文王錦強Wang JinQiang 譯曹宇光Cao Yuguang

木版年畫在澳洲講述中國故事

Chinese Stories in Narration of Woodblock New Year Paintings in Australia

文王錦強Wang JinQiang 譯曹宇光Cao Yuguang

3月20日，年畫家馬志強與楊家埠年畫藝術(shù)家顏克臣的師父于福堂將翻刻新印的《水滸一百單八將》帶到了澳大利亞墨爾本，在由中國文聯(lián)、中國民協(xié)、維多利亞多元文化委員會、澳大利亞大洋洲文聯(lián)主辦，澳大利亞大洋傳媒集團、大洋藝術(shù)中心、四川省民協(xié)、山東濰坊楊家埠年畫院、四川綿竹年畫館承辦的中國木版年畫展活動中亮相，受到公眾廣泛關(guān)注。中澳嘉賓與當(dāng)?shù)厥忻窦爸袊幕瘣酆谜邆儦g聚大洋藝術(shù)中心，共同領(lǐng)略和分享了中國木版年畫獨特的文化魅力與藝術(shù)韻味。

本次展覽展出的近百幅作品，幾乎囊括了中國年畫多樣化的制作形式：既有木版套印年畫，又有半印半繪年畫，也有手繪年畫，還有獨特的繡品年畫。作為北方年畫的重要產(chǎn)地之一山東濰坊楊家埠，帶來了包括辟邪納福、祥瑞吉利、民俗風(fēng)情、小說戲文、風(fēng)景花卉、美人童子等內(nèi)容的明清時期年畫代表作，如《神荼郁壘》《五子門神》《增福財神》《大灶王》《搖錢樹》《空城計》《虎牢關(guān)三英戰(zhàn)呂布》《百子獻(xiàn)壽》《西廂記》《金玉滿堂》《水滸一百單八將》《博古花卉圖》等；還有新中國成立后創(chuàng)作的、表現(xiàn)新時期新生活的年畫作品，如《歡樂新年》《新春大吉》《家畜興旺》《姑嫂編織》《勤儉致富》《休閑度假》《放風(fēng)箏》等，題材多樣，門類齊全，幾乎涉及了木版年畫歷史流變的全過程。四川綿竹木版年畫，通過起稿、刻版、印墨、施彩、蓋花等多道工序完成。在藝術(shù)構(gòu)思上表達(dá)了四川人對生活特有的理解，而且實用性與趣味性并重，繪畫性強。作為西南年畫“三大產(chǎn)地”之一，這次四川綿竹年畫館給澳洲朋友帶來了傳統(tǒng)年畫門神中不同的人物系列，如兒童、女性、文官、武將等，充溢著蜀地鄉(xiāng)土氣息。

中國文聯(lián)書記處書記陳建文在開幕式致辭中向出席的嘉賓介紹了木版年畫在中華文化中的重要意義以及中國木版年畫正在申報聯(lián)合國教科文組織“人類非物質(zhì)遺產(chǎn)代表作名錄”的有關(guān)情況。他認(rèn)為，木版年畫承載著民俗的生活理念，每一幅年畫后面蘊涵著中國人的生活理念。維多利亞州議會議長布魯斯.阿特金森一直致力于中國傳統(tǒng)文化在澳洲的傳播。他對藝術(shù)家們將中國民間文化帶到澳洲的這一舉動特別感慨：“在今天這個虛擬世界主導(dǎo)的社會中，把這項傳統(tǒng)藝術(shù)在澳洲華人以及更大范圍內(nèi)推廣開來，是一件意義非凡的事。這一活動給我們帶來的最切實的感受，是虛擬技術(shù)難以企及的。”中國駐墨爾本總領(lǐng)事趙建認(rèn)為，從長遠(yuǎn)角度來看，藝術(shù)文化在搭建中、澳兩國間友誼橋梁的過程中扮演了一個非常重要的角色，它向西方社會展示中華文化最璀璨的一面，因為它體現(xiàn)了人們內(nèi)心對美好事物的向往。

