走進“玉林陶藝”，猶如走進了一個百花盛開的大花園，如置身于絢麗多彩的霓虹世界，給人以美輪美奐的震撼。這里紛呈的色彩、多變的造型、潤澤的光芒，讓人目不暇接。這些質(zhì)地古樸、形態(tài)多變、色彩飛揚、裝飾華美的彩陶，大都出自工藝美術(shù)大師邱玉林之手。

另一種“土地”

1975年夏，正在村辦磚瓦廠干活的邱玉林接到通知：他被推薦成了江蘇省宜興陶瓷工業(yè)學(xué)校的“工農(nóng)兵學(xué)員”，這可是幾個村子里僅有的一個名額！邱玉林興奮得在身旁的空中水管上做了個單杠上翻動作，不慎動作沒做好，嘴巴撞在鐵管上磕掉了半顆門牙，此時不光疼得厲害，連說話也漏風(fēng)了！但他心里仍美滋滋的，因為，他覺得命運之神已為他開啟了一扇大門，只要跨進去，不僅跳出了“農(nóng)門”，而且，一種全新的生活在等著他。

入學(xué)摸底考試時，每人發(fā)到一張白紙，要求臨摹掛在黑板上的一幅人物畫。邱玉林并不會畫畫，但他還是認真地依葫蘆畫瓢地畫了起來。事后知道，不少人交的是白卷，進了別的專業(yè)。和他一樣沒交白卷的，則分到了陶瓷裝飾班。從此以后他這拿慣了鋤頭的手居然拿起了畫筆、刻刀，在另一種“土地”上耕耘起來。盡管是從“零”開始，但由于他的聰穎和勤奮，幾年修煉下來，已為同學(xué)矚目和深受老師鐘愛。

1977年，邱玉林從江蘇省輕工業(yè)學(xué)校陶瓷裝飾專業(yè)畢業(yè)被分到了宜興彩陶廠，這是個生產(chǎn)砂鍋、泡菜壇等日用陶的企業(yè)，面對著那粗糙的壇壇罐罐，一心想著大展身手的邱玉林簡直泄氣了：這些東西有什么做頭呀？他傻呆呆地看著看著，忽然發(fā)現(xiàn)這里面蘊藏著搞藝術(shù)的極大空間：不是提倡“工藝品要日用化，日用品要藝術(shù)化”么？對，就從日用品要藝術(shù)化做起！他和技術(shù)人員一起，通過改進原料配方，使材質(zhì)具備細白、抗壓、抗拉、吸水率低、結(jié)晶度高的特點，并施以各種不同的釉彩，通過雕鏤、刻畫、涂刷、印刷等裝飾手法，飾以賞心悅目的圖案。他牛刀初試，以這些日用陶作為載體，在上面恣意揮灑藝術(shù)才華。通過造型、裝飾的美化，這些原本粗陋的壇壇罐罐一下子變得面目一新，原本只能放在層角的泡菜壇，居然能夠放在堂前長臺上作為一種陳設(shè)供人欣賞了！邱玉林對于這樣的成就非常高興。

別樣的“風(fēng)景”

