克里斯與余杭紙傘的情緣

文/劉 臻

浙江是非遺大省，有241項(xiàng)國遺、886項(xiàng)省遺，其中有8項(xiàng)非遺列入聯(lián)合國科教文組織人類非遺名錄。非遺的“不斷再創(chuàng)造”是其不同于文物的地方，當(dāng)下保護(hù)非遺最大的難點(diǎn)在于，其扎根生存的鄉(xiāng)土文化土壤正在消失。而杭州余杭青山村的一群洋村民，正致力于將傳統(tǒng)非遺與現(xiàn)代設(shè)計(jì)結(jié)合起來，開創(chuàng)了非遺活態(tài)傳承的新局面。

從一把余杭非遺紙傘，到一把充滿創(chuàng)意的紙椅《飄》，再到紙椅《蝶》……來自德國的克里斯通過創(chuàng)造性轉(zhuǎn)化、創(chuàng)新性發(fā)展，激發(fā)出中國非遺走出國門、走向世界的強(qiáng)大生命力。

立足傳統(tǒng)的未來 融入外籍人才的創(chuàng)意

德國設(shè)計(jì)師克里斯于2010年來到中國，2011年，他跟隨張雷夫婦拜訪了余杭紙傘制作技藝非遺傳承人劉有泉，并在當(dāng)時(shí)簡陋的紙傘作坊學(xué)習(xí)了3個(gè)多月，學(xué)習(xí)了余杭紙傘70多道傳統(tǒng)制作工藝，其間，克里斯對制作傘面的“濕糊”工藝產(chǎn)生了濃厚的興趣?！皾窈笔怯媚z水將整張皮紙濕透后一層一層地糊在傘骨之上的一道工藝。

克里斯和張雷夫婦運(yùn)用“濕糊”工藝，把紙糊在其他形狀的框架上，設(shè)計(jì)出現(xiàn)代的燈罩等一系列生活用品。他們還大膽地設(shè)想，在沒有框架的情況下運(yùn)用濕糊工藝創(chuàng)作新的產(chǎn)品紙椅。

2012年，一把名為《飄》的紙椅出現(xiàn)在意大利米蘭設(shè)計(jì)周，它有著良好的牢固度和優(yōu)美的設(shè)計(jì)感，給國際設(shè)計(jì)界帶來了前所未有的驚喜，一舉獲得了米蘭家具展設(shè)計(jì)師衛(wèi)星展全場最高獎(jiǎng)。紙椅《飄》贏得全世界的關(guān)注，在于材料的創(chuàng)新。中國皮紙由桑皮、山椏皮等韌皮纖維為原料制成，紙薄而多孔，皮紙作為余杭紙傘面遮風(fēng)擋雨已屬不易，居然還可以做成堅(jiān)固的椅子，這可以說是一次大膽的嘗試。

克里斯向劉偉學(xué)學(xué)習(xí)“濕糊”工藝。Christoph learns the “wet paste” technique from Liu Wei.

中國傳統(tǒng)手工藝豐富的庫藏成為克里斯和合作伙伴們源源不斷的靈感來源?？死锼惯\(yùn)用中國傳統(tǒng)窗戶的冰裂紋原理以及榫卯結(jié)構(gòu)設(shè)計(jì)了可以無限衍生的書架，他們還傳承中國材料的古老工藝創(chuàng)作了絲系列、竹系列、土系列、金屬系列等在國際上受歡迎的產(chǎn)品。評價(jià)非遺項(xiàng)目是否活起來的標(biāo)準(zhǔn)，是看它是否融入了當(dāng)代人的生活和當(dāng)?shù)氐漠a(chǎn)業(yè)發(fā)展。克里斯等一批洋村民設(shè)計(jì)師的到來，讓青山村的傳統(tǒng)非遺與生活與產(chǎn)業(yè)建立了聯(lián)系，成為青山村藝術(shù)振興鄉(xiāng)村、推動共同富裕的發(fā)展特色。

俯瞰杭州余杭青山村。An aerial view of Qingshan village in Yuhang district, Hangzhou city.

