張侃誠

“水印千年——中國水印版畫大展”日前在浙江美術(shù)館展出。

中國是版畫藝術(shù)的發(fā)祥地，早在漢代就出現(xiàn)了用版畫漏印法在織物上制作的工藝布版畫，此后從用墨汁和水質(zhì)顏料印刷的古代水印木刻到汲取了傳統(tǒng)版畫、民族繪畫、民間美術(shù)精華的現(xiàn)代水印創(chuàng)作，無不鮮明地體現(xiàn)出中華民族意境自然的藝術(shù)特色與東方文化含蓄雋永的美學(xué)品格。

水印版畫作為發(fā)端于中國的一門獨(dú)特技藝，從隋代木刻刊刻至今的1400多年的歷史演變始終承載著東方社會(huì)獨(dú)有的內(nèi)生視野和記憶感覺，深刻蘊(yùn)含著中國的東方美學(xué)精神。

直觀呈現(xiàn)東方文化“水”性內(nèi)涵

杭州與水印藝術(shù)的淵源已逾越千年，得天獨(dú)厚的自然環(huán)境和深遠(yuǎn)的人文內(nèi)蘊(yùn)與之血脈相契?！八∏辍袊“娈嫶笳埂保ㄟ^“版刻千秋——中國傳統(tǒng)水印版畫”“汲古鐫今——中國現(xiàn)當(dāng)代水印版畫”“東方意蘊(yùn)——中國木版年畫與浮世繪”“湖山勝概——西湖主題水印版畫”“拓山印湖——公共藝術(shù)項(xiàng)目”五個(gè)篇章觀照“水印版畫”這一古老卻又新意十足的藝術(shù)。展覽力圖整合日常與經(jīng)典、廟堂與自然、詩意與謹(jǐn)嚴(yán)、真實(shí)與奇幻、私人與公眾、體驗(yàn)與程式、傳統(tǒng)與現(xiàn)代、原始與未來等豐富維度構(gòu)建起當(dāng)代水印時(shí)空，以圖像、文字、實(shí)物、影音、公共活動(dòng)等多種創(chuàng)作樣式，探索邊界、發(fā)掘水印文化的美學(xué)生命力，直觀呈現(xiàn)東方文化“水”性內(nèi)涵的魅力。

“水印千年”大展也是浙江美術(shù)館“東方智慧”系列展覽的開端。系列展以“東方智慧”為元點(diǎn)，以5年左右時(shí)間展開一場“向西歸東”的精神之旅，即通過2016—2018年的“水印千年”、2019年的“紙上談繽”、2020年的“山海經(jīng)”，在“東方視野”之中，整體呈現(xiàn)“形態(tài)敘事——認(rèn)知拓展——精神溯源”的主旨延展，來探索、復(fù)興和呈現(xiàn)深蘊(yùn)其中的中華民族智慧歷久彌新的活力。

從“版刻千秋”到“拓山印湖”

大展第一板塊“版刻千秋”以代表性的古典版畫圖像、大型雕版實(shí)物裝置作品以及古籍文獻(xiàn)呈示水印藝術(shù)的演進(jìn)歷程，為整個(gè)大展提供一個(gè)悠遠(yuǎn)的時(shí)間背景。

展品包括漢傳、藏傳以及西夏時(shí)期的不同經(jīng)卷，意在反映傳播的廣遠(yuǎn)性。各類古籍插圖中最具中國傳統(tǒng)人文內(nèi)涵和審美成就最高的部分還屬明清時(shí)期小說、傳奇，這些精美而富含情節(jié)意味的插圖既是傳統(tǒng)智慧和民間技藝的結(jié)晶，在世俗生活的流播過程中又對(duì)建構(gòu)我們民族的審美意趣和價(jià)值導(dǎo)向產(chǎn)生了深刻久遠(yuǎn)的影響。此外，還特別選取陳洪綬《西廂記·窺簡》一圖為藍(lán)本，以動(dòng)漫、影像手段進(jìn)行活化再造，挖掘歷史圖像的表現(xiàn)潛力，探尋古今圖像傳播和接受方式的內(nèi)在關(guān)聯(lián)。隨著傳統(tǒng)水印技藝的不斷精進(jìn)，“書畫仿制”體系也應(yīng)運(yùn)而生，從歷代各類書畫譜發(fā)展到后世以書畫仿制見長的“榮寶齋”“朵云軒”專營機(jī)構(gòu)，再到以技藝傳承和藝術(shù)創(chuàng)作實(shí)踐為主旨的“紫竹齋”（中國美術(shù)學(xué)院）等院校工作室，構(gòu)成了與當(dāng)代水印的審美和技藝發(fā)展歷程最為切近的發(fā)展脈絡(luò)，此類作品也一并納入其中。

