讓愛(ài)從指尖緩緩流出

劉俏言

把腦海里的想法變成現(xiàn)實(shí)是一個(gè)艱難的旅程，為這一過(guò)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(shí)曾有過(guò)那些稀奇古怪的想法。

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

禮物

大學(xué)時(shí)期的錢依敏學(xué)的是平面設(shè)計(jì)專業(yè)，本是和電腦打交道的她遇見(jiàn)了那個(gè)彈著古琴寫得一手好書法的鈕利剛。這是愛(ài)情的起點(diǎn)，更是錢依敏轉(zhuǎn)變的起點(diǎn)——同他在一起之后，錢依敏對(duì)博大精深的中華傳統(tǒng)文化興趣日濃?！翱赡苁俏覍?duì)她的影響略大一些吧”，鈕利剛笑著對(duì)我說(shuō)。

說(shuō)不清什么時(shí)候開始，錢依敏被魏晉時(shí)期的人物畫法深深迷住了，“這些極具張力的線條，復(fù)雜精妙的構(gòu)圖簡(jiǎn)直太美了，我甚至無(wú)法用語(yǔ)言形容它?！卞X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(gè)個(gè)鮮活的生命”。那我用生活中的線來(lái)粘貼、纏繞，或許也能創(chuàng)作出另一番風(fēng)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(gè)人第一次將想法變成現(xiàn)實(shí)的動(dòng)力都不盡相同，對(duì)于錢依敏而言，愛(ài)情就是最好的助推劑。當(dāng)她第一次看到成型的作品時(shí)，喜悅和不滿兩種復(fù)雜的情緒同時(shí)涌上心頭——“這個(gè)作品沒(méi)有我想的那么完美?！边@是錢依敏的第一印象。

魏晉時(shí)期的石刻藝術(shù)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(zhuǎn)合。而如果用線去勾勒這樣的圖形，單一粗細(xì)的絲線很難準(zhǔn)確地表達(dá)出這種意境。這就像是統(tǒng)一印刷出來(lái)的漢字，雖然整齊劃一，但卻始終沒(méi)有毛筆墨汁書寫出來(lái)后所擁有的意境和美感。對(duì)此，深諳書法用筆之道的鈕利剛一語(yǔ)道破——“這些作品缺乏一種‘書寫感?！?h3>打磨

錢依敏不想就這樣放棄。

在鈕利剛的鼓勵(lì)下，錢依敏開始更加認(rèn)真地對(duì)待自己的作品。她仔細(xì)研究了白描畫法中線條的粗細(xì)規(guī)則，發(fā)現(xiàn)在一些重要的轉(zhuǎn)折處線都是偏重?；诖耍X依敏改變了起初單一的粘線方法，開始將線分成更細(xì)的幾股，通過(guò)股數(shù)的變化來(lái)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(gè)臺(tái)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(guò)程中，粘線要慢慢地來(lái)，粘上一點(diǎn)，要等白膠干了才能往下粘。細(xì)細(xì)雕琢下，平時(shí)看似柔軟的繡花線變得倔強(qiáng)任性，不聽使喚。錢依敏在此過(guò)程中反復(fù)按壓、拼貼，直線形、曲線形，漸漸成形時(shí)不知不覺(jué)已過(guò)數(shù)月?！澳闷鹑~脈，透過(guò)陽(yáng)光，看到纖柔的線兒在縱橫交錯(cuò)的莖脈上時(shí)而跳躍、時(shí)而緩步，人像在其間隱約顯現(xiàn)，若有若無(wú)，如升初日、如清風(fēng)、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(shí)，地有氣，材有美，工有巧，合此四者，然后可以為良。”此時(shí)此刻，作品對(duì)于錢依敏的意義已經(jīng)不再是一個(gè)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(gè)佛像，婉然若樹，穆若清風(fēng)，又有破葉而出凌空飛舞的伎樂(lè)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(méi)有意識(shí)到，能夠花費(fèi)數(shù)個(gè)月的時(shí)間卻不帶一點(diǎn)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(jìn)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(dòng)。于是當(dāng)篆刻家來(lái)一石先生看到這些頗具禪意的作品時(shí)，才會(huì)驚訝于其絕妙的紋路，并將此作品命名為——“菩提絲意”。

“當(dāng)你坐足了冷板凳，那么出名這件事就是自然而然的了?！扁o利剛這樣說(shuō)。的確，當(dāng)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(bào)道。同時(shí)《美術(shù)報(bào)》也邀請(qǐng)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(jiǎng)。多位詩(shī)人因感其清遠(yuǎn)之意趣而題寫了詩(shī)詞。

錢依敏出名了。

生活

我是在周六的一個(gè)下午，在錢依敏家里見(jiàn)到她的。

夫妻二人穿著一身素雅的茶服，邀請(qǐng)我坐在一個(gè)四方的古典茶桌旁聊天，女兒小扣時(shí)不時(shí)地跑來(lái)探頭觀看。錢依敏家里的客廳沒(méi)有沙發(fā)，中間是一個(gè)巨大的氈臺(tái)，靠墻挨著一整面的書柜。墻上掛著國(guó)畫和古琴——整個(gè)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(guó)古典的裝飾藝術(shù)?！安幌Ｍ鸭腋愕锰F(xiàn)代?！扁o利剛試圖通過(guò)這樣的方式潛移默化地對(duì)女兒進(jìn)行教育，而事實(shí)上他的確做到了——“我喜歡歷史?！辈坏?歲的小扣瞇著眼睛對(duì)我說(shuō)。

這是二人崇尚的順其自然的教育模式。盡管二人都是學(xué)藝術(shù)出身，但直到現(xiàn)在他們還沒(méi)有給小扣作任何的繪畫或是書法上的指導(dǎo)。“小孩子最重要的還是要把基礎(chǔ)知識(shí)學(xué)扎實(shí)，多背背古詩(shī)比較好?！扁o利剛說(shuō)，“這個(gè)階段的孩子，最重要的是興趣的激發(fā)?！毙】塾幸槐井媰?cè)，上面全是她的一些奇思妙想。

在向我展示作品時(shí)，錢依敏沒(méi)有過(guò)多的言辭，只是簡(jiǎn)單地介紹了幾句。在我不斷追問(wèn)下，她才一點(diǎn)一點(diǎn)告訴我完整的創(chuàng)作過(guò)程。錢依敏的話有些少，大部分時(shí)候是鈕利剛在旁邊補(bǔ)充著她的作畫思路和想法，尤其在我問(wèn)及是否會(huì)申請(qǐng)專利時(shí)，鈕利剛立刻接過(guò)話道：“她做這個(gè)東西的目的是很純粹的，真的沒(méi)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(guò)程中去感悟那一絲禪意?！闭f(shuō)罷，鈕利剛還撓了撓頭，“我的話是不是有點(diǎn)多啊，你還是問(wèn)她吧?！?/p>

看著活潑好動(dòng)的小扣在家里跑來(lái)跑去，我不禁為錢依敏的創(chuàng)作擔(dān)心起來(lái)，于是發(fā)問(wèn)道：“平時(shí)是如何在家里作畫的，不怕女兒打擾嗎？”事實(shí)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(dòng)，另一方面也是因?yàn)楹ε屡畠翰恍⌒呐獕牧四切┍∪缦s翼的葉子。她把創(chuàng)作地點(diǎn)從家里搬到了自己執(zhí)教學(xué)校的辦公室，上完上午的繪畫課后，下午的時(shí)間就用來(lái)繼續(xù)她的手工創(chuàng)作。

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

把日子過(guò)成詩(shī)，大抵不過(guò)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.