再現(xiàn)余杭紙傘 聯(lián)結(jié)世界與未來

紙傘最著名的故事是《白蛇傳·游湖借傘》。許仙與白娘子在西湖斷橋以一把紙傘為媒，結(jié)下了千古奇緣，成為民間流傳最廣的愛情傳奇。二十世紀(jì)六七十年代，隨著鋼制骨架的晴雨兩用傘的出現(xiàn)，余杭紙傘技藝瀕臨失傳。直至2006年，余杭紙傘制作技藝非遺傳承人劉有泉的出現(xiàn)，才使紙傘制作工藝得以恢復(fù)。2007年，余杭紙傘被列入浙江省非物質(zhì)文化遺產(chǎn)名錄。

余杭紙傘盡管恢復(fù)了傳統(tǒng)技藝，但存在傳承人普遍高齡的問題，在這之前，制作余杭紙傘的手藝人年齡都在60歲以上。紙椅《飄》在米蘭設(shè)計(jì)周獲大獎(jiǎng)的消息傳回國內(nèi)，余杭紙傘作坊沸騰了，也讓余杭紙傘制作技藝非遺傳承人劉有泉的孫子劉偉學(xué)深感震撼。2014年，劉偉學(xué)從杭州師范大學(xué)設(shè)計(jì)專業(yè)畢業(yè)后，從爺爺劉有泉手里接過了傳承余杭紙傘非遺項(xiàng)目的重任?？死锼购秃献骰锇閭兏鸂敔攧⒂腥@一代師傅的合作，改變了劉偉學(xué)對余杭紙傘的印象，克里斯和合作伙伴們跟劉偉學(xué)的合作則改變了余杭紙傘的產(chǎn)業(yè)鏈發(fā)展。

克里斯和合作伙伴們通過解構(gòu)紙傘，解構(gòu)非遺的技藝，讓更多的年輕人看到了中國非遺的未來。2015年，克里斯和合作伙伴們跟劉偉學(xué)聯(lián)合制作了一把大紙傘，這把大紙傘作為裝置藝術(shù)遠(yuǎn)渡重洋，參加了巴黎MO展覽、米蘭設(shè)計(jì)周展覽以及雅典博物館展覽，再次走上國際舞臺。2022年，劉偉學(xué)從爺爺手中接下非遺接力棒后的第八年，余杭紙傘在故宮文淵閣驚艷亮相，古老的非遺技藝在年輕的劉偉學(xué)手中重新煥發(fā)光彩，也在海內(nèi)外擁有了一大批粉絲。

如今，90后的劉偉學(xué)打造的余杭紙傘產(chǎn)業(yè)鏈，從小山村的一個(gè)簡陋作坊，到瓶窯老街上的余杭紙傘館，讓余杭紙傘撐進(jìn)了故宮文淵閣，走出了國門，走向了國際。這項(xiàng)非遺技藝從爺爺手里恢復(fù)紙傘工藝，到孫子手里開紙傘網(wǎng)紅店，讓余杭紙傘再次建立了與現(xiàn)代生活的鏈接，形成了一個(gè)傳承支持產(chǎn)業(yè)、產(chǎn)業(yè)促進(jìn)就業(yè)、就業(yè)助力傳承的非遺保護(hù)閉環(huán)。在國潮引領(lǐng)消費(fèi)升級的浪潮中，像劉偉學(xué)這樣的中國年輕人，開始重新培育非遺生存土壤，他們以自己的努力，讓非遺在奔向物質(zhì)富裕、精神富有的道路上與時(shí)代同行。

克里斯向房金泉學(xué)習(xí)紙傘制作工藝。Christoph learns the making techniques of oil-paper umbrella from Fang Jinquan.

喜看洋村民與未來鄉(xiāng)村的大融合

青山村正在打造“未來鄉(xiāng)村”，鼓勵(lì)當(dāng)?shù)卮迕駛鞒邪l(fā)展非遺文化產(chǎn)業(yè)。中國這十年從量到質(zhì)的發(fā)展，使洋村民與未來鄉(xiāng)村得以深度融合，克里斯的故事正是這一大背景下鄉(xiāng)村發(fā)展與傳統(tǒng)工藝融合創(chuàng)新的一個(gè)重要縮影。

余杭紙傘工藝的大膽創(chuàng)新，讓克里斯看到了中國非遺的魅力，從此，“傳統(tǒng)的未來”成為克里斯與伙伴們的設(shè)計(jì)思想，他們在交流與合作中碰撞出的創(chuàng)新火花，讓余杭紙傘在傳承非遺技藝的同時(shí)，從上游重塑了消費(fèi)者對非遺的自信，從下游激活了非遺在產(chǎn)業(yè)發(fā)展中的活力。

