羅啟松：一刀一刻一世界

陳偉華

在橘鄉(xiāng)臺(tái)州黃巖有一道風(fēng)景“九峰”，九座山峰環(huán)抱，這一處清凈之源，引無數(shù)游客尋幽探勝。九峰山海拔四五百米，突立在沿海平原上，像一扇高大寬闊的山水屏風(fēng)。它不僅是一道風(fēng)景，更是橘鄉(xiāng)文化元素的凝聚。

87歲的國(guó)家級(jí)非物質(zhì)文化遺產(chǎn)黃巖翻簧竹雕代表性傳承人羅啟松的翻簧竹雕名家工作室，就藏匿在九峰山麓的一片綠色之中，免費(fèi)對(duì)外開放。

竹為紙，刀為筆，山水人物細(xì)雕琢。在長(zhǎng)達(dá)60多個(gè)年頭里，他苦心孤詣鉆研翻簧竹雕技藝，一雕一刻，在藝術(shù)之路上守望探索。

羅啟松，1935年出生于黃巖，2009年，被評(píng)為首批“浙江省優(yōu)秀民間文藝人才”。其翻簧竹雕作品曾赴多國(guó)展覽，并入選新中國(guó)國(guó)禮藝術(shù)家精品展、中國(guó)工藝美術(shù)雙年展等國(guó)內(nèi)各類大展，部分作品還被中國(guó)工藝美術(shù)館、中華民族藝術(shù)珍寶館、中國(guó)扇博物館、浙江省博物館、浙江省非遺館等單位永久收藏。

家鄉(xiāng)是永遠(yuǎn)的創(chuàng)作源泉

初夏，來到這里。入口處，擺放著一張斑駁的木桌，以及各式各樣雕刻用的工具，它們是歲月的見證者。繪著孔雀開屏的竹雕花瓶、描著鴛鴦戲水圖的梳妝臺(tái)、日常生活中罕見的竹黃扇……羅啟松的多件佳作，都擺放于此，古拙而充滿真趣。

“這件翻簧大屏風(fēng)《永寧秋色》是新作，足足花費(fèi)了我一年的時(shí)間。過去我雕刻的作品，大多以古代山水為主，現(xiàn)在我把自己的藝術(shù)表現(xiàn)手法拓寬了，在創(chuàng)作中更多地考慮融入當(dāng)代風(fēng)情與時(shí)代氣息，這樣才能更接地氣?！绷_啟松說，《永寧秋色》運(yùn)用了多種雕刻手法，在藝術(shù)表現(xiàn)上大膽創(chuàng)新，能使觀眾產(chǎn)生新鮮感，實(shí)現(xiàn)了自己創(chuàng)作的初衷。

這件作品是于2019年底著手開始創(chuàng)作的。為了雕刻好這幅“大屏風(fēng)”，一年來，他曾一次次從城關(guān)的家，步行去九峰山麓的工作室，每次都得走半個(gè)多小時(shí)的路程，累得氣喘吁吁、滿頭大汗。這對(duì)于已到耄耋之年的羅老來說，真是一件不容易的事。

只要一踏進(jìn)工作室，羅啟松就激情澎湃地投入藝術(shù)創(chuàng)作的奇妙境界。為創(chuàng)作《永寧秋色》，他翻閱搜集了大量資料，積累了各種素材。那些表現(xiàn)永寧江兩岸時(shí)代變遷、橘鄉(xiāng)特色景象等的文字、圖片和畫作中蘊(yùn)藏的細(xì)節(jié)，還有承載城市記憶、體現(xiàn)城市文化底蘊(yùn)的點(diǎn)點(diǎn)滴滴，都能成為他刻刀下、竹片上很好的創(chuàng)作靈感。

