea goes beyond being just an antique shop that collects valuable items. Its purpose lies in conveying the essence and narratives of the showcased objects through the objects themselves, the restoration processes they undergo, and the diverse aspects of Japanese culture that they represent. Restoration, in the conventional sense, is the physical mending of broken or damaged objects to their original condition. “For me, the most important aspect of restoration is understanding the role and significance of the antique item within its original era. The purpose of restoration is to either restore it to its original state or to reinterpret and give it an entirely new definition that aligns with contemporary life.”
If you incorporate too many elements into a single object, it can lead to incoherence within the object. Therefore, having a clear understanding of the purpose of restoration is crucial. For example, when restoring a clock, modern needs may necessitate the use of battery-powered components instead of traditional winding mechanisms; and the winding mechanisms, in turn, could find new purpose as structural elements for lighting fixtures.” Restoration is not merely a craft, but a delicate connection between the restorer, creator, and user.
“The philosophy of Douguya Hatcharea aligns with the Confucian concept of gé wù zhì zhī (in Chinese:格物致知). Gé wù (in Chinese: 格物) represents the exploration of the origins of things, while zhì zhī (in Chinese: 致知) refers to the subsequent analysis, reflection, and synthesis, representing the process of acquiring knowledge.” In the restoration of antique clocks, certain characteristics can provide insights into their historical context. For instance, round tenons with a few Phillips screws are indicative of the late Showa period, while slotted screws suggest the Meiji to Taisho era or the early Showa period. Iron nails were predominantly used during the Edo period. “When selling a book cabinet, I would provide a structural diagram and detailed notes to the customer. This way, the customer will have the knowledge to repair it in the future. Without delving into research and exploration, the understanding of things will remain superficial.”
Restoration is closely intertwined with craftsmanship and time, and for Pete, who always holds on to the kyukyoku spirit, it holds even greater significance. “Some objects awaiting restoration hold deep personal value for their owners, while others would be discarded as trash if not restored. On one occasion, a retired lady entrusted me with a French folding table that had been in her possession for a long time. The table had been damaged by fire and was broken apart. Inspired by the concept of tsubomi (flower bud), which represents lotus flowers before they bloom in summer, I devised a restoration plan.” Pete reattached the wooden legs using a mortise-tenon connection and used wooden Japanese confectionery molds called tsubomi to imitate the flower bed. The table’s top was modified using leftover oak boards from furniture crafted during Japan’s Showa period. To achieve a subtle grayish hue, Pete lightly dyed it with fallen leaves and plant ash sourced from Hong Kong. When the folding table is opened, it resembles a blooming lotus. Pete not only added to the table a captivating artistic appeal, he also presented a fusion of cultures by incorporating the Western folding table technique using Japanese materials. “For customers, an object becomes their companion after spending a long time together. In ancient Japan, furui dougu were distinct from antiques because they were the old daily necessities (in Japanese: 昔ながらの日用品 ) that possessed warmth. If something lacks warmth, people won’t cherish it.”
“During the restoration process, one of the most profound emotions that one can experience is the sense of mono-ai (in Japanese: 物哀) or the pathos of objects. Through restoration, one can perceive the accumulation of time and the transformative journey that objects undergo. I restore with the belief that all things possess a spirit, and it is crucial to treat each item with respect during the restoration process. Furthermore, it is fascinating to explore and understand things. In Japan, antique items have become less popular in recent times. Many of them have been altered and carry a strong sense of the era to which they belong. For example, tables are often stripped of their gloss finish to avoid appearing too shiny, making them more acceptable to modern people. I usually begin by removing the lacquer, then apply mud dye, allowing it to dry. Once the wood tightens, I re-dye it to create a smooth surface that feels natural for modern use.”
Pete’s original intentions have remained largely unchanged over the years. He doesn’t pay much attention to what others are doing and is not particularly proactive in socializing. “I believe that people with similar ideas naturally come together. This way, I can preserve my original thoughts, focus on my work, and not be influenced by other things.” It’s no wonder that Pete has been able to run Douguya Hatcharea for six years while staying true to his original vision. The shop is situated within an industrial building and built with an Edo period gate that belongs to the Asono family at its entrance—a feature that highlights Pete’s dedicated approach to his business. “As soon as you enter the shop, you’ll see a wooden sculpture installation. It is crafted from a Hong Kong tree trunk that was damaged during the typhoon. The trunk was intentionally burned to create a weathered wood texture, hollowed out in the middle, with a wooden sculpture of a person placed within it. This installation symbolizes the yearning of city dwellers to connect with nature and discover their primal essence. I want to remind myself that even if I live in the city, I shouldn’t forget who I truly am.”
That day, Pete took us on a journey through time, spanning from the Taisho era in Japan to present-day Hong Kong. He talked about the intricacies of earth walls in Edo-period wooden architecture and the craftsmanship behind Hong Kong-made wooden tables. Douguya Hatcharea is more than just a place for antique items and restoration work; it is a repository of stories and emotions that are deeply ingrained within each piece. Restoring objects goes beyond mere physical restoration; it is also a process of revitalizing one’s inner self.
