论文部分内容阅读
鱼鳞是最能体现“拓”这种独特艺术语言的地方之一,鱼鳞的层次变化丰富、清晰,能细微地表现出鱼的质感,这种质感是鱼拓画所特有的。
“远看山有色,近听水无声。春去花还在,人来鸟不惊。”这是唐代诗人王维对画作的经典概括,传递出艺术品无声却悠远的魅力。“好著丹青图画取,题诗寄与水曹郎。”在白居易的筆下,他觉得绘画只能用颜料勾勒出来。其实到了宋朝,我国开始出现了一种由生物本身与人类一起协作产生的艺术品,这就是鱼拓。其灵感源自中国古老的碑拓技艺,鱼拓就是将真鱼的形象用墨汁或颜料拓印到纸上的一种艺术。
出生于舟山市普陀区蚂蚁岛乡的徐斌立,就是一名当地的鱼拓文化传承人。
鱼拓是这么做出来的
不久前,舟山市普陀区海钓协会会长徐斌立接到一位来自南京的观赏鱼爱好者的请求。那位姓王的先生说,他饲养多年的一条60厘米的金龙鱼去世了,为此很伤感,王先生希望徐斌立能给这条鱼作一幅鱼拓画,留下“水精灵之魂”,供自己时时回忆。
一条粉色的肥鱼从南京运到舟山普陀,徐斌立收到后马上动手创作。他先用盐轻轻洗去鱼表体的黏液,用手顺着鱼鳞的方向慢慢清洗,在不损伤鱼鳍或鱼鳞的前提下,反复多次;然后用纸巾去除鱼鼻中的污物,再去除鱼鳃内的污物,防止按压时流出血污;最后用湿毛巾覆盖鱼身,防止鱼体干硬。擦干之后,把它置放于挖有刚好能容下鱼身的泡沫板上固定,然后开始用颜料涂在鱼身上。
“一般情况下,靠近鱼背的那部分颜色要深一些,往鱼肚涂过去逐渐变淡。”徐斌立说,最难把握的是颜色过渡,由深入浅,鱼拓技巧的要领之一便是色彩的运用,浓、中、淡自然过渡,虚实变化自然,注重潜藏色,具有强烈的真实感和立体效果,才能彰显鱼拓的“拓”之美,否则画出来后就不自然。
最后才是用宣纸覆盖上了颜色的鱼身,轻轻按下去后,用拓片逐层拓印。
创作一幅像样的鱼拓,最快也需个把小时。如果画面上需出现多条鱼的形象,那么时间就要延长。做鱼拓画入门容易,精深颇难。
拜师国内的“鱼拓教父”
徐斌立可谓是海水里泡大的渔家郎。20多年前,他就涉足海钓,驾一叶扁舟,纵情于海浪礁石之间。一根杆子、一圈细线、一枚钩子、一堆饵料、一群钓友,出海静坐,一会儿工夫,就是满满的一筐海鱼。
徐斌立是舟山乃至全国较早的专业海钓手之一,近年来先后获得舟山全国海钓公开赛冠军、厦门亚洲杯海钓选拔赛综合鱼冠军、洞头国际矶钓名人邀请赛单尾冠军暨团体冠军、象山国际海钓精英赛团体冠军等。
从事海钓久了,他也有机会接触鱼拓并有意识去了解鱼拓。他觉得鱼拓是中国渔文化的瑰宝,应该传承、发扬。
10年前,他有幸碰到山东鱼拓专家李世新,在这位被业界称为“鱼拓教父”的大家的指点下,徐斌立的鱼拓技艺突飞猛进。“尤其是颜料的运用上,悟到很多。”徐斌立说,以前往往一个断面用一种颜色,其实用多种颜色调和,层次感、立体感更强。而且徐老师还教他如何在鱼的周边拓上贝壳、树叶等,奥妙无穷。
“鱼拓画唯一需要作者手工添加的是眼睛,当然有时鱼的鳍也需要修饰;在作画前,鱼鳍应该是张开的,这样画出来后才更灵动。”徐斌立介绍,现在,鱼拓画不仅可以记录和展示不同种类的鱼的身长、形状、颜色等体表特征,还可以在上面描绘山水风景,或用书法题词、加盖印章等,成为诗书画印俱全的艺术品,具有较高的欣赏价值和收藏价值,受到越来越多人喜爱。
近年来,李世新、徐斌立等经常组织举办全国鱼拓创作大赛,通过海钓协会的一些合作媒体、专业网站、自媒体平台等发布信息,每次有不少参赛者参与。
2017年,他们举办了舟山渔韵杯静水鱼拓评选暨中国国际精品鱼拓巡回展,来自国际知名的鱼拓大家——日本东洋拓正会会长松永正松津先生、韩国西归浦艺术鱼拓会会长和海先生、韩国西归浦艺术鱼拓会艺术家和罗先生、韩国西归浦艺术鱼拓会艺术家屹川先生选送了鱼拓精品并参加了此次活动。
巡回展在滨海城市山东烟台拉开帷幕,随后陆续在日照海洋牧场、福建霞浦、北京宽沟、江苏南京等地举行了不同形式的鱼拓艺术展览。展览所到之处受到了民众的热烈欢迎——在北京宽沟的展出,来自世界10个国家的朋友在现场进行交流探讨,为精彩的鱼拓作品点赞;在南京、在日照,大家一起分享鱼拓的快乐;在霞浦,创作者为钓友刚刚钓获的大鱼做拓。“这一幕幕,现在回头看看,还是很激动,我们为自己的努力而感到高兴。”徐斌立说。
传承弘扬鱼拓文化
“鱼的轮廓是每一种鱼的外部特征,是确认一种鱼的第一印象。无论是长的、圆的、扁的,用拓印的方法,相对于其他艺术表现形式,无疑是再准确不过的了,也是最能表现鱼体曲线美感和力度的方法之一。”
“鱼鳞是最能体现‘拓’这种独特艺术语言的地方之一。一幅精美的作品,鱼鳞的层次变化丰富、清晰,能细微地表现出鱼的质感,不仅要拓出鱼鳞的花纹,更要艺术地拓出层次感,这种质感是鱼拓画特有的,是国画、年画等其他艺术形式所无法比拟的。”