2020年12月，翻簧大屏風(fēng)《永寧秋色》終于完工。它散發(fā)著濃郁的江南鄉(xiāng)土氣息，融繪畫技巧與雕刻手法于一體，上面還刻有：“永寧江畔橘金黃，四海馳名銷遠(yuǎn)鄉(xiāng)。便捷交通無阻塞，臺(tái)州高速不尋常。品牌模具人稱贊，塑料功能旺市場(chǎng)。甜蜜楊梅成翹手，出洋創(chuàng)匯國(guó)榮光?！边@首羅啟松題寫的詩(shī)，表達(dá)了《永寧秋色》的創(chuàng)作主題——祝福家鄉(xiāng)開啟“千年永寧、中華橘源、模具之都”的新征程。

流淌千年的母親河永寧江，享譽(yù)盛名的黃巖蜜橘，耀眼的坐標(biāo)模具產(chǎn)業(yè)高地……家鄉(xiāng)瑰麗的山海風(fēng)光和人文風(fēng)情，一直以來都是羅啟松刻刀下取之不盡用之不竭的創(chuàng)作素材。除了這件新作，工作室里陳列的其他作品，也都散發(fā)著濃郁的江南鄉(xiāng)土氣息，它們的創(chuàng)作主題都來自羅啟松的生活，或隨事即興，或偶感而作。

拜師學(xué)藝刻畫人生

羅啟松幼年喪父，母親和姐姐用紡棉紗掙的錢，供他讀完小學(xué)。他從小酷愛繪畫，當(dāng)時(shí)無錢買顏料，他就用毛筆蘸水在石頭上寫字作畫。家鄉(xiāng)的靈山秀水，早早地在他幼小的心靈里創(chuàng)造了一個(gè)獨(dú)有的藝術(shù)世界。

16歲那年，他在縣文化館美術(shù)培訓(xùn)班學(xué)習(xí)，無意中看到老師握著一本《芥子園畫譜》，便借閱回家。于是，他經(jīng)常臨摹畫譜中的畫稿，還經(jīng)常外出采風(fēng)寫生。后來他又借得《齊白石畫冊(cè)》《于非闇花鳥畫集》，沉醉于兩位大家的筆墨情韻之中，反復(fù)揣摩學(xué)習(xí)他們的畫譜，由此開啟了自學(xué)國(guó)畫的藝術(shù)之門。而這些，都為他以后從事翻簧竹雕藝術(shù)打下扎實(shí)的基礎(chǔ)。

1957年，22歲的他本想報(bào)考藝術(shù)學(xué)校，不料陰差陽(yáng)錯(cuò)，竟然以優(yōu)異的繪畫成績(jī)被破格招入黃巖翻簧廠，從此與黃巖翻簧竹雕結(jié)下深厚的情緣。

初學(xué)藝，羅啟松就與眾不同，別人打樣要用鉛筆勾勒，而他直接用毛筆。“用鉛筆只能畫一塊巖石，而用毛筆，可以把整片山水都畫下來?！币?yàn)橐延幸欢ǖ睦L畫基礎(chǔ)，再加上勤奮刻苦，不到三年，他就出師了。

羅啟松的師傅，是當(dāng)時(shí)黃巖翻簧竹雕的領(lǐng)頭人陳方俊，而陳方俊是黃巖翻簧創(chuàng)始人之一陳夔典的孫子。剛開始做學(xué)徒，羅啟松因?yàn)榕鲁鲥e(cuò)，每回去師傅那兒內(nèi)心都會(huì)忐忑不安，但為了能像師傅那樣自如地運(yùn)用刻刀雕出翻簧的美，內(nèi)向膽怯的他便一次次去請(qǐng)教。慢慢地，他從師傅那里領(lǐng)悟到創(chuàng)作的訣竅：要磨好刀，要熟練掌握刀法，要對(duì)山水畫理解到位。他更加努力了，夜以繼日地練習(xí)，同時(shí)不斷了解竹子的品性，并深入到竹雕肌理。

師傅看到羅啟松繪畫功底扎實(shí)，毛筆打樣一揮而就，而且畫面布局挺合理，筆法也生動(dòng)流暢，雖然有些技法還顯得稚嫩，但經(jīng)培養(yǎng)將來應(yīng)該會(huì)成為一把好手，于是便十分用心地教羅啟松直接用刀在“黃片”上雕刻。

