文／文平 徐吉宏

康志敏的泥偶作品體現(xiàn)了藝術(shù)與生活的統(tǒng)一。Kang Zhimin’s clay figurines embody the unity of art and life.

泥塑，作為一項(xiàng)民間傳統(tǒng)技藝，最早可追溯到新石器時(shí)代。在菏澤市成武縣傳承已久的曹州泥偶制作技藝，是中國(guó)泥塑大家庭的成員之一，入選了山東省第五批省級(jí)非物質(zhì)文化遺產(chǎn)代表性項(xiàng)目名錄。

曹州泥偶是在生活用具陶器的基礎(chǔ)上，加以各類技法，逐步演變而成，具有較強(qiáng)的觀賞性和藝術(shù)價(jià)值，按形態(tài)分為微塑、動(dòng)物、人物、器皿、瓦脊五大類。曹州泥偶造型生動(dòng)，胎釉渾厚，有著鮮明的地域特色和濃郁的鄉(xiāng)土氣息，其制作流程完整保留了傳統(tǒng)的手工特色，繼承和發(fā)展了刀塑、按塑、捏塑、貼塑四種方法和上釉燒制技術(shù)。

曹州泥偶制作技藝以家族式傳承為主，現(xiàn)年42歲的康志敏是第四代傳人?？抵久糇杂纂S父康紹華學(xué)習(xí)泥塑，熟練掌握了制作曹州泥偶的各項(xiàng)要領(lǐng)。他將國(guó)內(nèi)陶藝南方的婉約與北方的粗獷糅合在一起，形成自己獨(dú)特的風(fēng)格，創(chuàng)立“龍人康”品牌。

康志敏向中小學(xué)生傳授曹州泥偶制作技藝。Kang Zhimin imparts the clay figurine technique of Caozhou to primary and secondary students.

曹州泥偶造型生動(dòng)，有著濃郁的鄉(xiāng)土氣息。The clay figurine of Caozhou is vividly molded,with a strong native feeling.

走進(jìn)位于成武縣文亭街道的康志敏工作室，一件件活靈活現(xiàn)、憨態(tài)可掬的泥偶映入眼簾。這些作品，經(jīng)康志敏之手而獲得了生命力。成武，是康志敏的家鄉(xiāng)，也是他藝術(shù)創(chuàng)作的靈感來(lái)源地之一。年愈久，康志敏對(duì)家鄉(xiāng)的情愈深，兒時(shí)記憶中的唱歌、跳舞、勞作等各類生活場(chǎng)景，時(shí)常出現(xiàn)在他腦海里，難以忘懷。

2017年，在外奔波十幾年的康志敏決定返鄉(xiāng)創(chuàng)業(yè)，黃土地成為他創(chuàng)作的原始素材，靈感源源不斷地涌現(xiàn)，泥偶在鄉(xiāng)土中煥發(fā)出蓬勃活力。康志敏就地取材，回饋著這片土地的贈(zèng)予。2021年，康志敏與中國(guó)美術(shù)學(xué)院合作，創(chuàng)作了《魯西南記憶》專題，把吃苦耐勞、堅(jiān)忍不拔、正直勇敢的魯西南品格融入泥偶創(chuàng)作中。對(duì)家鄉(xiāng)的回憶以及家鄉(xiāng)如今的新面貌，都在康志敏一個(gè)個(gè)泥偶作品中得到展現(xiàn)。

康志敏把家鄉(xiāng)的過(guò)去、現(xiàn)在、未來(lái)都融進(jìn)泥偶，為這片土地引吭高歌，并立志把泥偶制作發(fā)展成富民產(chǎn)業(yè)，帶動(dòng)旅游業(yè)發(fā)展，打造成武的特色文化品牌。而對(duì)泥偶制作技藝的不懈追求，則為他的藝術(shù)創(chuàng)作提供了不竭動(dòng)力。

在康志敏看來(lái)，藝術(shù)創(chuàng)作貴在個(gè)性與風(fēng)格的表現(xiàn)，泥偶的造型、釉色及燒成方法是創(chuàng)作者藝術(shù)追求與情感的呈現(xiàn)?？梢哉f(shuō)，曹州泥偶既是物質(zhì)的產(chǎn)品，又是精神的產(chǎn)物，既是一門古老的藝術(shù)，又是一門現(xiàn)代的藝術(shù)?？抵久舻哪嗯甲髌罚w現(xiàn)了藝術(shù)與生活的統(tǒng)一。

The long-standing clay figurine technique of Caozhou in Chengwu County,Heze,as a member of China’s clay sculpture family,has been included on the Fifth Representative List of Provincial Intangible Cultural Heritage of Shandong.

The clay figurine technique of Caozhou is dominated by family inheritance,and 43-year-old Kang Zhimin is the fourth-generation inheritor.Learning clay sculpture from his father Kang Shaohua since childhood,Kang Zhimin has mastered the main points of the clay figurine of Caozhou.Besides,he has established his own style by combining the graceful and restrained elements of pottery from South China and the natural elements from North China.

Integrating the past,present and future of his hometown into clay figurines,Kang Zhimin has been singing the praises of this land,and is determined to develop the clay figurine technique into an industry enriching the people,to stimulate the development of tourism,and to build Chengwu’s characteristic culture brand.