“构图简约的鱼拓作品,能让人感觉空灵的时空之美。画面简约,主题突出,方能尽显鱼拓的‘拓’之美,体现创作者的全部情感,可谓简约而不简单。”
这是徐斌立提供的鱼拓画讲座资料里的几段话。这些年,考虑到鱼拓这种非遗项目的传承者越来越少,他走进大中小学、居民社区传授技艺。
在普陀小学,学生们倾听他的讲座后,大呼过瘾;在实践基地,他手把手地教孩子创作鱼拓,孩子们的想象力让鱼拓文化更加丰富多彩;在浙江舟山群岛新区旅游与健康职业学院,师生们在他的示范下创作鱼拓,互动环节一波接一波,演讲结束后大家久久不愿离去。
去珠海、到苏州、走宁波、赴丽水……他传教鱼拓的脚步遍布祖国各地。
“目前,我国鱼拓制作水平已可与日本及韩国的鱼拓艺术家的作品相媲美,同时,我国的鱼拓作品还吸收了中国诗、书、画的元素及构图方法,使其更具有观赏性和文化内涵,也更具有东方艺术的韵味。”徐斌立对笔者说,鱼拓艺术正以不同的形式渗透到海洋文化和旅游文化中。 打造魚拓文旅产业链
钩底江湖,击浪人生。20多年来,徐斌立对这片从小相依的海越来越了解,生于斯、长于斯、充盈于斯、奉献于斯的情感也越来越强烈。
去年年底,蚂蚁岛乡贤理事会成立,土生土长的蚂蚁岛人徐斌立怀着一颗反哺之心,接下副会长一职。他上任后的第一件事,就是为当地培养一批鱼拓人才。
“在蚂蚁岛打造中国鱼拓之乡,如何?”与当地相关负责人商议后,说干就干,成立鱼拓工作室,开办培训班。徐斌立的脑海中有这样一张蓝图:当游客踏上蚂蚁岛,干净的马路上,隔一段距离就有一幅精美鱼拓作品的展示,打造别出心裁的鱼拓景观;每年邀请一批鱼拓名人进岛,开展鱼拓技艺的交流,再引进一些鱼拓展览,蚂蚁岛的名气也会传播开去……
近期,徐斌立正在考察蚂蚁岛的优良避风塘、鱼塘,计划用2~3年的时间,在当地开发一个集鱼拓休闲、自助烧烤、渔具租赁、亲子游项目、休闲赛事在内的休闲海钓基地,延长游客在蚂蚁岛的逗留时间,带动家乡旅游经济蓬勃发展。
Fish prints in China first appeared in the Song Dynasty (960-1279). The art has been carried on. Xu Binli, a native on Mayi Island in Putuo District of Zhoushan, China’s largest archipelago, is a fish print maker.
Before he became a fish print maker, Xu was a champion sea angler as the archipelago provides him with opportunities to take a sail out and angle on the sea. He is one of the earliest professional sea anglers of the country and a winner of national sea angling competitions. It was about 10 years ago that he ran into Li Shixin, a master of fish prints based in Shandong, another province in eastern China. Xu had been engaged in making fish prints before he met Li, but his skills were just rudimentary. It was under Li’s guidance that Xu learned how to make finest fish prints. He learned to apply colors to his fish prints. He also learned how to add the impressions of shells and tree leaves to the margin of his fish prints.