值得一提的是，聯(lián)邦工黨領(lǐng)袖多元文化顧問楊千惠向維州議會議長建議，希望能邀請更多澳洲本地人加入到像中國木版年畫展這樣的文化活動中來，讓西方人對中國傳統(tǒng)藝術(shù)有更多認(rèn)識。楊千惠還打趣說道：“我想知道中華文化和澳洲的土著文化到底誰的歷史更悠久？”在她看來，答案不言而喻。專程前來觀展的維多利亞州華人社團聯(lián)合會主席蘇俊西和大洋洲文聯(lián)主席傅紅也對精彩紛呈的中國木版年畫作品和年畫藝人們的精湛技藝贊不絕口。

高山流水遇知音。在古箏現(xiàn)場演奏的悠揚樂聲中，年畫藝術(shù)家于福堂、馬志強、胡光葵等除了演示印刷制作年畫的全過程外，還過足了異域授徒的癮?，F(xiàn)場觀眾排起隊來學(xué)習(xí)體驗中國木版年畫印制技藝，有的澳大利亞朋友覺得一次不盡興，接著再排一次隊。在中國年畫師傅們耐心示范、手把手的指導(dǎo)下，來賓和觀眾完成了一次次中國傳統(tǒng)文化藝術(shù)制作技藝的美妙體驗，他們激動地捧著自己親手印制的帶有中國年畫藝術(shù)家簽名和印制的新鮮照片，高高興興回家。盡管本次展覽只有短短的五天時間，但觀者與藝人互動盡歡，其樂融融。

年畫制作展示活動現(xiàn)場Showcase of Chinese New Year Painting in Australia

觀眾體驗?zāi)戤嬘≈萍妓嘇ustralian Audience Tried Printing of Chinese New Year Painting

相關(guān)鏈接：木版年畫《水滸一百單八將》

清咸豐十一年（1861年）八月，太平軍黑旗隊北伐入境山東濰坊楊家埠村，遷延至九月拔營西去。其間有一位太平軍的遺孤被北公義畫店店主楊九?。?828年生）收養(yǎng)。此童無名無姓，便被呼為“長毛童子”?！伴L毛童子”聰明好學(xué)，開始在北公義畫店畫貨，很快成了手繪年畫的高手，繼而又學(xué)朽稿畫樣。后來他創(chuàng)作了《水滸一百單八將》，所繪豪杰，個個英武，性格鮮明，栩栩如生。第一次刻版印刷后，全部運去膠州，不日搶購一空。楊九省見“長毛童子”長大成人，又是自己的得力助手，便為他娶妻成家，同時分給他足夠的房屋、田產(chǎn)、農(nóng)具和一頭驢。有一年，楊家埠村續(xù)修《楊氏家譜》，未能將“長毛童子”寫進(jìn)，他深有感觸。一日，他牽驢去寒亭趕集，把驢賣掉攜款不辭而去，從此便無下落。

由于“長毛童子”不是楊家埠本地人，其作品極少流傳后世。2005年3月，中國濰坊楊家埠畫院和楊家埠百年名號“同順德”畫店成功復(fù)刻了《水滸一百單八將》這組巨幅年畫。此作品樣稿由年畫研究專家馬志強提供，楊家埠年畫研究所所長季乃倉摹繪線稿，“同順德”畫店傳人楊洛書和年畫刻版高手顏克臣共同刻版。

木版年畫組畫《水滸一百單八將》是楊家埠年畫鼎盛時期的藝術(shù)佳作，無論是雕版之細(xì)，構(gòu)圖之精，造型之美，人物之多，場面之大，篇幅之巨，在楊家埠年畫史上都堪稱第一。一百多年來，關(guān)于太平天國軍“長毛童子”創(chuàng)作《水滸一百單八將》的逸事一直在民間流傳，并且充滿了傳奇色彩?！端疂G一百單八將》取材于歷史小說《水滸傳》，表現(xiàn)梁山聚義的英雄人物。此畫為大貢箋四聯(lián)畫，每幅長110公分，寬60公分，以半印半繪的形式塑造出婦孺皆知的一百零八將形象。每幅皆采取軍帳議事的情節(jié)，前面并有走馬比武的場景。