“汲古鐫今”板塊以各地區(qū)水印名家的代表性作品展現(xiàn)1950年至2000年間中國現(xiàn)代水印版圖概貌，并借此梳理中華人民共和國成立后，現(xiàn)代水印技藝的生成、遷播、流變的歷史。其中，特別推出數(shù)位中生代藝術(shù)家專題，通過他們各自有代表性思維和創(chuàng)作方式，呈現(xiàn)水印藝術(shù)歷久彌新、柔韌而強(qiáng)大的內(nèi)在精神。

“東方意蘊(yùn)”板塊，展示中日兩國具有代表性、元素相互影響的轉(zhuǎn)換階段作品，借此喚起人們對(duì)東方古國共通的文化精神及其生命力的認(rèn)識(shí)。

在中國民間傳統(tǒng)年畫部分，除能見到楊柳青、桃花塢、漳州等各個(gè)地區(qū)典型作品外，還有一部分“半印半繪”樣式的展品，如山東撲灰年畫等。與人們熟知的節(jié)慶畫那種熱烈吉祥的審美追求有所不同的是，這部分展品在形制、題材等方面鮮明體現(xiàn)人倫教化功能或是文人繪畫意趣，呈現(xiàn)出民俗民間與書畫元素的融合狀態(tài)，反映了傳統(tǒng)水印技藝在歷史發(fā)展中具有的豐富可能性和強(qiáng)大的實(shí)踐力。中日兩國一衣帶水，有著悠久的文化交流歷史，典型的日本浮世繪即是在接受中國水印版畫技藝的影響的基礎(chǔ)上形成了獨(dú)特的發(fā)展面貌。同時(shí)，作為一種市井風(fēng)情型的繪畫樣式，日本浮世繪與我國民間年畫等民俗版畫在傳播效應(yīng)和呈現(xiàn)樣態(tài)上有相當(dāng)?shù)目杀刃浴?/p>

2016年8月，浙江美術(shù)館成功策劃并實(shí)施了“湖山勝概——‘水印千年啟動(dòng)展”。在展陳語言和內(nèi)容方面都進(jìn)行了一些突破性的嘗試，將新穎的陳設(shè)手段融景觀、歷史、文化與傳統(tǒng)技藝于一體，不僅觀照于古今西湖的歷史變遷，更形象化地凝練了西湖的詩意特質(zhì)。

“湖山”為歷代文人對(duì)杭州城市空間詩意精神的形象概括。“拓山印湖”用中國傳統(tǒng)碑拓技藝中的標(biāo)志性手段——“印”與“拓”，擇取歷史人文遺跡豐富的吳山和西湖水域的經(jīng)典景觀構(gòu)成“湖山”現(xiàn)場。藝術(shù)家以大地為版、自然為版、時(shí)間為版，以各種人文印跡與自然造物為素材，拓歷史、拓萬物，拓眾生、拓天下。從形態(tài)而言，它與畫作形成了相宜的動(dòng)靜關(guān)系；從觀念而言，與啟動(dòng)展“湖山勝概”形成呼應(yīng)，“見山還是山”。

“拓山印湖”的靜態(tài)成果是展覽的重要組成部分，而媒體介入和現(xiàn)場互動(dòng)的過程也成為一個(gè)公共文化事件。通過公眾在地體驗(yàn)的方式，喚起參與者對(duì)中國美學(xué)血脈、文化精神的再認(rèn)識(shí)。觀眾可以通過展覽體驗(yàn)到水印文化所內(nèi)蘊(yùn)的“東方智慧”，它既可以具體到一個(gè)技巧動(dòng)作，一個(gè)精微的局部、一幅畫面，又可以是浩大的，直接關(guān)涉一個(gè)文化領(lǐng)域、一方天地。

水印大展的走出去和引進(jìn)來

“湖山勝概”被文化部評(píng)為2016年全國美術(shù)館8個(gè)優(yōu)秀展覽項(xiàng)目之一，先后得到了日本、德國及我國香港特區(qū)等地藝術(shù)機(jī)構(gòu)的認(rèn)可和邀約。通過2016年到2017年期間“湖山勝概”展的推進(jìn)實(shí)踐，對(duì)當(dāng)代文化建構(gòu)語境下傳統(tǒng)敘事的思考也日漸清晰。事實(shí)證明，地域和歷史問題并非當(dāng)代中國展覽走向世界的關(guān)鍵阻滯，展覽的國際性和當(dāng)代性需要更恰當(dāng)?shù)牟哒顾季S來實(shí)現(xiàn)?！巴厣接『钡脑诘仨?xiàng)目還將隨著展覽持續(xù)流動(dòng)至各地，如“一帶一路”沿線國家等，在世界各地陸續(xù)實(shí)施。