這些年，克里斯走遍了全中國，學(xué)習(xí)各地的非遺技藝，收集相關(guān)的傳統(tǒng)材料，并將它們的工藝進(jìn)行解構(gòu)與分析。2015年6月12日，克里斯和張雷夫婦對青山村里廢棄的禮堂進(jìn)行了保護(hù)性改造，用來展示他們收集的上千種中國非遺手工藝材料，面向社會免費(fèi)公開。克里斯和合作伙伴們把這座非遺主題的資料館取名為“融設(shè)計(jì)圖書館”。

三年前，克里斯把妻子、女兒、兒子接到中國，把家安在青山村，成為青山村的“洋村民”。如今，克里斯一家在這個(gè)江南小村莊上幸福地生活著。克里斯在青山村的家非常的環(huán)保，家里所有的管道與屋頂連接，屋頂有很大的空間來收集大量的水。他們設(shè)計(jì)了自然水灌溉系統(tǒng)，用塑料瓶搭建暖房用來種植蔬菜。他們還會將自己親自種的蔬菜瓜果分享給鄰居。

克里斯的妻子妮可非常喜歡青山村，只要村里有事，妮可的身影就會出現(xiàn)在鄉(xiāng)村議事廳的議事會上。如今，妮可已經(jīng)成為參與青山村公共事務(wù)管理的活躍分子。妮可非常喜歡大自然，她經(jīng)常帶著孩子們下地做農(nóng)活，還在青山村發(fā)起了舊衣改造、垃圾桶美化、自然堆肥等一系列環(huán)保行動，與當(dāng)?shù)卮迕襁M(jìn)行了很好的互動。

青山村一天中最美麗的時(shí)刻是太陽落山的時(shí)候，緋紅的晚霞籠罩著青山，落日余暉灑滿整個(gè)村莊。這時(shí)候克里斯會帶著索尼婭、皮特在村里的坡地玩滑板，到溪邊嬉戲玩耍，妮可則騎著自行車陪護(hù)在孩子們身邊。克里斯在采訪中說：“我們找到了一個(gè)完美的地方作為我們的圖書館，我們的工坊，我們的工作室，我們的家。我們現(xiàn)在住在這里非常高興?！?/p>

德國設(shè)計(jì)師克里斯與他的一家在余杭青山村工作、生活的故事，以“外來客人”這一客觀視角，讓人們看到了中國非遺之魅力、未來鄉(xiāng)村之面貌，同時(shí)展現(xiàn)了中國這十年的變化發(fā)展。正如克里斯在采訪中說的那樣：“在過去的十年，中國發(fā)生了很多的變化。在技術(shù)、交通以及智能設(shè)備領(lǐng)域的發(fā)展都非常迅速。在另一方面，人們的思維也在變化，變得更加欣賞和了解傳統(tǒng)文化?！?/p>

克里斯與張雷夫婦討論冰裂紋書架的設(shè)計(jì)和制作。Christoph, Zhang Lei and Jovana Zhang discuss the design and production of “ice crack” pattern of the traditional Chinese window for their book shelves.

Christoph John and the Yuhang Oil-Paper Umbrellas

By Liu Zhen

克里斯在工作室。Christoph works in his studio.

Zhejiang is a province that is rich in intangible cultural heritage. It has some 241 items of intangible cultural heritage at the national level and 886 at the provincial level, eight of which are on the UNESCO’s List of Intangible Cultural Heritage. The“continuous re-creation” of intangible cultural heritage is what differs itself from cultural relics. At present, one of the biggest difficulties in protecting intangible cultural heritage is the fastdisappearing local “cultural soil” in which it was born and takes root.But in Qingshan village of Yuhang district, Hangzhou, a group of foreign residents are committed to combining traditional intangible cultural heritage with modern design, creating a new pattern for the living inheritance of intangible cultural heritage.

One of them is Christoph John, a German designer. From oilpaper umbrellas, an intangible cultural heritage in Yuhang, to the“piao” (floating) and “die” (butter fly) paper chairs, Chris, through creative transformation and innovative development, is providing inspiration for China’s intangible cultural heritage to get more widely known to the world.

Chris came to China in 2010, and the next year, he followed his designing partners and couple Zhang Lei and Jovana Zhang, and paid a visit to Liu Youquan, an inheritor of the oil-paper umbrella craft in Yuhang. In Liu’s workshop, Chris studied for more than three months and got his hands on all the 70-odd processes involved in making a traditional oil-paper umbrella. At the time, he was fascinated with the “wet paste” process, in which whole pieces of paper are soaked with glue and then pasted layer by layer onto the umbrella ribs.