起初，羅啟松不是雕刀刻出“黃片”之外，就是雕刀穿透了“黃片”，報(bào)廢了許多“黃板”。心急如焚的他常常緊張得直冒汗。師傅沒有責(zé)罰他，每回見他如此緊張，就會(huì)情不自禁地上前，手把手地傳授技藝，還不忘給他一些鼓勵(lì)。逐漸地，羅啟松學(xué)會(huì)了運(yùn)刀深淺、用刀傾斜、刀鋒轉(zhuǎn)折等技法，還能很好地把握手腕的力度。

師傅在車間授課傳藝時(shí)，羅啟松總是最認(rèn)真的那一個(gè)，專心聽，刻苦練。為了能盡快掌握雕刻要領(lǐng)，他每天起早摸黑，哪怕節(jié)假日也去廠里加班。他往往一坐就是幾個(gè)小時(shí)，直到雙腳都麻木，握刀的手都不聽使喚了。功夫不負(fù)苦心人，久而久之，羅啟松的翻簧竹雕技藝終于脫穎而出，且大有“青出于藍(lán)而勝于藍(lán)”之勢(shì)。

翻簧竹雕的時(shí)光機(jī)

羅啟松翻簧竹雕名家工作室的前身，是黃巖啟松翻簧竹雕研究所，成立于1998年5月。

當(dāng)時(shí)它就設(shè)在羅啟松家中，面積不足5平方米，容納不下幾人。若有人要觀展，必須先穿過一條狹窄的小巷，走進(jìn)一扇木頭門，再爬上吱呀作響的小樓梯，才能看到擠在一起的大小展品。因處于陋巷盡頭，大多數(shù)人進(jìn)門時(shí)不會(huì)留意到門口懸掛的“篩竹齋”這張招牌。

2013年11月，黃巖區(qū)委宣傳部擬定新建羅啟松翻簧竹雕名家工作室。之后，黃巖啟松翻簧竹雕研究所遷址至九峰公園，并更名。近些年來，就是在這個(gè)工作室里，羅啟松以傳承非遺技藝和培養(yǎng)傳承人為目標(biāo)，積極開展翻簧竹雕作品創(chuàng)作和技藝?yán)碚撗芯?，并積極舉辦多種形式的翻簧竹雕交流活動(dòng)。

縱橫削竹取精華，嫩黃雅致媲象牙。

應(yīng)物傳神精雕琢，勝如琥珀雅俗夸。

這是民間詩(shī)人吟詠黃巖翻簧的詩(shī)句，它稱贊黃巖翻簧工藝品具有極高的藝術(shù)欣賞價(jià)值和收藏價(jià)值。

但新中國(guó)成立前，黃巖翻簧竹雕曾一度處于“停滯”狀態(tài)，后在政府的扶持下，生產(chǎn)得以恢復(fù)。1955年，黃巖翻簧刻字社成立（后發(fā)展為黃巖翻簧廠）。20世紀(jì)60年代，黃巖翻簧曾迎來一個(gè)短暫的輝煌時(shí)期。有一件事，令羅啟松終生難忘。

那是1964年的初夏，郭沫若先生因仰慕黃巖翻簧的名聲，到黃巖翻簧廠參觀。郭沫若不僅對(duì)黃巖翻簧獨(dú)特的制作工藝產(chǎn)生了濃厚的興趣，更是對(duì)翻簧作品上雕功精致的花鳥蟲魚贊不絕口。在工廠陳列室里，郭沫若先生順手拿起一個(gè)茶葉盒，上面雕刻著幾只躍然欲飛的山雀，他饒有興味地注視著。而這件作品，就是羅啟松制作的。

當(dāng)時(shí)，郭老對(duì)羅啟松等陪同人員說，黃巖翻簧竹刻采用國(guó)畫手法，把繪畫技巧與雕刻刀法融為一體，有畫面，有題款，有圖章，構(gòu)成一幅幅具有詩(shī)情畫意的工藝品，堪與青田石雕、浙江木雕（東陽(yáng)木雕、樂清黃楊木雕）同稱為“浙江三大雕刻”。郭沫若回京后，對(duì)黃巖翻簧贊譽(yù)有加，引起了中央媒體的關(guān)注。后來有記者還專程赴黃巖，拍攝翻簧竹雕生產(chǎn)工藝的全過程。黃巖翻簧的故事，由此傳播開來。