“In making a fish print, a printmaker needs to add the fish eyes manually to the print. Sometimes, the fish fins need a special touch as the spreading fins make a fish print look vivid,” says Xu. For the islander, fish prints are more than visual records and field notes that provide detailed information on a fish he catches from the sea. Poems and sea impressions can be added to fish prints to make them into souvenirs and artworks in the style of traditional Chinese painting.
In recent years, Li Shixin and Xu Binli have joined hands in holding some national and international fish print competitions. The competition notices are distributed through public and private media and professional websites.
In 2017, they held an international competition for fish prints. The event attracted some master fish print makers from Japan and South Korea to present their fish prints. The masters from Japan and South Korea came to visit the exhibition when it was on the road. The road show included exhibitions in Beijing, Yantai and Rizhao in Shandong Province, Nanjing in Jiangsu Province, and Xiapu in Fujian Province. Xu Binli promotes fish print making across the country. He gives lectures at schools and urban communities and teaches the art to young and old enthusiasts.
“At present, fish prints in China are comparable to those by fish print masters in Japan and South Korea. Moreover, our fish prints present some elements of traditional painting, calligraphy and poetry. Our fish prints look more like artworks and present a special oriental charm,” says Xu.
Xu is now thinking about launching a tourism development project on the home island. He has already set up a fish print studio and is holding training classes for local residents on the island. Part of the blueprint for the development is of course fish prints. He wants to have some fine fish prints on sign boards across the island. He plans to hold regular fish print exhibitions on the island. He wants to turn the island into a tourism destination where tourists can have BBQs, angle on the sea, engage themselves in sports games such as sea angling competitions.