Borrowing the technique, Chris and the Zhang couple applied it to a series of other frameworks and shapes, creating such daily articles as lamp shades. They also boldly proposed to use the process to make paper chairs without resorting to any preexisting frame.

In 2012, a paper chair named “piao” appeared during the Milan Design Week in Italy. With sturdy strength and beautiful design, it brought unprecedented surprise to the international design circle and won the highest award at the Salone Satellite exhibition of Milan Furniture Fair. The paper chair attracted worldwide attention largely because of its innovative materials. The paper used is made of tough fibers such as the mulberry bark.

Indeed, the rich collection of China’s traditional handicrafts has proved to be a constant source of inspiration for Chris and his partners. Using an “ice crack” pattern of the traditional Chinese window screen as well as the Sunmao (mortise and tenon joints)structure, they built a shelf with modular parts, which can be added in an endless fashion. Besides, they’ve also created products that are themed on silk, bamboo, earth and metal, which are distinctively Chinese traditional materials.

One of the most important criteria to determine if the intangible cultural heritage has “come to life” is whether it has integrated into local life as well as local development. The arrival of Chris and his designer friends has undoubtedly sparked the cultural traditions of Qingshan village into life and made its efforts in rural revitalization and common prosperity.

The best-known Chinese tale on the oil-paper umbrella is perhaps the White Snake Lady, in which the two protagonists Xu Xian and Bai Niangzi (the snake lady) fell in love and eventually tied the knot because of an oil-paper umbrella. In the 1960s and 1970s,with the rise of steel ribbed umbrellas, the craftsmanship of oil-paper umbrella gradually declined and faced the risk of being lost forever.Until in 2006, Liu Youquan took the lead and started to revive the making techniques and skills of the oil-paper umbrellas. In 2007,the Yuhang paper umbrella was included in the Intangible Cultural Heritage List of Zhejiang Province.

On the other hand, while the craftsmanship of the Yuhang oilpaper umbrella was renewed, most of inheritors were already in an advanced age, all older than 60. When news of the paper chair “piao”winning a major award during the Milan Design Week, the whole oil-paper umbrella workshop back in Yuhang was elated and Liu Weixue, grandson of Liu Youquan, was also amazed. Weixue, who graduated in 2014 from Hangzhou Normal University majoring in design, was expected to take over the baton from his grandfather.Seeing the cooperation and innovative efforts, Weixue’s stereotypical perception of the Yuhang oil-paper umbrella has completed changed. And Weixue’s partnership with Chris and his co-designers has transformed the development of the oil- paper umbrella as an industry.

By deconstructing the oil-paper umbrella and its craftsmanship,Chris and co have enabled more young people to see the prospects of China’s intangible cultural heritage. In 2015, Chris and Liu Weixue jointly produced a large paper umbrella as an installation art, and signed it up for the Maison & Objet Fair in Paris, the Milan Design Week and the exhibitions at the National Archaeological Museum in Athens. In 2022, the Yuhang oil-paper umbrella was displayed at the Palace Museum in Beijing as well. Indeed, Liu Weixue’s efforts— he has opened an online store to sell these beautiful products— to revitalize the ancient craftsmanship of the oil-paper umbrella have gained him a large number of followers both at home and abroad. During these years in China, Chris traveled all over China,learning the crafts of intangible cultural heritage, collecting relevant materials, and dissecting and analyzing their techniques and skills.Three years ago, Chris brought his wife, daughter and son to China and settled down in Qingshan village. They have lived an idyllic and environment-friendly life. The roof of their house collects rainwater into big containers, which they are using to watering the garden and vegetable patches. They have designed an irrigation system,built greenhouses out of plastic bottles to grow vegetables, and shared the produce with neighbors. Chris’s wife Nicole Goymann loves Qingshan village, and she takes an active part in the village’s public affairs. And Nicole loves nature too. She often takes the children to the fields to do farm work. She also initiated a series of environmental protection activities and had blended well into local life. “We found the perfect place for our library, our workshop, our studio, our home. We are very happy to live here now,” said Chris.

“In the past decade, many great changes have taken place in China,” he added. “On the other hand, people’s thinking is also changing; they are now more appreciative and understanding of the traditional culture.”

克里斯與張雷夫婦交流紙傘工藝的創(chuàng)新。Christoph, Zhang Lei ( first on the left) and Jovana Zhang discuss innovations for the making of oil-paper umbrellas.