1979年，黃巖翻簧廠成立創(chuàng)新設(shè)計(jì)組，產(chǎn)品從原來的20多個(gè)品種發(fā)展到230多個(gè)，翻簧藝術(shù)品成批生產(chǎn)出口。改革開放后，國(guó)外木制品玩具傳入中國(guó)，黃巖翻簧廠因市場(chǎng)經(jīng)濟(jì)需求，逐漸轉(zhuǎn)型生產(chǎn)木制禮品。1985年，再也不做翻簧竹雕產(chǎn)品了。那時(shí)，羅啟松備受打擊，立志要重現(xiàn)黃巖翻簧輝煌。退休后，他在親朋好友不解的目光中，重操舊業(yè)，重啟翻簧事業(yè)……

有關(guān)黃巖翻簧竹雕的珍貴史料，都被羅啟松陳列于名家工作室內(nèi)。不知不覺中， 羅啟松已從一名翻簧手藝人，變成了 “守”藝人。

羅啟松曾經(jīng)一次次去學(xué)校上課，為孩子們講“非遺”，講傳統(tǒng)文化?！霸谥袊?guó)工藝美術(shù)百花園里，黃巖翻簧是一朵奇葩，我們至少不能讓這門手藝失傳。藝術(shù)追求永無止境，傳承古老的翻簧竹雕文化，是這個(gè)時(shí)代賦予我們的歷史重任?！绷_啟松動(dòng)情地說。

竹片上的藝術(shù)傳承

百年竹之韻，悠悠翻簧音。那些精湛的技藝，帶著時(shí)光的印記代代流傳，揣著歷史的溫?zé)嵫永m(xù)至今。通過它們，羅啟松便可以與古代匠人隔著時(shí)空對(duì)話。保存這一技藝的當(dāng)務(wù)之急，是培養(yǎng)新人，讓傳統(tǒng)技藝能傳承發(fā)展下去。

黃巖翻簧藝術(shù)，堪稱國(guó)內(nèi)一絕，然而過去受老工藝的限制，只能制作“小玩意”。如今，老工藝被羅啟松等人創(chuàng)新了，翻簧藝術(shù)也有了大型作品。

在羅啟松的翻簧竹雕名家工作室，就有一件作品特別引人注目，名為《鳳耳孔雀花瓶》。這件作品的制作材料是羅啟松精挑細(xì)選、嚴(yán)格把關(guān)的。他專挑生長(zhǎng)周期3至5年，長(zhǎng)在向陽(yáng)山坡上，竹身大而節(jié)長(zhǎng)，不斷枝折頂、長(zhǎng)勢(shì)良好的毛竹，去青去肌后蒸煮軟化壓平，然后精挑那些材質(zhì)細(xì)密、色澤光潤(rùn)的竹黃，用以制作這件作品。

《鳳耳孔雀花瓶》在創(chuàng)作設(shè)計(jì)上頗有創(chuàng)新。此瓶紋飾工整、古樸莊重，涵蓋16面，由32塊竹黃斗角組合而成。瓶的頸腹，是羅啟松用竹子的橫斷面拼湊而成，束頸闊腹，實(shí)屬罕見。在瓶的頸部上下，飾有陽(yáng)刻紋樣，且布局錯(cuò)落有致。另外，在技法上，羅啟松也別出心裁，他在主體瓶身的弦紋下，精心雕刻了精致的孔雀圖。置放了20多年后，這件竹黃器經(jīng)過氧化變?yōu)殓晟?，令人愛不釋手?/p>

