趙暢

對紹興市上虞區(qū)的“顧氏越窯”窯主、青年陶藝家顧少波，我是未見其人而先聞其名。他是G20杭州峰會青瓷禮物一套4件“和”字盤（寓意“世界和平”，書法“和”由著名殘疾人書法家陳偉強書寫）的承制者，其創(chuàng)作的青瓷作品先后獲得全國26個金獎，其中由中國輕工業(yè)聯(lián)合會頒發(fā)的就有6個。

我怎么也沒想到，顧少波在從事青瓷研究之前是一名廚師，曾在五星級的寧波開元名都大酒店的廚房里從事雕刻工作。因是寧波技校烹飪專業(yè)的畢業(yè)生，屬科班出身，他的果蔬雕刻技藝自是了得，先后獲過不少的獎項。

時間到了2010年8月，這一天無疑是改變他人生命運的時刻。被先前在上虞陶瓷廠工作、而今已是浙江省工藝美術(shù)大師的舅舅董文海所感染，顧少波毅然辭職，回到家鄉(xiāng)跟隨舅舅學(xué)習(xí)青瓷制作。

顧少波雖是初次接觸青瓷工藝，但不知為何，他一觸碰瓷土，一練一搗間，便情難自已、愛不釋手，并暗暗下了決心：“自己的這一生，從此就將交給青瓷?！彼哪觊g，從做拉坯、雕花學(xué)徒到個人成立“顧氏越窯”研究所，他把全部的精力和財力都投入到了青瓷研究制作之中。

創(chuàng)業(yè)路途上的艱辛可想而知。然而，在他看來，最為重要的還是對傳統(tǒng)越窯瓷器的參悟和還原。不熟知、不搞懂老祖宗的東西，不知道來路，又怎么叫青瓷研究呢？為此在一段時間內(nèi)，顧少波將自己的精力更多地放在了對家鄉(xiāng)青瓷古窯址的探訪，對碎瓷片的收集整理、研究上。家鄉(xiāng)說得上名的古窯址和散落荒野不為常人所知的一些古窯址，都留下了他的串串腳印。自然，這些古窯址和碎瓷片屬于哪個朝代甚至大概屬于哪些年份，他可以一一道來且少有差池。顧少波抓住了這些古窯址的特性，并且透過碎瓷片，對各個朝代和階段的青瓷是如何從練泥、拉坯到上釉、燒制的工藝，有了清晰和透徹的了解。

知其然且知其所以然，不免讓顧少波信心滿滿。然而制瓷之路并非坦途。讓顧少波記憶猶新的是，那次他將大量精美的半成品小心翼翼地放進窯里，就等著“九秋風(fēng)露越窯開，奪得千峰翠色來”那美妙的一刻?？梢驗樽约旱囊粫r粗心，沒有打開窯爐的煙道，致使窯內(nèi)溫度驟然下降，里面濃煙滾滾，所有的半成品毀于一旦?！俺砸粔q，長一智”，這次失敗讓他真正懂得注重細節(jié)的重要，并開始養(yǎng)成事必躬親的良好習(xí)慣。不久，當(dāng)他成功燒制出第一窯作品的時候，他雀躍，他陶醉?；蛟S，與他現(xiàn)在的作品比，那些東西尚顯稚嫩、粗糲，釉面不勻，缺乏瑩潤感，但這畢竟是自己的第一個“孩子”。在他的樣品陳列室，至今還保留著其中的幾件作品，不為別的，只是為了回望歷程、回味甘苦、回歸初心。

顧少波對于青瓷研究的癡心確實讓人欽佩。早先幾年，他幾乎沒有整塊的休息時間，整日整夜地沉浸在青瓷的世界里，一步一個腳印地學(xué)習(xí)著各個朝代、不同時期的傳統(tǒng)制瓷工藝。他曾靠著一塊不到5平方厘米的碎瓷片，生生還原制作了一件仿唐代青瓷器。

2013年10月，顧少波第一次參加全國比賽，他的作品《蓮之昭昭》和《月夕花朝》在中國工藝精品博覽會上獲全國銀獎、銅獎，他也同時成為全國最年輕的獲獎?wù)??！爸灰阏嬲\地投入、真心地喜歡、真正地快樂，你就能成功。”這是他獲獎后對采訪他的記者們說的。

