朱楊健

甌塑，浙江溫州的民間傳統(tǒng)美術(shù)，由傳統(tǒng)的堆漆工藝發(fā)展演變而成，是國(guó)家非物質(zhì)文化遺產(chǎn)之一。

作為甌塑傳承人，通過(guò)青弘的手，諸多文物以另一種生命形態(tài)“重生”了，沒(méi)有人能夠親手觸摸《千里江山圖》，現(xiàn)在可以了。畫里山勢(shì)綿亙、水天一色的浩大氣象在指尖劃過(guò)，那水村野市、茅屋樓閣仿佛穿越過(guò)千年的時(shí)光，再次來(lái)到人間。

2020年初夏，一位溫州的女藝術(shù)家將中國(guó)十大傳世名畫之一的《千里江山圖》“搬”進(jìn)了自己的作品里。

于是，藝術(shù)圈里有人戲稱：她專“盜”國(guó)寶級(jí)文物，這次竟向故宮博物院下手了。

你看，這些年，她“盜”過(guò)石濤的《陶淵明詩(shī)意山水冊(cè)》、任伯年的《仕女圖》、宋徽宗趙佶的《瑞鶴圖》、韓滉的《五牛圖》、長(zhǎng)沙楚墓出土的《人物龍鳳帛畫》、白象塔出土的《白象塔文物》、黃公望《富春山居圖》、朱瞻基的《蓮浦松陰圖》……哪一件不是各大博物館的鎮(zhèn)館之寶？

在藝術(shù)界，盜版、復(fù)制從來(lái)不是什么好評(píng)價(jià)，偏偏對(duì)于這位女藝術(shù)家的“盜”，卻是滿滿的敬意。

一

青弘，一個(gè)藝術(shù)的“苦行者”。

七年來(lái)，在青弘的生命里只有一件事——弘揚(yáng)溫州的甌塑技藝。

不忘師恩，不負(fù)如來(lái)不負(fù)卿。自從2013年進(jìn)入國(guó)家甌塑大師周錦云先生工作室后，青弘成了這一行的小師妹。在深受師傅和師兄師姐寵愛(ài)的同時(shí)，她的肩頭也壓上了一副沉重的擔(dān)子。

甌塑藝術(shù)是一種古老的藝術(shù)，它與“黃楊木雕”“東陽(yáng)木雕”“青田石雕”并稱“浙江三雕一塑”。北京人民大會(huì)堂浙江廳的風(fēng)景壁塑“西湖全景”和“雁蕩秋色”便是甌塑中的優(yōu)秀作品。這兩幅甌塑代表作，前者像一個(gè)秀麗、文靜、含情多姿的少女，后者則是一個(gè)雄壯、威武、粗獷豪爽的壯士。創(chuàng)作者運(yùn)用一系列的表現(xiàn)手法，突出了一靜一動(dòng)、一柔一剛、一冷一暖、一細(xì)一粗、一濃一淡的對(duì)比效果，如2017年青弘為溫州新永強(qiáng)中學(xué)創(chuàng)作的《羅峰物語(yǔ)》，充分體現(xiàn)了甌塑藝術(shù)的精湛技藝和豐富的表現(xiàn)手段。

然而，幾乎大部分的“非遺”，都面臨著傳承的難題，甌塑也不例外。

20世紀(jì)八九十年代，在以中國(guó)工藝美術(shù)大師周錦云為代表的甌塑代表性傳承人的帶領(lǐng)下，經(jīng)過(guò)長(zhǎng)期的探索與創(chuàng)新，甌塑藝術(shù)曾經(jīng)出現(xiàn)過(guò)一段時(shí)間的繁榮。但隨著上一代大師們的老去，斷層問(wèn)題還是不可避免地出現(xiàn)了。

“因?yàn)樘y了！”青弘脫口而出。甌塑藝術(shù)的傳承需要相當(dāng)深厚的美術(shù)功底，至少是美術(shù)類本科水平，而且完成一件甌塑作品，不論大小繁簡(jiǎn)，程序上就得一個(gè)來(lái)月，更別說(shuō)最后的作品是不是能夠賣得上價(jià)錢。

“所以，很少有年輕人愿意學(xué)，可以理解?！鼻嗪胝f(shuō)，“七年了，我依然還算是這一行的小師妹！”

