從黑非洲到綠江南，一刀一鑿刻出文化橋梁

胡昊

供職于剛果民主共和國(guó)金沙薩美術(shù)學(xué)院的哈?？赡軟](méi)有想到，一年之后可以再次來(lái)到杭州，繼續(xù)為期一個(gè)月的木雕創(chuàng)作學(xué)習(xí)交流。

在日前結(jié)束的文化和旅游部“對(duì)非培訓(xùn)基地”浙江省文化館第八屆非洲藝術(shù)家木雕創(chuàng)作交流活動(dòng)中，哈桑是一年前參加第七屆非洲藝術(shù)家木雕創(chuàng)作交流活動(dòng)的9名非洲藝術(shù)家中，唯一一位第二次參加該活動(dòng)的非洲藝術(shù)家。

此次交流活動(dòng)邀請(qǐng)了來(lái)自多哥共和國(guó)、剛果共和國(guó)、剛果民主共和國(guó)、加蓬共和國(guó)和科特迪瓦共和國(guó)的15名木雕藝術(shù)家來(lái)華進(jìn)行為期30天的木雕創(chuàng)作交流。通過(guò)一個(gè)月時(shí)間的學(xué)習(xí)和交流，這些藝術(shù)家們?cè)陔x開(kāi)的那一刻，對(duì)杭州依依不舍。

二度參加，只因能學(xué)到真本事

“盡管在同一個(gè)地方（程允賢雕塑館）進(jìn)行創(chuàng)作，但我們看到的一切都有了變化，而這僅僅只有一年的時(shí)間。”在筆者眼里，哈桑并沒(méi)有什么變化，胡子沒(méi)變，發(fā)型也沒(méi)變；但在哈桑眼里，浙江的變化真大：“我們?nèi)チ藮|陽(yáng)看木雕，去年還沒(méi)有的木雕作品，今年有了新的陳設(shè)，壁畫(huà)也加上去了。這讓我們覺(jué)得，這里創(chuàng)作木雕的速度真快?！?/p>

浙江的雕刻最出名的是東陽(yáng)木雕、樂(lè)清黃楊木雕、青田石雕和甌塑，被合稱為“三雕一塑”，而其中木雕就占了兩樣。非洲藝術(shù)家們來(lái)學(xué)習(xí)交流的，就是這兩種木雕的創(chuàng)作。因此，位于“中國(guó)木雕之都”東陽(yáng)的中國(guó)木雕城，是他們必須“打卡”的地方之一。

哈桑開(kāi)玩笑說(shuō)，去年交流學(xué)習(xí)完，大家都覺(jué)得他學(xué)到了真本事，不但開(kāi)拓了眼界，也解決了以前非洲木雕中作品難以保存的問(wèn)題，“我在杭州學(xué)到了在木雕作品外面涂上一層清漆，這樣不但增加了雕塑的美觀，更可以長(zhǎng)久保存木雕作品，防止蟲(chóng)蛀?！比ツ昊貒?guó)后，哈桑用涂過(guò)清漆的木雕作品辦了個(gè)展覽，這對(duì)當(dāng)?shù)氐哪镜袼囆g(shù)家們沖擊很大，“他們才知道，原來(lái)木雕還可以這樣處理保護(hù)的啊?！?/p>

哈桑的經(jīng)歷，證明了他在杭州學(xué)習(xí)交流的成效。因此，今年的第八屆非洲藝術(shù)家木雕創(chuàng)作交流活動(dòng)，在當(dāng)?shù)匚幕块T(mén)和我國(guó)駐當(dāng)?shù)厥桂^的力促下，他再次來(lái)到了杭州?！叭ツ晡覀儗W(xué)習(xí)用陳木進(jìn)行雕刻，今年我們用樹(shù)根進(jìn)行雕刻，都是木雕的一個(gè)門(mén)類。不管雕刻的是木頭的哪個(gè)部分，這都是重新賦予木頭以新的生命，是一件很有意思的事情?！惫８嬖V筆者，今年回去后，他打算再辦一次個(gè)人木雕展，而這次展出的地方已經(jīng)不是剛果民主共和國(guó)了，而是放在了比利時(shí)的布魯塞爾。