同時(shí)，本次展覽引入日本浮世繪作品，諸如有“浮世繪三杰”之稱的葛飾北齋、安藤廣重和喜多川歌麻呂等當(dāng)世頂尖畫師們。通過一系列的藝術(shù)鑒賞與交流，研究對(duì)比中國傳統(tǒng)技藝的變遷與發(fā)展，從而認(rèn)同民族文化，不斷豐富民族文化，發(fā)展先進(jìn)文化，傳承中華民族的傳統(tǒng)美德。

From January 19 to March 11， 2018， Zhejiang Museum of Art held a large-scale exhibition highlighting watercolor printmaking in China. It was a really grand exhibition， featuring exhibits in eight spacious halls. The exhibition endeavored to provide an ambitious review of watercolor printmaking on the world： time results in the prints of history， nature creates the prints of everything and the earth gives birth to the prints of the material and spiritual world.

Watercolor printmaking originated in China. The earliest example of this ancient art can be traced to the Han Dynasty （202BC-220AD）. The prints of about 20 centuries ago are on textiles. The earliest woodblock print on paper is a religious artwork discovered in Dunhuang， a key outpost on the Silk Road in northwestern China. It was dated in 607AD in the Sui Dynasty （581-618） and the colors were added after the print was done. It is over 1，400 years old. The artwork is now in a collection of Harvard Art Museums.

Watercolor printmaking in China has evolved over the millennia and absorbed elements from other art genres. Through all the changes， the art unmistakably carries and embodies the worldview， self-understanding， aesthetics， memories and senses of the Chinese people.

It is worth mentioning that Hangzhou where Zhejiang Art Museum is situated boasts a long history of watercolor printmaking. In the last decades of the Tang （618-907） and the Five Dynasties （907-960）， Hangzhou emerged as the nations principal book printer. The woodblock printing and publishing industry transformed the city. In the Southern Song Dynasty （1127-1279）， woodblock printing thrived in this city where the imperial house of the dynasty lived for about 150 years. The flourishing printers in the city employed quite a few woodblock engravers and illustrators. In the Ming （1368-1644） and the Qing （1644-1911）， illustrators in Hangzhou pushed the art to a new high and left a huge and legendary legacy to the city.

The exhibition was in five sections. The first section traced the genesis and evolution of watercolor printmaking in China， as testified by prints， woodcut installations， and ancient books on display. This section included printed copies of Buddhism scriptures in Chinese and Tibetan as well as those printed in the Western Xia （1038-1227）， all made with the woodblock printing technology. These books indicated how far woodblock printing traveled and helped culture flourish across the vast land. Also in this section were illustrations of ancient novels and theater scripts. Moreover， this section featured the watercolor prints made by contemporary studios to show how artists of today are absorbing the elements of the past and how they are carrying the tradition to the future.

The second section included masterpieces dated from 1950 to 2000. These works represented the best by prominent printmakers across the country in the last five decades of the 20th century， showing how the ancient art evolved in the fifty years of ups and downs. In particular， a small number of representative artists of this period were highlighted.

The third section highlighted the traditional Chinese New Year prints as well as

Ukiyo-e prints by top Japanese artists such as Katsushika Hokusai， Ando Hiroshige and Kitagawa Utamaro. Ukiyo-e in Japan， translated as pictures of the floating world， evolved from the Chinese watercolor printmaking and morphed into a unique style. The rationale behind the juxtaposition of the traditional Chinese New Year prints and Ukiyo-e prints in this section at the exhibition was that the two were largely comparable in contents， presentation， and distribution.

The fourth section presented the landscape prints portraying the West Lake， a legendary scenic tourist destination of Hangzhou since very ancient times. This section was actually a prelude， done in August 2016 at Zhejiang Art Museum， to the exhibition from January to March of this year. The prints highlighted the changes the West Lake experienced in ancient times and today and portrayed the poetic beauty of the lake and its places of historical and cultural interests. This independent exhibition was recognized as one of the countrys top eight museum events of 2016 by the Ministry of Culture. The exhibition， titled Landscape Highlights of the West Lake， has been staged in Japan， Germany and Hong Kong SAR.

The fifth section displayed rubbings and prints. Most of these rubbings were from inscriptions displayed at scenic and historical spots of the West Lake and the city itself. Visitors could also try their hands at doing a rubbing or printing a piece.