嵊州竹編《滄海還珠》作者 集體

Pearl Back from the Sea， a bamboo weaving artwork

浙江省對(duì)民間工藝美術(shù)開展了一次地毯式的普查，查清或發(fā)現(xiàn)我省民族民間藝術(shù)項(xiàng)目多達(dá)數(shù)千項(xiàng)，并對(duì)134個(gè)項(xiàng)目進(jìn)行補(bǔ)助，首批列入浙江省非物質(zhì)文化遺產(chǎn)代表作名錄64個(gè)。在普查基礎(chǔ)上，不久前在浙江杭州西湖美術(shù)館舉辦了浙江民族民間工藝美術(shù)博覽會(huì)。

凡是看過浙江省民族民間工藝美術(shù)博覽會(huì)的觀眾都會(huì)發(fā)出由衷的感嘆：民間工藝博大精深，巧奪天工!傳統(tǒng)的陶瓷、剪紙、刺繡、染織、編織、燈彩等民間手工藝品爭奇斗艷；艷麗的十番行牌存留了多少人間故事；飄逸的藍(lán)印花布、溫潤如玉的青瓷、喜氣洋洋的花燈、精致俏麗的刺繡、輕盈華彩的風(fēng)箏等等，均讓人看得眼花繚亂、流連忘返!浙江省省長呂祖善也饒有興致地參觀了展覽，仔細(xì)觀看展品，還詳細(xì)詢問民間藝人的生活狀況以及民間手工藝的品種和流傳途徑。

紹興上虞梁湖鎮(zhèn)玩石村的《十番行牌》，是清代光緒年間的戲臺(tái)裝飾屏風(fēng)，工藝精湛。它用樟木、黃楊木雕成，圖案以戲曲人物為主，以貝殼嵌底，象牙鑲面，描金上朱漆，加上刺繡桌圍，精美瑰麗，它是民間不可多得的傳統(tǒng)工藝精品。

東陽木雕作品《八十七神仙圖》系中國工藝美術(shù)大師馮文土近年來的傾力之作，作者采用出土的珍貴漢代楠木雕刻而成，厚重古樸的材質(zhì)，恰如其分地展示了這幅著名畫卷的古韻。作者在繼承傳統(tǒng)東陽木雕的基礎(chǔ)上，發(fā)揮了深厚的藝術(shù)造型功力，采用高浮雕的表現(xiàn)手法加強(qiáng)了畫面的層次感，使這一宏大的歷史畫卷更為生動(dòng)而具極高的觀賞性。

浙江樂清的細(xì)紋刻紙是江南細(xì)紋剪紙的代表，浙江省工藝美術(shù)大師、家住樂清市的林邦棟，非常執(zhí)著地把細(xì)紋刻紙的傳統(tǒng)技藝傳承給兒子林順奎，此次林順奎參展的作品《水滸一百零八將》，充分顯示了高超的傳統(tǒng)功力，作品不僅繼承了細(xì)紋刻紙的技藝，還表達(dá)了藝術(shù)創(chuàng)作的個(gè)性，脫離了傳統(tǒng)單一的“龍船花”形式。

嵊州竹編曾經(jīng)作為浙江省政府送給澳門政府慶回歸的禮品，眼下它的姐妹作《滄海還珠》，成了嵊州竹編高超技藝的代表。工藝家們充分發(fā)揮嵊州竹編的造型特點(diǎn)，以精巧編織的手法，把龍、祥云、水浪的形態(tài)編織得栩栩如生，不愧為傳統(tǒng)工藝的經(jīng)典之作。

嵊州木根雕是浙江根雕藝術(shù)中一支絢麗的奇葩?！耙虿氖┧嚒笔轻又莞癃?dú)有的藝術(shù)特色，其中陰沉木根雕，成為當(dāng)?shù)啬靖竦闹髁黠L(fēng)格。據(jù)稱遠(yuǎn)古時(shí)期，嵊州樹木繁茂，后因地貌的變遷，大量的樹木沉入水底。上世紀(jì)90年代，由于河沙的開采，掘出很多經(jīng)過幾百年水流的沖刷與泥沙埋沒的木料，這種色澤古樸、形態(tài)怪異的材質(zhì)，引起當(dāng)?shù)啬镜袼囆g(shù)家的關(guān)注，它那肌理、顏色、造型都激發(fā)了藝術(shù)家的創(chuàng)作欲望，藝術(shù)家們化腐朽為神奇，沉寂百年的木料從此被賦予生機(jī)。吳筱陽的作品《寒江獨(dú)釣》就是陰沉木根雕的代表作，作品自然天成又栩栩如生，使作品充滿強(qiáng)烈的感召力，體現(xiàn)了作者深厚的造型能力和藝術(shù)修養(yǎng)，為觀眾帶來美的視覺享受。