大開(kāi)眼界，買(mǎi)下5套切割工具

“來(lái)杭州之前，我對(duì)中國(guó)一無(wú)所知，但我知道，這是一個(gè)美麗的城市，這里的雕塑有獨(dú)特的方式。杭州和多哥的雕塑藝術(shù)各有各的風(fēng)格，所以我來(lái)了?！倍喔缢囆g(shù)家科菲佳已經(jīng)從事雕塑29年了，他認(rèn)為，在雕塑的技藝上，其實(shí)中國(guó)的匠人們已經(jīng)走在了前面，“在這里，我們看到很多非洲沒(méi)有的工具。我就想著要把這些東西帶回去，給我的同事們開(kāi)開(kāi)眼，讓他們知道，在遙遠(yuǎn)的東方，有個(gè)藝術(shù)上的競(jìng)爭(zhēng)者存在?！笨品萍雅e了個(gè)例子，他說(shuō)比如鑿子，雖然多哥也有，但質(zhì)量并不一樣，“在杭州用的鑿子質(zhì)量明顯更好?！?/p>

使用機(jī)器來(lái)進(jìn)行木雕創(chuàng)作，是讓所有非洲藝術(shù)家們最為驚嘆的一點(diǎn)?！坝脵C(jī)器創(chuàng)作木雕，效果更好?！背錾谀镜袷兰业膭偣囆g(shù)家馬辛戈感嘆，他從15歲就開(kāi)始學(xué)習(xí)木雕創(chuàng)作。他說(shuō)，在剛果，大家一般用斧子對(duì)木頭進(jìn)行初步的處理，但想要控制力度和角度，對(duì)新手來(lái)說(shuō)難度太大了，“有了機(jī)器的使用，可以讓處理更加精細(xì)化，也更適合新手使用。”

來(lái)自科特迪瓦的羅內(nèi)說(shuō)，機(jī)器的使用可以加快工作的進(jìn)程，“我們那里一般采用砂輪來(lái)進(jìn)行木雕創(chuàng)作，而在這里，他們告訴我們可以采用切割刀。我們是一點(diǎn)一點(diǎn)磨出來(lái)，但在這里，藝術(shù)家可以直接把不需要的部位切除掉，這樣的效率簡(jiǎn)直提高了三到四倍?！绷_內(nèi)在進(jìn)行創(chuàng)作的時(shí)候，已經(jīng)能把切割刀用得很順手了。“我不認(rèn)為使用機(jī)器會(huì)讓我的作品失去靈魂，相反，我可以更加精準(zhǔn)地表達(dá)自己的情感，所以這讓我對(duì)機(jī)器不會(huì)產(chǎn)生排斥?！?/p>

為了能讓自己的同事和學(xué)生了解木雕創(chuàng)作中機(jī)器的使用，羅內(nèi)委托省文化館的工作人員小尹采購(gòu)了5套切割工具，準(zhǔn)備帶回去，“如果有需要，我會(huì)托小尹再幫我采購(gòu)一些的?！甭?tīng)說(shuō)羅內(nèi)采購(gòu)了5套機(jī)器，人均只采購(gòu)了1套機(jī)器的其他非洲藝術(shù)家們拍著手開(kāi)玩笑說(shuō)：“他可真是個(gè)‘富豪?！?h3>短短一月，愛(ài)上了杭州和綠茶

“要住一個(gè)月其實(shí)并不容易，你也知道，非洲不是在中國(guó)的邊上，我還有5個(gè)兒子。”來(lái)自加蓬的比洛是這次來(lái)杭的15名非洲藝術(shù)家中唯一的一名女性，她黑色的頭發(fā)時(shí)髦地挑染了幾片紅色，“和孩子們分開(kāi)讓人很糾結(jié)，但對(duì)我來(lái)說(shuō)，這是一次驚喜的發(fā)現(xiàn)之旅?！北嚷甯嬖V筆者，在杭州的一個(gè)月，要比自己曾經(jīng)在南非學(xué)習(xí)的一個(gè)月更有收獲，也更值得，“不過(guò)杭州的互聯(lián)網(wǎng)質(zhì)量很好，我隨時(shí)隨地可以視頻聊天，看看我的兒子們?！?/p>

