劉俏言

把腦海里的想法變成現(xiàn)實是一個艱難的旅程，為這一過程，馬云用了10年，喬布斯用了20年。而更多的人則僅將其留在頭腦中，直至垂垂暮年方想起年輕時曾有過那些稀奇古怪的想法。

錢依敏不想這樣。這15年，她大學畢業(yè)后，在杭州的中學里當美術老師，嫁人生子，但她從未放棄當初那個一閃而過的想法，并將其變成了手下一幅幅完美的藝術作品。

禮物

大學時期的錢依敏學的是平面設計專業(yè)，本是和電腦打交道的她遇見了那個彈著古琴寫得一手好書法的鈕利剛。這是愛情的起點，更是錢依敏轉變的起點——同他在一起之后，錢依敏對博大精深的中華傳統(tǒng)文化興趣日濃。“可能是我對她的影響略大一些吧”，鈕利剛笑著對我說。

說不清什么時候開始，錢依敏被魏晉時期的人物畫法深深迷住了，“這些極具張力的線條，復雜精妙的構圖簡直太美了，我甚至無法用語言形容它。”錢依敏瞇起眼睛回憶著。熱戀中的她突然想，自己能不能用線在葉子上繞出這些佛像的形狀，送給男朋友作為禮物呢？

葉脈的紋路是很精妙的，它本身就是大自然的作品。古人以線在畫面上組織物象，并融入其思想情感，創(chuàng)造出“一個個鮮活的生命”。那我用生活中的線來粘貼、纏繞，或許也能創(chuàng)作出另一番風味。錢依敏腦子里這樣想著，手上也不閑著，立刻跑去路邊撿了一些心形的楊樹葉，恨不得立刻做好了送給鈕利剛，順便看看他驚喜的表情。

或許每個人第一次將想法變成現(xiàn)實的動力都不盡相同，對于錢依敏而言，愛情就是最好的助推劑。當她第一次看到成型的作品時，喜悅和不滿兩種復雜的情緒同時涌上心頭——“這個作品沒有我想的那么完美?！边@是錢依敏的第一印象。

魏晉時期的石刻藝術雕像，其線條之所以唯美優(yōu)雅，最主要的原因就是其間的起承轉合。而如果用線去勾勒這樣的圖形，單一粗細的絲線很難準確地表達出這種意境。這就像是統(tǒng)一印刷出來的漢字，雖然整齊劃一，但卻始終沒有毛筆墨汁書寫出來后所擁有的意境和美感。對此，深諳書法用筆之道的鈕利剛一語道破——“這些作品缺乏一種‘書寫感。”

打磨

錢依敏不想就這樣放棄。

在鈕利剛的鼓勵下，錢依敏開始更加認真地對待自己的作品。她仔細研究了白描畫法中線條的粗細規(guī)則，發(fā)現(xiàn)在一些重要的轉折處線都是偏重?；诖?，錢依敏改變了起初單一的粘線方法，開始將線分成更細的幾股，通過股數(shù)的變化來凸顯畫像中線條的“書寫感”。

顯然，這樣的工藝要求要比之前不知要高出多少個臺階。完成這樣一幅畫，要先在白紙上打好草稿，然后將幾近透明的葉子鋪在白紙上，按照事先畫好的紋路將絲線用白膠粘在葉脈上。在這一過程中，粘線要慢慢地來，粘上一點，要等白膠干了才能往下粘。細細雕琢下，平時看似柔軟的繡花線變得倔強任性，不聽使喚。錢依敏在此過程中反復按壓、拼貼，直線形、曲線形，漸漸成形時不知不覺已過數(shù)月。“拿起葉脈，透過陽光，看到纖柔的線兒在縱橫交錯的莖脈上時而跳躍、時而緩步，人像在其間隱約顯現(xiàn)，若有若無，如升初日、如清風、如云、如霞、如煙、如幽林曲洞，給我以驚喜和興奮?！卞X依敏在日記中寫道。