傳說(shuō)，上古時(shí)代有一只鳥(niǎo)，叫“精衛(wèi)”，是炎帝最小的女兒“女娃”所化。不知那是何年何月，女娃在東海游玩，被巨浪卷入海底，肉體被埋于滔滔海浪深處，然而她的神識(shí)，于萬(wàn)劫不復(fù)之地，悄悄孵化，長(zhǎng)出靈魂的翅膀，破海飛沖而出。

她立志與天地抗?fàn)?，與命搏，與運(yùn)斗，立志填平那廣袤無(wú)邊的大海。因此，這一寸大小的身軀，日日來(lái)回飛奔幾萬(wàn)里，銜西山木石，以堙東海。不知經(jīng)歷多少時(shí)間，直到精疲力盡，她，又一次葬身海底……

青弘將自己比作精衛(wèi)，她選擇了一條肩負(fù)甌塑傳承的道路，這條道路充滿了荊棘和坎坷。

“我希望自己能勇敢堅(jiān)強(qiáng)地行走，學(xué)習(xí)精衛(wèi)不改的初心、不滅的意志，向死而生，金剛不摧。每一個(gè)溫州人，都是海之子，勇敢而無(wú)畏。這便是祖祖輩輩遺傳給我們的基因！”

這些年，除了甌塑創(chuàng)作，青弘大部分的時(shí)間用在了甌塑藝術(shù)的整理和推廣上，她整理出版了甌塑第一本真正意義上的教科書《甌塑基礎(chǔ)教程》;她走進(jìn)學(xué)校、博物館、圖書館、社區(qū)，盡可能地去讓更多人了解甌塑。

甌塑在技藝上的門檻很高，大多數(shù)時(shí)候，沒(méi)經(jīng)過(guò)專業(yè)學(xué)習(xí)的人是無(wú)法嘗試體驗(yàn)的，只能由她示范、展示給大家觀摩。另一方面，就是通過(guò)創(chuàng)作更多的甌塑作品，讓人們通過(guò)作品去了解和喜歡上這項(xiàng)技藝。

這么多年來(lái)，青弘工作到凌晨?jī)扇c(diǎn)是常有的事，甚至都顧不上戀愛(ài)、結(jié)婚，至今仍是孑然一身。

“負(fù)笈塵中游，抱書雪前宿”，在藝術(shù)的“苦行”路上，青弘?yún)s并未感覺(jué)到太多悲戚，傳承雖難，樂(lè)在其中。

二

近些年，青弘創(chuàng)作了一系列古畫、文物的甌塑作品，用甌塑技藝賦予了這些原本不相干的事物新的姿態(tài)。

古畫是二維的，古器是三維的，甌塑是介于二維和三維之間的一種藝術(shù)，即擁有平面的視覺(jué)，又擁有立體的觸感。

經(jīng)由甌塑重新創(chuàng)作的文物，竟然擁有了一種新的生命。

“你看，它們也悄悄變化，擁有了自己的溫度和靈魂，我將它們命名為‘重生?！鼻嗪胝f(shuō)。

通過(guò)青弘的手，諸多文物用另一種生命形態(tài)“重生”了，沒(méi)有人能夠親手觸摸《千里江山圖》，現(xiàn)在可以了。畫里山勢(shì)綿亙、水天一色的浩大氣象在指尖劃過(guò)，那水村野市、漁船游艇、橋梁水車、茅屋樓閣仿佛統(tǒng)統(tǒng)穿越過(guò)千年的時(shí)光，再次來(lái)到人間。

藝術(shù)不在心外，唯存心中。十年前，青弘癡迷張大千潑墨，用紙繪來(lái)表達(dá)過(guò)。十年后，她嘗試著用泥土來(lái)重塑。她喜愛(ài)宋畫，如宋徽宗的《瑞鶴圖》之溫柔敦厚、含蓄優(yōu)雅之美，以及《五牛圖》《千里江山圖》《富春山居圖》等等，都在她的手里，直接以一種新的色彩，用甌塑的工藝手法“重生”，然后再將它植入生活！

“我想讓更多人都能觸摸得到，讓更多的人去擁有它。然而真正的名畫，凡有幸留存，那也是世間獨(dú)一無(wú)二的孤品，價(jià)值連城。尋常人如何能擁有？或許一睹真容都是一種奢望?！?/p>