比洛還收獲了意外的驚喜，她在杭州度過(guò)了自己的生日。那天晚上，省文化館的工作人員專門(mén)為比洛準(zhǔn)備了蛋糕。當(dāng)工作了一天的藝術(shù)家們走進(jìn)餐廳準(zhǔn)備吃飯的時(shí)候，整個(gè)餐廳的燈全暗了，省文化館工作人員推著生日蛋糕，唱著生日歌走了進(jìn)來(lái)。那一刻，遠(yuǎn)離家鄉(xiāng)幾千公里之外的比洛感動(dòng)得像個(gè)孩子一樣哭了，妝都哭花了。

在杭州住了一個(gè)月，藝術(shù)家們對(duì)于杭州這個(gè)城市的評(píng)價(jià)都很高。科菲佳說(shuō)，這個(gè)城市確實(shí)很不錯(cuò)，景色很美，人也很好，“每次我們到外面去，安排逛一個(gè)小時(shí)，但總是會(huì)超時(shí)，因?yàn)橐宦飞隙际钦椅覀兒嫌暗娜?，大家都太熱情了?！笨品萍颜f(shuō)，唯一需要吐槽的，就是杭州太熱了?！氨榷喔邕€熱，你看我都曬黑了。”科菲佳開(kāi)玩笑說(shuō)，這個(gè)印記應(yīng)該不錯(cuò)。

短短的一個(gè)月的時(shí)間，一些非洲藝術(shù)家愛(ài)上了喝茶，尤其是綠茶。他們?cè)诔晕顼埖臅r(shí)候，都喜歡泡一杯中國(guó)綠茶?！霸诜侵?，很多人喜歡中國(guó)的茶，大家都喜歡‘吃茶?！瘪R辛戈告訴記者。工作人員后來(lái)告訴記者，這些非洲藝術(shù)家們說(shuō)喜歡“吃”茶，確實(shí)是“吃”，因?yàn)樗麄儾坏炔杷?，最后還會(huì)把茶葉嚼嚼咽了。

在聊天中，藝術(shù)家們都很感激2015年12月約翰內(nèi)斯堡峰會(huì)帶來(lái)的“文化紅利”，可以讓他們遠(yuǎn)渡重洋來(lái)到中國(guó)，把非洲和中國(guó)的木雕技藝相融合。當(dāng)年的約翰內(nèi)斯堡峰會(huì)提出，要加大對(duì)非洲文化領(lǐng)域的人力資源培訓(xùn)力度，中方將實(shí)施與非洲文化交流“千人計(jì)劃”。

從那年開(kāi)始，浙江省文化館作為文化部首批“對(duì)非培訓(xùn)基地”，連續(xù)承辦文化部“博茨瓦納學(xué)員刺繡培訓(xùn)班”“非洲學(xué)員竹編培訓(xùn)班”“非洲學(xué)員陶藝培訓(xùn)班”“非洲藝術(shù)家木雕創(chuàng)作交流”等活動(dòng)，均獲得良好反響，為中非文化交流拓寬了渠道，充實(shí)了內(nèi)容。

哈桑告訴筆者：“我們期待今年在北京的中非合作論壇，希望能夠從中獲得更多的文化交流的機(jī)會(huì)，讓非洲文化和中國(guó)傳統(tǒng)文化能夠更加深入地開(kāi)展交流。”

African Sculptors Engaged in Cultural Exchanges in Zhejiang

By Hu Hao

Tshamala Mpoyi Hassan came to Hangzhou in June 2018. It was his second visit. A woodcarving artist from an art academy in Kinshasa， the capital and the largest city of the Democratic Republic of the Congo， he was one of the seven African woodcarving artists who in 2017 took part in a workshop in Hangzhou sponsored by the Ministry of Culture and Tourism and Zhejiang Cultural Center. This year， Hassan took part in another 30-day workshop in Hangzhou.

In June and July 2018， 15 woodcarving artists respectively from the Togolese Republic， the Kingdom of Kongo， the Democratic Republic of the Congo， the Gabonese Republic， and the Republic of C?te dIvoire gathered in Hangzhou to go through a 30-day workshop.

Hassan immediately noticed the fast changes in Zhejiang he hadnt seen a year before. “We are in the same place （Cheng Yunxian Sculpture Gallery） to work out our new creations， but we see a lot of changes，” commented Hassan. “Last year we visited Dongyang to see woodcarving there. This year， we saw new artworks and we even saw frescos. We know how fast woodcarving artists in Zhejiang are working.”