“天有時，地有氣，材有美，工有巧，合此四者，然后可以為良?！贝藭r此刻，作品對于錢依敏的意義已經(jīng)不再是一個禮物了，她開始沉迷于創(chuàng)作本身而非最后的成品，一生二，二生三，15年間，錢依敏的制作技巧由笨拙而變得游刃有余，并積累了數(shù)十幅作品。其中有工筆線描形式的單個佛像，婉然若樹，穆若清風，又有破葉而出凌空飛舞的伎樂飛天，她將中華傳統(tǒng)的古韻融入了這一葉之內(nèi)，化腐朽為神奇。

錢依敏可能沒有意識到，能夠花費數(shù)個月的時間卻不帶一點功利性地去完成一件作品，這在如今快節(jié)奏的生活中已屬鳳毛麟角。不斷地較真絲線的顏色，不斷改進用葉的形式，使得最終版的成品融合了葉的精致與絲的靈動。于是當篆刻家來一石先生看到這些頗具禪意的作品時，才會驚訝于其絕妙的紋路，并將此作品命名為——“菩提絲意”。

“當你坐足了冷板凳，那么出名這件事就是自然而然的了。”鈕利剛這樣說。的確，當這鮮有的創(chuàng)意走出書房后，瞬間引起了浙江衛(wèi)視“藏家”欄目的注意，欄目特地為錢依敏做了專題報道。同時《美術報》也邀請其發(fā)表了“菩提絲意”的作品以及文章，作品《水月觀音》還獲得了浙江省“民間巧女”手工技藝大賽金獎。多位詩人因感其清遠之意趣而題寫了詩詞。

錢依敏出名了。

生活

我是在周六的一個下午，在錢依敏家里見到她的。

夫妻二人穿著一身素雅的茶服，邀請我坐在一個四方的古典茶桌旁聊天，女兒小扣時不時地跑來探頭觀看。錢依敏家里的客廳沒有沙發(fā)，中間是一個巨大的氈臺，靠墻挨著一整面的書柜。墻上掛著國畫和古琴——整個家里，都飄滿古韻。

這是鈕利剛的主意。這位書法才子更希望家里能夠保留些中國古典的裝飾藝術。“不希望把家搞得太現(xiàn)代?！扁o利剛試圖通過這樣的方式潛移默化地對女兒進行教育，而事實上他的確做到了——“我喜歡歷史。”不到6歲的小扣瞇著眼睛對我說。

這是二人崇尚的順其自然的教育模式。盡管二人都是學藝術出身，但直到現(xiàn)在他們還沒有給小扣作任何的繪畫或是書法上的指導?！靶『⒆幼钪匾倪€是要把基礎知識學扎實，多背背古詩比較好?！扁o利剛說，“這個階段的孩子，最重要的是興趣的激發(fā)。”小扣有一本畫冊，上面全是她的一些奇思妙想。

在向我展示作品時，錢依敏沒有過多的言辭，只是簡單地介紹了幾句。在我不斷追問下，她才一點一點告訴我完整的創(chuàng)作過程。錢依敏的話有些少，大部分時候是鈕利剛在旁邊補充著她的作畫思路和想法，尤其在我問及是否會申請專利時，鈕利剛立刻接過話道：“她做這個東西的目的是很純粹的，真的沒有想要去商業(yè)化或是怎樣，就是很單純地去完成這樣一幅幅作品，在創(chuàng)作的過程中去感悟那一絲禪意?！闭f罷，鈕利剛還撓了撓頭，“我的話是不是有點多啊，你還是問她吧?！?/p>

看著活潑好動的小扣在家里跑來跑去，我不禁為錢依敏的創(chuàng)作擔心起來，于是發(fā)問道：“平時是如何在家里作畫的，不怕女兒打擾嗎？”事實上自從生了女兒，錢依敏就幾乎不在家里作畫了。一方面是在家里需要和女兒互動，另一方面也是因為害怕女兒不小心弄壞了那些薄如蟬翼的葉子。她把創(chuàng)作地點從家里搬到了自己執(zhí)教學校的辦公室，上完上午的繪畫課后，下午的時間就用來繼續(xù)她的手工創(chuàng)作。

家里和辦公室里是兩個完全不同的空間。在辦公室里慢慢粘著線，一下午就過去了。這是屬于錢依敏自己的時間和空間，在這一過程中，她能肆意地去體會創(chuàng)作的快意和寧靜，而回到家中，丈夫的關懷和女兒的俏皮又讓她享受到平凡的幸福。兩個世界平行又交叉，這讓錢依敏每天都感受加倍的充實和快意。

把日子過成詩，大抵不過如此吧。

How many years does it take to translate ones dream into reality？ It took Jack Ma 10 years. It took Jobs 20 years. Many have never got a chance to do it. Qian Yimin， a middle school art teacher in Hangzhou， has been working on her art dream for fifteen years.