“远看山有色,近听水无声。春去花还在,人来鸟不惊。”这是唐代诗人王维对画作的经典概括,传递出艺术品无声却悠远的魅力。“好著丹青图画取,题诗寄与水曹郎。”在白居易的筆下,他觉得绘画只能用颜料勾勒出来。其实到了宋朝,我国开始出现了一种由生物本身与人类一起协作产生的艺术品,这就是鱼拓。其灵感源自中国古老的碑拓技艺,鱼拓就是将真鱼的形象用墨汁或颜料拓印到纸上的一种艺术。
出生于舟山市普陀区蚂蚁岛乡的徐斌立,就是一名当地的鱼拓文化传承人。
鱼拓是这么做出来的
不久前,舟山市普陀区海钓协会会长徐斌立接到一位来自南京的观赏鱼爱好者的请求。那位姓王的先生说,他饲养多年的一条60厘米的金龙鱼去世了,为此很伤感,王先生希望徐斌立能给这条鱼作一幅鱼拓画,留下“水精灵之魂”,供自己时时回忆。
一条粉色的肥鱼从南京运到舟山普陀,徐斌立收到后马上动手创作。他先用盐轻轻洗去鱼表体的黏液,用手顺着鱼鳞的方向慢慢清洗,在不损伤鱼鳍或鱼鳞的前提下,反复多次;然后用纸巾去除鱼鼻中的污物,再去除鱼鳃内的污物,防止按压时流出血污;最后用湿毛巾覆盖鱼身,防止鱼体干硬。擦干之后,把它置放于挖有刚好能容下鱼身的泡沫板上固定,然后开始用颜料涂在鱼身上。
“一般情况下,靠近鱼背的那部分颜色要深一些,往鱼肚涂过去逐渐变淡。”徐斌立说,最难把握的是颜色过渡,由深入浅,鱼拓技巧的要领之一便是色彩的运用,浓、中、淡自然过渡,虚实变化自然,注重潜藏色,具有强烈的真实感和立体效果,才能彰显鱼拓的“拓”之美,否则画出来后就不自然。
最后才是用宣纸覆盖上了颜色的鱼身,轻轻按下去后,用拓片逐层拓印。
创作一幅像样的鱼拓,最快也需个把小时。如果画面上需出现多条鱼的形象,那么时间就要延长。做鱼拓画入门容易,精深颇难。
拜师国内的“鱼拓教父”
徐斌立可谓是海水里泡大的渔家郎。20多年前,他就涉足海钓,驾一叶扁舟,纵情于海浪礁石之间。一根杆子、一圈细线、一枚钩子、一堆饵料、一群钓友,出海静坐,一会儿工夫,就是满满的一筐海鱼。
徐斌立是舟山乃至全国较早的专业海钓手之一,近年来先后获得舟山全国海钓公开赛冠军、厦门亚洲杯海钓选拔赛综合鱼冠军、洞头国际矶钓名人邀请赛单尾冠军暨团体冠军、象山国际海钓精英赛团体冠军等。
从事海钓久了,他也有机会接触鱼拓并有意识去了解鱼拓。他觉得鱼拓是中国渔文化的瑰宝,应该传承、发扬。
10年前,他有幸碰到山东鱼拓专家李世新,在这位被业界称为“鱼拓教父”的大家的指点下,徐斌立的鱼拓技艺突飞猛进。“尤其是颜料的运用上,悟到很多。”徐斌立说,以前往往一个断面用一种颜色,其实用多种颜色调和,层次感、立体感更强。而且徐老师还教他如何在鱼的周边拓上贝壳、树叶等,奥妙无穷。
“鱼拓画唯一需要作者手工添加的是眼睛,当然有时鱼的鳍也需要修饰;在作画前,鱼鳍应该是张开的,这样画出来后才更灵动。”徐斌立介绍,现在,鱼拓画不仅可以记录和展示不同种类的鱼的身长、形状、颜色等体表特征,还可以在上面描绘山水风景,或用书法题词、加盖印章等,成为诗书画印俱全的艺术品,具有较高的欣赏价值和收藏价值,受到越来越多人喜爱。