In terms of sculpture and carving， Zhejiang boasts woodcarving of Dongyang， boxwood carving of Yueqing， stone carving of Qingtian， and sculpture of Wenzhou. This year， the 15 African artists explored the secrets of the two woodcarving arts. They visited Dongyang again， the woodcarving capital of China.

Soon after his one-month study in Hangzhou and his return to the Congo in 2017， Hassan held a solo exhibition in Kinshasa. His woodcarving artworks， all coated in varnish， caused a sensation. Local artists flocked in to take a look at the protective coating. They had never known that woodcarvings could be protected this way.

So this year Hassan came again， with the assistance of Chinese embassy in Kinshasa and the cultural authorities of the Congo. “Last year we carved the wood material that had been stored for years. This year we carved on tree roots.” He was planning to hold another solo woodcarving show after the workshop in Hangzhou concluded. But this time， he was to display his woodcarving creations in Brussels， Belgium， after he concluded his study in Hangzhou.

Aboflan Kofiga， a woodcarving artist of Togo engaged in the art for 29 years， was surprised to see something quite new in woodcarving in Hangzhou. “Before I came， I knew almost nothing about China. I knew Hangzhou was a beautiful city and woodcarving here was quite unique. Thats why I came，” remarked Kofiga. “Our Chinese artists are quite advanced. They use tools we dont have in Africa. I will bring these tools back for my colleagues to take a look so that they will know they have competitors in the distant East. “We have chisels in Togo， but chisels used in Hangzhou are of much better quality，” he said.

The most surprising thing these African artists saw and learned about in Hangzhou was that machines could be used in woodcarving. Messengo Guynel Emma observed， “Machines make woodcarving more effective”. He started how to do woodcarving at 15. In the Congo， he said， the axe is used in the first phase of a woodcarving piece. Beginners find it too difficult to finesse the forces and angles. A machine can do a job more sophisticatedly and a beginner can operate a machine more conveniently，” commented Emma.

“We use the grinding wheel back home to create woodcarving pieces， “said Ayebi Kouao Rene from C?te dIvoire. “We learned here that a machine can directly remove the parts that are not needed. This works three or four times faster.” Rene learned how to use a machine to do woodcarving. “I dont think a machine can make my artworks soulless. In contrary， I can express myself more accurately. Thats why I have no reason to dislike machines.” He bought five sets of cutting tools in Hangzhou and planned to share them with his students and friends. He was prepared to buy more through an employee at the Zhejiang Cultural Center if the need arose. The fellow African artists joked that Rene was rich.

Biloghe Mengue Zélia Flore was the only woman of the 15 African woodcarvers at the workshop. She has five sons back home. “It is difficult to be separate from my children. But this is an amazing journey of discovery. Internet in Hangzhou is excellent. I can video-talk with my sons，” she commented， her black hair dyed red in small blocks. Compared with a one-month study in South Africa， the 30-day workshop in Hangzhou was more helpful， she commented. She celebrated her birthday in Hangzhou. When all the artists sat down to dinner after a day of work， the lights in the dining room were turned off， and a cart with a birthday cake on it was pushed in by workers with Zhejiang Cultural Center. People sang “Happy Birthday”. She wept like a child.

The 15 African artists spoke highly of Hangzhou. But “it is hotter than Africa， complained Kofiga， “Look， I am tanned.” Some of them fell in love with tea， especially green tea. They sipped tea and ate up all the tealeaves.

The African artists were grateful to the Johannesburg Action Plan launched at the Forum on China-Africa Cooperation in Johannesburg in December 2015. According to the action plan， “the Chinese side will establish ten major ‘Culture Training Bases for Africa and execute the ‘One Thousand People Program for culture training in Africa”.

It was in 2015 that Zhejiang Cultural Center was designated by the Ministry of Culture as a major Cultural Training Center for Africa. The province has so far hosted eight workshops for the training of African artists engaged in embroidery， bamboo weaving， porcelain， woodcarving， etc.

Hassan of the Congo said， “We are looking forward to the Forum on China-Africa Cooperation this year for more opportunities on cultural exchanges between African culture and traditional Chinese culture”.