自此以后，他似乎成了獲獎“專業(yè)戶”。

近年來，顧少波又將目標(biāo)定在了恢復(fù)秘色瓷上。越窯秘色瓷，又稱秘瓷、秘色越器?！懊厣伞本褪怯帽Ｃ艿挠粤吓浞酵磕ㄆ魑锉砻娑鵁傻拇善?。秘色瓷特殊的釉料配方，能產(chǎn)生瓷器外表如冰似玉的美學(xué)效果，釉層特別薄，釉層與胎體結(jié)合特別牢固。每次見到圖冊中的秘色瓷，顧少波總是將信將疑，直到有一天，在家鄉(xiāng)古代官窯遺址上拾得一爿珍稀的秘色碎瓷片時，方知用“千峰翠色”描述是多么的傳神和逼真，“雨過天青色，不可道??！”

然而，秘色瓷越是神秘，顧少波越是想要破解。功夫不負有心人，一年多的研究攻關(guān)，他初獲成功。在今年以仿法門寺出土的秘色瓷釉色和上虞傅家?guī)X官窯出土的秘色瓷標(biāo)本為標(biāo)準(zhǔn)的“第二屆上虞區(qū)秘色瓷作品評選”中，他脫穎而出，其參評的作品一舉奪得一等獎。

顧少波做學(xué)徒的時候，只負責(zé)拉坯和雕花，幾乎不接觸調(diào)釉和燒制。但調(diào)釉和燒制是還原古青瓷器的核心。成立研究所后，顧少波就將研究的重點放到了調(diào)釉和還原燒制技藝上。為此，他一方面勤奮讀書，獨立鉆研；一方面則拜師求教，以避免走彎路。在短短的幾年里，他得到了多位大師的指導(dǎo)、勉勵，讓這個初出茅廬的小伙子受寵若驚；而每一次的失敗或成功，都讓他感到青瓷學(xué)問的博大精深，感嘆家鄉(xiāng)老祖宗的聰明才智。

在傳承越窯青瓷傳統(tǒng)工藝的同時，有一個問題一直橫亙在顧少波心里而揮之不去：恢復(fù)青瓷工藝已經(jīng)邁出了一大步，下一步該如何走？畢竟，恢復(fù)越窯青瓷傳統(tǒng)工藝只是手段，我們的目的是要實現(xiàn)青瓷的創(chuàng)新，實現(xiàn)青瓷與人們生活的對接。

是的，傳統(tǒng)的越窯青瓷歷來以瓷質(zhì)細膩、線條明快流暢、造型端莊渾樸、色澤青翠晶瑩等特點著稱，而隨著經(jīng)濟社會的發(fā)展和人們生活觀念的轉(zhuǎn)變，青瓷制品也正被時代賦予新的使命，開始融入人們的日常生活。

“把古老的越窯青瓷與現(xiàn)代人的審美觀相結(jié)合，讓日用陶瓷藝術(shù)化，藝術(shù)陶瓷日用化，就是我的努力方向?！睂⑶啻傻膭?chuàng)作拉回到生活的原點，讓現(xiàn)代陶藝與現(xiàn)代人的生活發(fā)生關(guān)系，這既是尊重物質(zhì)創(chuàng)造的表現(xiàn)，也是尊重生命的體現(xiàn)。而將青瓷文化與茶道、花道結(jié)合，成了他的突破口。

說到將青瓷制品與花藝、茶道結(jié)合，這份靈感源于他與朋友的一次聚會。那次喝茶時，他被茶具、花器所吸引，并有幸結(jié)識了幾位來自中國臺灣的茶道老師和來自日本的花藝大師。在與他們的交談中，顧少波突發(fā)奇想：自己若能將花藝與茶道融入青瓷作品中，視顧客的需求打造不同的青瓷器型，這樣的青瓷產(chǎn)品不就更具實用性了嗎？回來后，他參考了網(wǎng)上的一些茶盞和花器的照片，又自己動手設(shè)計，并將樣品照片發(fā)送給相遇的幾位大師，請他們提出修改意見。當(dāng)?shù)谝慌璞K和花器發(fā)往日本等地后，竟獲得好評。自此以后，訂單絡(luò)繹不絕。