不知不覺(jué)間，青弘似乎為甌塑傳承找到了一條新的道路，誰(shuí)說(shuō)只是古畫文物的“重塑”，難道不是甌塑的“新生”？

上天總是眷顧腳踏實(shí)地的人，老一輩的甌塑藝術(shù)大師，在他們的年代為甌塑藝術(shù)找到了保護(hù)和傳承的辦法，在這個(gè)時(shí)代，依然有。

九百多年前，十八歲的王希孟留下千古名作《千里江山圖》。

九百多年后，《千里江山圖》在九個(gè)白玉盤當(dāng)中，以另一種形式“重生”。

最重要的，它不是盜版和復(fù)制，它依然是一件藝術(shù)品，雖然有點(diǎn)貴，但終究是一件可以“飛入尋常百姓家”的藝術(shù)品。

愿這樣的“重生”更多一些，愿甌塑藝術(shù)更燦爛一些。

Qinghong： Master of Wenzhou Clay Sculpture

By Zhu Yangjian

Wenzhou-based sculptor Qinghong found her own way to pay tribute to ancient painting masterpieces. Her most recent release is a clay creation remade from ， created by Wang Ximeng at 18 in the Northern Song （960-1127） and regarded as one of the “top 10 paintings from ancient China”.

（Wenzhou clay sculpture） has been the life of Qinghong in the past seven years. Born as Li Ruixin， Qinghong is the name the female artist uses in her career. She joined the? studio of Zhou Jinyun in 2013 as the youngest apprentice on the team of the? master.

Ranking together with Boxwood Carving， Dongyang Wood Carving and Qingtian Stone Carving as the Zhejiang handicraft quartet，? has found its way into the “Zhejiang Hall” of the Great Hall of the People in Beijing. There are two Wenzhou Clay Sculpture artworks displayed at the Zhejiang Hall. The two masterpieces that depict the scenery of the West Lake in Hangzhou and Yandang Mountain in Wenzhou fully show the unique features of the Wenzhou craftsmanship that is， like many other cultural treasures， struggling to survive in modern times.

The art flourished for about a decade in the 1980s and 1990s， thanks to the hard work of a team led by Zhou Jinyun. “ is high-demanding by nature， which adds a lot of difficulty to its inheritance，” Qinghong explains， “It takes a high mastery of art basics to start with， and it takes at least a whole month to get the main work of an? project done， not to mention the follow-up marketing possibilities.”

“Wenzhounese are the children of the sea， dauntless and pioneering. I have the genes in me， and will never quit on my pursuits as an artist， no matter what sacrifice I have to take.”

Over the years， Qinghong also spent a lot of time on the theoretical researches of? and the promotion of this art genre. The result of her effort is the first? textbook officially published. She tried what she could to introduce? to more people through lectures and exhibitions in schools， libraries and residential communities.

Realizing that the high level of professionalism required for real involvement in this art form is the biggest obstacle in passing down the relay baton， Qinghong tries her best to create as many works as possible for more people to at least understand what? really is.

The art journey of Qinghong can be described as ascetic. She puts heart and soul into the clay sculpture， living a life without family happiness. For her， it is like running against time for a now-and-never task. “I have no time to feel lonely，” she said.

Qinghongs creations in recent years， drawing inspiration from a series of ancient paintings and cultural relics， seem to have given a new life to the past masterpieces. From a dimensional sense，? in her hands is something between the two-dimensional art of painting and three-dimensional artifacts. It is partly graphical and partly tactile.

“You can see the changes that bring passion and soul to the subject， which I call ‘rebirth.”

It is through the hands of the artist that the grand landscape of rolling mountains， vast rivers and all the earthly goings on depicted in the Song landscape masterpieces became real and tangible.

Over the years， Qinghong released her passionate love for paintings by Song Dynasty artists， including the world-famous ， recreated in her sculptures.

“I want to see such masterworks become more approachable， and I want to make the dream of ownership come true. It is commonsense that such survivors of the worlds most brilliant art treasures are for the museums only. It takes a lot to admire them with ones own two eyes， not to mention possibilities of ownership.”

In this sense， it seems that the sculptor has found a new way of inheritance for . More than 900 years after 18-year-old Wang Ximeng created his masterpiece， an artist in Wenzhou used clay to make everything in the painting come to life again. The result of the transition is a new， vivid artwork with enormous aesthetic value that can be appreciated and shared by ordinary people.