再如他的作品《貴妃出浴博古盒》《黃山煙云三折屏風(fēng)》，還有入選G20杭州峰會(huì)杭州蕭山機(jī)場(chǎng)國(guó)賓樓藝術(shù)品陳設(shè)的《賞花圖宮扇》等，都頗具藝術(shù)特色。這些竹黃器大多以竹和木為胎，外表粘貼竹黃，色調(diào)柔和，十分精美。羅啟松采用薄意雕和線雕等藝術(shù)表現(xiàn)方法，將繪畫的筆墨濃淡效果，巧妙地轉(zhuǎn)化為雕刻疏密有致的效果。這樣，線條看上去顯得有序且富有立體感，畫面和造型顯得自然傳神。

由于長(zhǎng)年累月的伏案工作，羅啟松患上了頸椎病，近年來疼痛不斷折磨著他。他那雙長(zhǎng)年握刀的手，長(zhǎng)滿了老繭，讓人看了心疼。掌握這一技藝的人如今寥寥無幾，已87歲高齡的羅啟松，是為數(shù)不多的堅(jiān)守者。

在羅啟松的影響下，兒子羅文弛也走上了傳承翻簧竹雕之路。與父親羅啟松一樣，羅文弛也是一個(gè)富有創(chuàng)新精神的手藝人。以往為了讓產(chǎn)品增加光亮度，通常會(huì)涂上一層油漆，時(shí)間久了油漆就容易發(fā)生龜裂，如果用機(jī)器或普通的布去打磨，容易破壞竹黃表皮。羅文弛反復(fù)琢磨，最終選用絲綢去打磨，這樣處理后居然有點(diǎn)像象牙雕了，帶著一種很自然的光亮。

談及未來，羅啟松期待黃巖翻簧竹雕能將藝術(shù)與實(shí)用相結(jié)合、科技與傳統(tǒng)相結(jié)合，能走進(jìn)千家萬戶，煥發(fā)出新的生機(jī)和活力。

Luo Qisong： Carving a Unique Bamboo World

By? Chen Weihua

In Huangyan district， Taizhou city in East China’s Zhejiang province， lies a scenic spot called Jiufeng or Nine Peaks. Surrounded by nine mountains， the place has attracted numerous visitors over the years. Rising above the sea level at four to five hundred meters， the nine peaks stand out on the coastal plain like a tall and broad screen. They are more than sceneries to admire; they are also where the cultural essence of Huangyan is concentrated.

Nestled in one piece of greenery along the picturesque mountain range is Luo Qisong’s studio of Fanhuang bamboo carving， open free of charge to the public.

Born in 1935， 87-year-old Luo is a national representative inheritor of Fanhuang bamboo carving， a traditional art form first developed in the Qing dynasty （1616-1911） in Huangyan. The craft is known for its refined sculpturing， elegant modeling and bright yellow colors.

Applying primarily the technique of relief engraving， the bamboo can be decorated with various landscapes， flowers， birds， and figures， making the carvings look as if they are made of ivory. To create Fanhuang bamboo wares， moso bamboos， which are the most commonly raw materials， are first skin-removed and sliced， before being molded and drawn with colors， and fine-carved and lacquered. What makes Fanhuang bamboo carving unique is the fact that the carving is done on the inner linings of bamboo stems.

Over the past six decades， Luo has dedicated much of his time performing and perfecting his carving skills. He has won numerous honors and titles during the time， including “Outstanding Folk Artist of Zhejiang Province”， and some of his works have been permanently collected at museums such as the China National Arts and Crafts Museum and the Zhejiang Provincial Museum.

Stepping into Luo’s studio， one could immediately see plenty of his works： a bamboo vase with a peacock spreading its tail feathers on it， a bamboo dressing table with mandarin ducks and a rare yellow bamboo fan … many of Luo’s finest carving works are on display in the studio.

“This big screen Autumn in Yongning is one of my newest creations，” Luo said. “It took me a whole year to finish.”

Starting at the end of 2019， when he set out working on it， Luo had to travel from his home in the downtown area to work the studio for the next year. He would have to walk more than half an hour， panting and sweating， which to a man of Luo’s age is quite a testing task. In addition， he went through tons of books and materials from which to draw ideas.