上個世紀(jì)80年代初，中央工藝美術(shù)學(xué)院著名教授鄭可帶著一批研究生來宜興彩陶廠搞創(chuàng)作實習(xí)。這位留法歸來的教授現(xiàn)代派的創(chuàng)作理念、工業(yè)設(shè)計的美學(xué)思想給彩陶工藝品的發(fā)展注入了新的血液。鄭可教授教導(dǎo)邱玉林：現(xiàn)代藝術(shù)彩陶的形成離不開傳統(tǒng)的底蘊，也離不開國外藝術(shù)的牽引，它是在傳統(tǒng)基礎(chǔ)上結(jié)合現(xiàn)代需求理念，結(jié)合當(dāng)代審美情趣及燒制條件創(chuàng)新的獨特器形。陶泥、陶釉是藝術(shù)傳神達意的載體，要通過藝術(shù)的想象、藝術(shù)的手法給人以各種美的感受。要學(xué)會多路思考：將一個物體延伸改變，每個人的理解與表現(xiàn)手法不同，于是就有了千姿百態(tài)。懷著對彩陶藝術(shù)的美好憧憬，邱玉林努力消化鄭教授的創(chuàng)新理念，在彩陶的造型上大膽創(chuàng)新，突破了傳統(tǒng)瓶體圓雕形的創(chuàng)作手法，把幾何形、流線形、抽象形、異體形成作為主攻方向，標(biāo)新立異，讓造型動起來、活起來。他的代表作《扇舞瓶》就給視覺帶來一種全新的形態(tài)刺激，你可把它看成一把打開的折扇，也可以把它看成一個雙手拉開裙裾翩翩起舞的舞娘，更可以把它看作姑娘們手中舞扇組成的各種圖案，忽分忽聚，滿臺生輝；又如《望月瓶》是個雙翼瓶，瓶形隨底座與橢圓形口向左右伸展，顯得雄渾而有氣魄，它在有羽狀飾，似翱翔云天之鷹。瓶器圓中套圓，大圓、凹圓、凸圓，并在頂部挖一圓透亮如日，側(cè)伴新月如鉤。這似乎是宇宙的縮寫，令人浮想聯(lián)翩……

他在代表作《希望》瓶體上，用色泥漸變的裝飾手法，根據(jù)泥的色彩，由亮處、暗處、中間色，層層遞增，形成沐浴在曙光之中的遠山近巒，在此背景上用刻刀畫出一棵抽象的樹和幾只撲翅飛騰的小鳥。這是大自然的縮寫，是融入作者情懷的具有全新思維的獨特創(chuàng)造，整個畫面既有國畫的意境，又有剪紙的韻味，一派朝氣蓬勃，充滿了生機和活力。細細品味，但見金色的晨曦之中，群山醒來了，青枝綠葉在舒展，小鳥在歌唱，生命的液汁在枝葉間涌動，新的希望在向世間萬物招手，大自然的生靈又開始了新的一天的憧憬……給人美好的遐思和無窮的意韻。

就這樣，通過不懈的求索，邱玉林和他的同事們在彩陶這塊古老的藝苑中拓出了一片別樣的風(fēng)景。

出墻的“紅杏”

30多年來，邱玉林沉浸在彩陶藝術(shù)天地里，上下求索，樂此不疲。他特別注重吸納外來陶藝作品的藝術(shù)創(chuàng)作法則與思想，上世紀(jì)80年代他仿制了一批日本現(xiàn)代陶藝作品，從中悟出了很多陶器藝術(shù)創(chuàng)作手法，并將日本陶藝的造型裝飾與中國的傳統(tǒng)創(chuàng)作理念融合應(yīng)用到一起，此外，他還在很多外國陶藝書刊中尋到了創(chuàng)作靈感和可借簽的素材，在跟外國陶藝界朋友的藝術(shù)交流中領(lǐng)會到外來文化的特色，并將它們?nèi)谌胱约旱淖髌分校瑒?chuàng)作出屬于自己的東西。東西方文化的碰撞與交流開闊了他的視野，拓寬了他們的創(chuàng)新思路。陶瓷語言和中西文化激發(fā)了他的思考與頓悟，觸發(fā)了他的藝術(shù)靈感，使他的作品不僅是一種絢麗多彩的藝術(shù)形象，給人以美的享受，而且是一支樂曲，一篇詩章，一種生命，凝聚著歷史、文化、哲理，給人以生活的啟迪。1990年邱玉林的作品《曙光》獲第四屆全國陶瓷藝術(shù)展砰二等獎；2000年，他的《古韻釉陶》榮獲第二屆中國工藝美術(shù)大師精品展金獎；2001年作品《沉默系列》，榮獲第三屆中國工藝美術(shù)大師精品博覽會金獎。2006年邱玉林像票友玩票那樣玩了一把紫砂，將現(xiàn)代陶藝?yán)砟钆c傳統(tǒng)的紫砂文化巧妙地糅合到一起，創(chuàng)作了《紫玉瓶》。這件作品通過手拉坯簡練的造型，將輪廓線的張力擴展到了視覺的極限，強烈的秩序感將現(xiàn)代構(gòu)成設(shè)計的形式演譯得完美無缺，使人游離在若有若無若隱若現(xiàn)的非飽和視覺感受中，這件作品終于在第八屆全國陶瓷藝術(shù)評比中榮獲金獎。