順乎文創(chuàng)產(chǎn)業(yè)的快速發(fā)展，前不久，顧少波還為紹興蘭亭開發(fā)了一款文創(chuàng)產(chǎn)品。這是一套以一對男女使用的茶具為組合的“憶蘭亭”快客杯。定睛細看，其創(chuàng)意滿滿：茶杯中間兩邊的手把紐平面上刻有王羲之的“之”字，杯蓋的蓋紐是用“鵝”形制作的，杯子底部中間則刻有“永和”字樣——既是對“永和九年”的紀念，也蘊含著“永遠和和美美”的意思。其中男士使用的杯子選用了魏晉時期越窯青瓷的釉色，顯得古樸、穩(wěn)重；而女士使用的杯子則選用唐五代的秘色釉，給人以溫潤、細膩的感覺。

At 30 in 2018， Gu Shaobo， a celadon master based in Shangyu， a district of Shaoxing City in eastern Zhejiang， has long since established himself as a brilliant genius of celadon designing and making. For his celadon creations， he has won 26 gold prizes at the national level， including six issued by China Light Industry Association. Some of his masterpieces are in private and institutional collections.

Few would know that Gu Shaobo worked as a chef before he turned to celadon making. A graduate from a culinary school， he worked at a restaurant of a five-star hotel in Ningbo. His vegetable and fruit sculptures won him many professional glories.

In August 2010， the 22-year-old chef resigned from his job and went home to study celadon making under the guidance of his maternal uncle Dong Wenhai， a provincial master of arts and crafts who used to work at Shangyu Porcelain Factory. This career change has brought fundamental changes in the young man. Though he had never put his hands on celadon making before， he soon fell in love with the wonderful art. He determined to dedicate his life to celadon making. Over the following four years， he studied and mastered the essentials and eventually set up his own research institute.

The first important step he took in mastering the ancient art was to go back to the past. He visited the sites of ancient kilns around Shangyu. He collected the porcelain shards and studied them piece by piece. He soon acquired a thorough knowledge of renowned kiln sites and little-known kiln sites in the region. A thorough study of the shards opened his eyes to the secrets of production procedures at different kilns of different dynasties.

He thought he was ready to make his own celadon pieces. But the first batch was a total failure， for he made a mistake in opening the chimney when the firing was done. The costly failure was a precious lesson. He learned to pay attention to all the details. In the first few years， he spent nearly all the time studying the details of celadon making. With a shard which was smaller than 5 square centimeters as a prototype， he miraculously reproduced a celadon piece in the style of the Tang dynasty.

Gu rose to national fame in October 2013 when he first took his celadon artworks to a national competition. Two of his celadon pieces won respectively a gold medal and a bronze medal. At 25， he was the youngest winner. After the debut in 2013， he became a constant winner of gold medals.

When in his apprentice years， Gu focused on making the body and carving patterns on the body. He seldom put his hands on glazing and firing， the two key steps in celadon making. After he set up his own research institute， he shifted his focus onto the key steps. He read books and consulted masters so as to avoid making mistakes. He studied under many masters. Their generous tips and teachings benefited him a great deal.

While learning about the ancient techniques in celadon making， he pondered the next step he was going to take， with the major techniques successfully restored and mastered. His answer was to bring innovation into celadon and bring celadon into everyday life. His aim was to make household celadon pieces so as to make celadon a part of life.

His first inspiration came when he met with some tea masters from Taiwan and florist masters from Japan. When the conversation turned to utensils used in the tea ceremony and the flower ceremony， he thought he could make better celadon pieces for these ceremonies. Back home， he searched online and designed some pieces. He sent the photos of his prototypes to the masters he had met before and asked them for comments and advice. The first batch of tea sets and flower utensils he sent to Japan was well received. Orders came in.

As Zhejiang is promoting the protection and utilization of the Yue Kiln and celadon making， his business is going to tap into the opportunities opened up in the fields of culture， tourism， leisure events， souvenirs， communication. He is going to position his business and contribute his bit to the development of the provinces celadon industry.