在金華展廳中，巨幅麥稈剪貼《百鴿圖》以其獨(dú)特的藝術(shù)魅力吸引了廣大觀眾，這就是浦江麥稈剪貼。它那樸實(shí)而透亮的藝術(shù)質(zhì)感如一壇千年陳釀，甘醇醉人，它那自然光澤所產(chǎn)生的特殊藝術(shù)效果，不知迷倒了多少中外人士，因而被國際友人譽(yù)為“迷人的藝術(shù)”。《百鴿圖》的作者蔣云花，祖?zhèn)魅沱湺捈糍N畫。蔣云花創(chuàng)作的麥稈畫有《鶴壽圖》《梅鶴圖》《鳥語花香》《月圓花好》等120多幅，中央電視臺(tái)專題播出了他創(chuàng)作的《百鴿圖》，在這屆浙江省民族民間工藝術(shù)博覽會(huì)上，《百鴿圖》又榮獲“天工”獎(jiǎng)。

精美的民族民間藝術(shù)，是先人留下的寶貴文化遺產(chǎn)，也是現(xiàn)代文化不可缺少的基因。多元的人類文化，彰顯了現(xiàn)代文明的絢麗，這次展覽出來的工藝美術(shù)品，正是浩如煙海的民族民間藝術(shù)中的一份精華。

（本文攝影：朱曉明、郭藝、麥稈貼畫文圖洪國榮）

Folk Arts in Zhejiang

By Guo Yi

In order to protect the cultural wealth passed from our ancestors and keep the heritage intact， Zhejiang Province recently conducted a carpet-like survey on folk arts across the province.

What has been found is amazing. Several thousands of folk art items have been catalogued. On the basis of the survey， the provincial government has granted subsidies to artists involved in 134 arts items. An honor list of 64 representative masterpieces of Zhejiang folk arts， first of its kind， has been formulated. More lists will follow.

Zhejiang Folk Arts Exhibition was recently held at the West Lake Fine Arts Gallery in Hangzhou， capital city of Zhejiang Province. Audiences wowed at the exquisite exhibits on display. They had reasons to be amazed and dazzled: jade-like celadon pieces， paper-cuts， flamboyant kites， delicate and refined embroidery， elegant printed cloths， yarn-dyed pieces， woven pieces， festive lanterns， and sculptures all flamed their imagination.

A very rare exhibit on display was a Qing-Dynasty (1644-1911) opera stage decorative screen named Ten Official Instruction Plates. The exquisite sculpture was carved on camphor and boxwood. The piece was decorated with shells and ivory. Some parts were painted red. On the screen were figures of traditional plays. The whole screen was circled by a piece of beautiful embroidery. The antique exhibit came from a rural village in Shangyu， a city near Shaoxing in eastern part of the province.

A woodcarving masterpiece on display depicted 87 immortals. It was created by Feng Wentu， a state master of folk arts from Dongyang in central Zhejiang. The sculpture was created on a precious Nanmu piece two thousand years old.

Paper-cut artworks from Zhejiang have long since enjoyed a high reputation for its style typical of the Yangtze River Delta. Lin Bangdong， a state master of folk arts， specializes in the paper-cut art. Now his son Lin Shunkui inherits the art from his father. On display at the exhibition is a masterpiece done by the son. It vividly reproduces the 108 rebels described in the Chinese classic novel Outlaws of the Marsh.

Artists from Shengzhou are good at bamboo weaving. When Macao returned to China’s sovereignty in 1999， Zhejiang provincial government sent a gift to Macao in celebration of the memorable occasion. The gift was a bamboo-strip woven artwork by artists from Shengzhou. On display at the exhibition was a piece called Pearl Back from the Sea. It amazingly shows a dragon， waves and clouds， all delicately created in bamboo strips.

Wood carving and root sculpture from Shengzhou is another unique phenomenon in Zhejiang folk arts. In ancient times Shengzhou abounded with trees. Geological changes buried large quantities of woods at the bottoms of rivers. In recent years， businesses in Shengzhou have been scooping sand from local riverbeds and these buried trees resurfaced for the first time. Shaped and colored by water and sand over centuries， these trees look antique and unusual. Local sculptors are drawn to these water-drenched woods. The special shapes， colors and textures inspire the artists. They rise to the challenge. On display was an artwork done on such a wood piece by Wu Xiaoyang. The root sculpture was named Fishing Alone on a Chilly River. The engraved image perfectly explores all the distinctive features of the material.

A giant collage of wheat straws allured visitors. The huge-sized artwork， named 100 Doves， is done by Jiang Yunhua， a folk artist from Pujiang. His family has been engaged in creating collages of wheat straws for three generations. The natural luster of the straw produces a special charm and never fails to conquer art critics and ordinary viewers at first sight. The artist has created 120-plus pieces in this style. The CCTV has done a special feature on the 100 Doves. The collage won Nature's Art Award at the exhibition.

The exhibition offered an insight into the timeless glamour of folk arts. The valuable cultural heritage is an indispensable component of modern culture. Folk arts， part of multi-faceted present-day culture， showcase the splendor of modern civilization.

(Translated by David)