On March 20, Ma Zhiqiang and Yu Futang, artists of Woodblock New Year Painting (NYP) in Yangjiabu brought the recarved and reprinted version of108 Outlaws of the Marshto melbourn, Australia where CFLAC, China Folk Literature and Arts Association (CFLAA),Multicultural Committee of Victoria State and Pacific Federation of Literary and Art Circles jointly sponsored,and Pacific Media Group, Pacific Arts Center, Sichuan Folk Literature and Arts Association (SFLAA), NYP Academy of Yangjiabu, Weifang City of Shandong Province and NYP Society of Mianzhu City of Sichuan Province undertook Chinese Woodblock NYP Exhibition whic won an extensive focus from the local public. Distinguished guests from both China and Australia,as wellas local citizens and fans in favor of Chinese culture gathered at Pacific Arts Center to appreciate the unique cultural charm and artistic flavor of Chinese Woodblock NYP.

The nearly 100 works in this exhibition covered almost Northern china all the varied categories of Chinese NYP, such as woodblock chromatograph, print-and-paint, hand-paint and the unique embroidery NYP. As one of the key places of origin for Northern china NYP Yangjiabu of Weifang City, Shandong Province presented some representative works of Ming and Qing Dynasties (1368-1911) in the contents of exorcism for happiness, auspice and good luck, folkloric expressions,anecdotes and fiction, flowers and scenery, beauty and youth,such as DoorGods in Pair, God of Fortune with Five Kids,God of Fortune Brings Happiness, Grand Kitchen God, Money Tree, Legend of Empty Castle as Battle Array, Three Heroes Equaled Champion Marshal at Hulao Gate, Hundred Offspring in Birth Anniversary Celebration, ing Romance of the Western Chamber, Household Prosperity, 108 Outlaws of the Marsh and Flower in Antique. There were ofher ant pieces created after the founding of New China so as to reflect ing the new life of Chinese people such asHappy New Year, Good Wishes for Spring Festival, Thriving Domestic Livestock, Weaving Women in House, Thrift for Abundance, Leisurely Vacation,and Flying Kites. With varied themes and full categories, this exhibition almost involved the whole historical evolution of Woodblock NYP. Woodblock NYP from Mianzhu City, Sichuan Province is completed through such procedures as drafting,engraving, ink printing, adding colors and flower patterns. For its importance attached to both practicality and enjoyment as well as its strong feature of vivianess, their NYP conveys the unique understanding about life in artistic conception by local people in Sichuan Province. As one of the three main places of origin for Southwest China NYP, NYP Society of Mianzhu City of Sichuan Province dedicated to Australian audiences rather difterent figure series of Door God such as children, women,officials and marshals in the local spicy and passionate style.In his speech at the opening ceremony, Mr. Chen Jianwen,member of Secretariat of CFLAC, briefed all the guests over the special significance of woodblock NYP in Chinese culture as well as the update of Chinese woodblock NYP’s bid into the Human Intangible Heritage Masterpieces List of UNESCO. He said that, as a carrier of folkloric living concept, every piece of NYP embodies Chinese ideal for life. Mr. Bruce Atkinson,president of Legislative Council of Victoria State has been devoted to the spread of traditional Chinese culture. He made a special recognition as to Chinese folk artists’ bringing their culture to Australia, “Against the current society manipulated by VR, it is an extraordinary effort to promote this traditional Chinese art among Australian Chinese and even a larger scope.The vivid experience we have gained from this event is far beyond what VR can afford to us”. As Zhao Jian, the Consul General of China in Melbourne, held, from the long-term perspective, art and culture has played quite an important role in building up the friendship between China and Australia,as they showcase the most brilliant part of Chinese culture to the West and reflect Chinese people’s expectation for the good, the true and the beautiful.