“While my previous carving works focused mostly on landscape in ancient times， I’ve broadened my artistic expression through integrating more contemporary elements and making them more relevant，” he added.

Indeed， Autumn in Yongning — the title derives from the Yongning River， a thousand-year-old river that the locals affectionately call their “mother river” — has incorporated a variety of carving techniques， and the bold and innovative artistic expression has lent the work a refreshing feeling.

Not only the Yongning River， Huangyan’s famed tangerines， its well-known molding industry and its people … Luo’s hometown has proved to be a limitless source of inspiration for his carving works.

Luo’s father passed away when he was still very young， and it was his mother and elder sister who had supported him to complete elementary school. At the time， he had been quite into painting. Too poor to buy paints， he would dip a secondhand inkbrush into water and write on stones. At the age of 16， he would imitate the paintings listed in the Manual of the Mustard Seed Garden， a popular manual of Chinese painting compiled during the Qing era. Later， Luo immersed himself in the artistic world of Qi Baishi （1864-1957） and Yu Fei’an （1889-1959）， two of China’s most renowned painters. These experiences laid a good foundation for Luo’s later endeavor in the art of Fanhuang bamboo carving.

In fact， in 1957， when Luo was 22 years old， he was planning to apply to study at an art school. But as fate would have it， his excellent painting skills earned him some reputation and attracted the attention of the local Fanhuang bamboo carving factory， which made an exception for Luo by employing him as one of their resident craftsmen. Within three years of apprenticeship， Luo would be able to work on his own. Before long， he would become a master himself.

Luo’s success is largely down to his hardworking attitude. When the shifu （or teacher） taught the craft in the workshop， Luo was always the most serious one， listening attentively and practicing extensively. To master the essentials of carving as soon as possible， he got up early every day in the dark， and even went to work overtime in the plant on holidays. He would sit there for hours， until his feet were numb and the hand that held the knife could not be controlled.

In 1964， Guo Moruo （1892-1978）， admiring the exquisiteness of Fanhuang bamboo carving， made a special visit to Luo’s plant. Guo not only showed great interest in the unique production process， but also marveled the flowers， birds， worms and fish carved on the works. In the display room， Guo picked up a tea caddy with several titmice vividly carved on it， as if they would fly away at any moment. This tea caddy， which Guo examined for quite some time， was made by Luo. After Guo returned to Beijing， he continued to sing praises of the Fanhuang bamboo carving craft， which eventually caught the eyes of the state media. Indeed， a few journalists traveled specially to Huangyan to film the whole production process. As a result， the story of Fanhuang bamboo carving gradually spread to the entire country.

The episode with Guo has left an indelible mark in Luo’s mind， and inspired Luo’s continuous search for perfection. Over the years， he has not only perfected his skills on Fanhuang bamboo carving， but also innovated the craft. In the past， craftsmen only focused on making “small gadgets”， but now， much larger works are produced， thanks to Luo’s selection of large and sturdy bamboos as raw materials and his delicate carving techniques.

As a result of years of desk work， Luo has been plagued with cervical spondylosis for quite a few years. His hands， thanks to all these years of knifework， are full of calluses. Right now， Luo is only one of the few remaining artists who have mastered the craft of Fanhuang bamboo carving and who are still practicing the craft.

Therefore， to better preserve it， one of the top priorities is to train new talents so that the skills could be passed on and further developed. Throughout the years， Luo has spent a lot of efforts in this regard. Luo regularly holds events and organizes workshops on Fanhuang bamboo carving in his studios. He has been to many schools delivering lectures to students on the significance of traditional Chinese culture and on the importance of better inheriting “intangible cultural heritage”. Influenced by his experience and achievements， Luo Wenchi， his son， has taken up the craft and become an outstanding artist of Fanhuang bamboo carving as well.

“In the garden of Chinese arts and crafts， Huangyan’s Fanhuang bamboo carving is undoubtedly a wonderful flower，” Luo said. “At the very least， we can’t allow the loss of this craft. The pursuit of art is an endless journey， and it is our historical responsibility to continue passing on the ancient bamboo carving culture.”