She studied graphic design on computer at college. Then she met and fell in love Niu Ligang， a young man who played and wrote calligraphy pretty well. Knowing him was a turning point in her life. She began to take a great interest in traditional Chinese culture. “In our relationship， I have impacted her more，” smiled Niu in an interview many years later.

She didnt know exactly when she became enchanted by the artistry of figure painting of the Wei Dynasty and Jin Dynasty more than 1，800 years ago. “These lines look powerful and compositions are sophisticated and elegant. I failed to describe them in words，” recalled Qian. Suddenly she wondered if she could imitate the artistry and made some Buddha images with silk threads on dry leaves and gave the artworks to her boyfriend as a love token. She immediately started her ambitious project. She picked some aspen leaves by a road and set down to translate her dream into reality. She imagined whether her boyfriend would be surprised. She completed the artwork. Examining it closely， she felt both happy and dissatisfied. “It was as perfect as I had wanted it to be，” recalled Qian.

Niu Ligang commented： “They lack a sense of brushstrokes.” The comment was accurate and to the point， she considered. She settled down to study her artworks minutely and studied the ancient masterpieces minutely. She got to understand why the masterpieces looked so great. The way she applied silk thread didnt pay attention to the changes in lines created by brushstrokes. She needed to reflect the twists and turns of brushstrokes created by a brush-pen in her silk threads. She improved her methodology and redesigned her artistry. However， the new approach required more painstaking work. It took her a few months to explore， invent， and perfect her techniques. Gradually， artworks she created were more than gifts for her boyfriend. The creative process brought her a lot of happiness. Over the past fifteen years， she has completed dozens of artworks： images of silk threads on dried leaves. Each piece took a few months.

Qian was unaware that her creations， without any utilitarian purposes， were extremely rare at a time when everything else unfolds at accelerating rates. Eventually she set up a full range of techniques and she knows thoroughly how to express herself in an artwork of silk threads and leaves. When the seal artist Lai Yishi viewed her creations， he was overwhelmed by the sophistication of silk threads and patterns on leaves.

When she was at first discovered by her friends， her reputation spread. Zhejiang Satellite TV made a program on her artistry. Fine Arts， a weekly published in Zhejiang， made a big coverage of her art. One of her artworks won a gold medal in a provincial competition. Some of her works have inspired a number of poems.

I visited Qian Yimin and her husband Niu Ligang at their home one Saturday afternoon. Both of them were dressed in tea dresses. I was invited to sit with them at a square tea table， which presented a classical style. Their six-year-old daughter poked her head in now and then and took a look at me. The sitting room doesnt have a sofa. In the center stood gigantic table covered tightly with a layer of felt， where he practices calligraphy. One wall is lined with bookshelves. On the other wall is a painting in the traditional Chinese style as well as a ， a traditional Chinese musical instrument. Niu Ligang was the mastermind of the apartment decoration. “I dont want a home equipped with ultra-modern gadgets，” he said. He tried to bring a scholastic influence upon their daughter. “I like history，” the daughter told me. Though， the parents have received art education， they dont force any art education upon their daughter. “Essential knowledge is the most important thing for a kid. Committing some ancient poems is really good，” said the father. “At this age， a kids interest is the most important thing.” The daughter has made some drawings in a notebook. The drawings are full of wild imagination.

Since she gave birth to the daughter， she has not worked at home for fear that her daughter may damage dried leaves， which are as thin as the wings of cicadas. She teaches morning classes and works her creations at the office in the school in the afternoon， leaving all her off-work time and space to her daughter at home.

I looked at her creations and listened to her brief introductions. No， she would not apply for a patent for the art. She doesnt care for commercial purposes. She wants to experience Zen in the process of creativity.