30多年的風(fēng)風(fēng)雨雨鑄造出邱玉林這樣一手好陶藝，他的作品如今已遠銷海外，經(jīng)銷他作品的不僅有華僑，還有美國客商、俄羅斯客商，中國的現(xiàn)代藝術(shù)彩陶“紅杏出墻”了！有個美國客商對邱玉林說：“你的作品有濃厚的東方古文化的底蘊，又有許多代西方文化的時尚元素，在美國很受歡迎?！边@位美國朋友還出了一本彩色畫冊，把邱玉林的藝術(shù)彩陶介紹給西方世界，把中國的彩陶文化通過各種渠道傳播給各國朋友，有個俄羅斯客商要花重金購買他的展品，邱玉林為難地說：“這件展品是非賣品，不能給你。”客商說：“為什么？做了就要讓人買。藝術(shù)沒有國界，你的作品俄國人也喜歡，我將它買回去能讓更多的了解中國現(xiàn)代彩陶藝術(shù)?！泵鎸χo起的聲譽，邱玉林并不滿足。他說：美沒有頂峰，沒有止境。追求美的過程是艱辛的，但這是一種體驗成功的過程，永遠是一個新的憧憬。這種憧憬能促使你不斷追求，促成一個個成功的接力，一次次超越的接力。

Artist Makes Art Pottery

By Zhao Qinfen， Xu Zhoubo

Qiu Yulin has established himself as a master of modern art pottery. But his art career started from zero in the summer of 1975 when he was a worker at the village kiln. One day， he was informed he had been accepted by a polytechnic college in Yixing， an important city of pottery and porcelain in China. He was the only one chosen for the opportunity in his village and a few neighboring villages. Learning the news， he was so excited that he did a gym stunt on a piece of water pipe which served as the horizontal bar. But the poor gymnast bumped his mouth on the pipe and half of a tooth was knocked out. In the last few years of the Cultural Revolution (1966-1976)， some young people were recommended to colleges for receiving higher education not because they were academically qualified but because they were farmers， factory workers or soldiers.

Qiu was one of the lucky young people. The first academic thing he did on the first day in the college classroom was an aptitude test. He was given a piece of paper and was asked to copy a figure on the blackboard. Though he had never drawn anything seriously all his life， he just copied the figure. Later he learned that many of his classmates were unable to draw anything and handed the blank paper in. For the figure he successfully copied， he was assigned to study porcelain decoration. Qiu was nothing if he was not intelligent and diligent. Through two years， he worked hard to learn and his creations won good reviews from classmates and teachers.

In 1977， Qiu Yulin was assigned to a pottery factory. The sight of the ugly urns for making pickled vegetables discouraged the ambitious young artisan. But his enthusiasm bounced back fast. He looked at all these rough urns and jars and ideas came to him. All these crude things were just a virgin land for him to beautify. So he improved formula and applied decorative methods to these household jars.

In the early 1980s， Zheng Ke， a professor with the Central Academy of Arts and Crafts came with a team of students to the factory where Qiu worked. It was another opportunity Qiu grabbed. The professor had studied in France and had many modern ideas. Under the guidance of the professor， Qiu focused on the shapes of jars and urns and began to experiment. He made jars， urns， vases in different shapes. Through such tireless exploration and pursuit， Qiu has made great breakthroughs in making pottery and made many successful art pottery pieces.

For more than three decades， Qiu has explored the pottery art. He has absorbed foreign ideas and developed his own style. In the 1980s， he imitated Japanese modern pottery and learned to combine the Chinese and Japanese elements. As the result of the study， he began to create his innovative pieces. In 1990， his Dawn won a second prize at a national arts and crafts exhibition. In 2000 and 2001， his creations won two golden prizes at two national exhibitions. In 2006， he made a purple-clay teakettle， which won the golden prize at a national competition.

Now Qiu Yulin enjoys an international reputation for his art potteries. His artworks combine oriental elements with modern western art.Many of his masterpieces have been purchased by overseas collectors.

(Translated by David)