There was an interesting detail during the event: Jennifer Yang, principal multicultural adviser, to Mr. Bruce Atkinson that more local people in Australia be invited to such a cultural event as Chinese Woodblock NYP Exhibition, so as to expand Hleir knowledge of traditional Chinese arts. “I would like to make it clear between Chinese cultural or the aboriginal culture in Australia whose history is comparatively timehonored.” she joked, as the answer was so obvious. Su Junxi,president of the Federation of Chinese Associations (Victoria State), and Fu Hong, president of PFLAC, both of whom came all the way for this exhibition, offered high remarks about the wonderful Chinese woodblock NYP and excellent skills of Chinese artists.

Chinese artists were lucky enough to meet so many fans in Australia. In the graceful melody of Chinese zither on live,Chinese NYP artists Yu Futang, Ma Zhiqiang and Hu Guangkui demonstrated the whole process of NYP manufacture as well as instructed plenty of audiences on how to make a NYP by themselves. The local audience patiently queued up to learn and the skill of Chinese woodblock NYP and some were even willing to queue again for this interesting art experience.Thanks to the patient showcase and hand-by-hand instruction by Chinese artists, guests and audiences fulfilled their perfect lesson of traditional Chinese culture and In the end they ended up excitedly holding the fresh phots of their own creation even with Chinese master’s signatures. Despite the short duration of five days, audiences and artists achieved a sound interaction in great harmony.

虎牢關(guān)三英戰(zhàn)呂布Three Heroes Equaled Champion Marshal at Hulao Gate

空城計Legend of Empty Castle as Battle Array

Related Link: Woodblock NYP 108 Outlaws of the Marsh

In August 1861, a troop of Taiping rebellion invaded Yangjiabu Village of Weifang City, Shandong Province,then left in the direction of west in September.Within this time, an orphan of a Taiping martyr was adopted by Yang Jiusheng(born in 1828), owner of a NYP studio. As nobody knew his family name or given name, this child was then called “Rebel Kid”. With ms smart mind and diligent learning, this child started to learn NYP painting, became an expert in a short time and began to make model and patterns. This prodigy painted108 Outlaws of the Marshand every figure is endowed with handsome countenance, distinct character and vivid personality. After the first publication, all the works were sold out within a day in Jiaozhou City. At this, Yang Jiusheng took the young mar as his grown-up assistant, helped him to get married and allocate suf fi cient real estate, fi elds, farming facilities and a donkey to him.However, when the villagers compiled the genealogy of Yang family, this “Rebel Kid” was neglected.Unhappy,about it, one day he rode the donkey to a fair in Hanting and disappeared after selling the donkey.

As “Rebel Kid” was not a native in Yangjiabu Village,his works were indeed rare. In March 2005, Yangjiabu NYP Academy of Weifang City and Tongshunde Gallery of Centennial History succeeded in duplicating this giantNYP 108 Outlaws of the Marsh. The pattern was provided by Ma Zhiqiang, expert on NYP research, the draft was repainted by Ji Naicang, head of NYP Institute in Yangjiabu and the block made by Yang Luoshu, heir of Tongshunde Gallery, and Yang Kechen, master of NYP engraving.

This group woodblock NYP is a masterpiece in the prime time of Yangjiabu, as it took the lead on the aspects of delicate block, exquisite structure, plenty of vivid fi gures and great momentum in the NYP history at Yangjiabu.Over a century, the “Rebel Kid”s creation of108 Outlaws of the Marshhas become a popular legend. Adapted from the historic novelWater Margin, this huge four-painting combination with 110 cm in length and 60 cm in width presented those 108 heroes familiar to every household in china. In the formality of print and paint connection, the picture showed cavalry battle in the front and the military discussion at the back.

永鎮(zhèn)家宅God of Everlasting Peace in Household

五子奪魁 （半印半繪）Five Kids in Competition for Championship(paint and print)

鴨官Young Duck Raiser