近年来,李世新、徐斌立等经常组织举办全国鱼拓创作大赛,通过海钓协会的一些合作媒体、专业网站、自媒体平台等发布信息,每次有不少参赛者参与。
2017年,他们举办了舟山渔韵杯静水鱼拓评选暨中国国际精品鱼拓巡回展,来自国际知名的鱼拓大家——日本东洋拓正会会长松永正松津先生、韩国西归浦艺术鱼拓会会长和海先生、韩国西归浦艺术鱼拓会艺术家和罗先生、韩国西归浦艺术鱼拓会艺术家屹川先生选送了鱼拓精品并参加了此次活动。
巡回展在滨海城市山东烟台拉开帷幕,随后陆续在日照海洋牧场、福建霞浦、北京宽沟、江苏南京等地举行了不同形式的鱼拓艺术展览。展览所到之处受到了民众的热烈欢迎——在北京宽沟的展出,来自世界10个国家的朋友在现场进行交流探讨,为精彩的鱼拓作品点赞;在南京、在日照,大家一起分享鱼拓的快乐;在霞浦,创作者为钓友刚刚钓获的大鱼做拓。“这一幕幕,现在回头看看,还是很激动,我们为自己的努力而感到高兴。”徐斌立说。
传承弘扬鱼拓文化
“鱼的轮廓是每一种鱼的外部特征,是确认一种鱼的第一印象。无论是长的、圆的、扁的,用拓印的方法,相对于其他艺术表现形式,无疑是再准确不过的了,也是最能表现鱼体曲线美感和力度的方法之一。”
“鱼鳞是最能体现‘拓’这种独特艺术语言的地方之一。一幅精美的作品,鱼鳞的层次变化丰富、清晰,能细微地表现出鱼的质感,不仅要拓出鱼鳞的花纹,更要艺术地拓出层次感,这种质感是鱼拓画特有的,是国画、年画等其他艺术形式所无法比拟的。”
“构图简约的鱼拓作品,能让人感觉空灵的时空之美。画面简约,主题突出,方能尽显鱼拓的‘拓’之美,体现创作者的全部情感,可谓简约而不简单。”
这是徐斌立提供的鱼拓画讲座资料里的几段话。这些年,考虑到鱼拓这种非遗项目的传承者越来越少,他走进大中小学、居民社区传授技艺。
在普陀小学,学生们倾听他的讲座后,大呼过瘾;在实践基地,他手把手地教孩子创作鱼拓,孩子们的想象力让鱼拓文化更加丰富多彩;在浙江舟山群岛新区旅游与健康职业学院,师生们在他的示范下创作鱼拓,互动环节一波接一波,演讲结束后大家久久不愿离去。
去珠海、到苏州、走宁波、赴丽水……他传教鱼拓的脚步遍布祖国各地。
“目前,我国鱼拓制作水平已可与日本及韩国的鱼拓艺术家的作品相媲美,同时,我国的鱼拓作品还吸收了中国诗、书、画的元素及构图方法,使其更具有观赏性和文化内涵,也更具有东方艺术的韵味。”徐斌立对笔者说,鱼拓艺术正以不同的形式渗透到海洋文化和旅游文化中。 打造魚拓文旅产业链
钩底江湖,击浪人生。20多年来,徐斌立对这片从小相依的海越来越了解,生于斯、长于斯、充盈于斯、奉献于斯的情感也越来越强烈。
去年年底,蚂蚁岛乡贤理事会成立,土生土长的蚂蚁岛人徐斌立怀着一颗反哺之心,接下副会长一职。他上任后的第一件事,就是为当地培养一批鱼拓人才。
“在蚂蚁岛打造中国鱼拓之乡,如何?”与当地相关负责人商议后,说干就干,成立鱼拓工作室,开办培训班。徐斌立的脑海中有这样一张蓝图:当游客踏上蚂蚁岛,干净的马路上,隔一段距离就有一幅精美鱼拓作品的展示,打造别出心裁的鱼拓景观;每年邀请一批鱼拓名人进岛,开展鱼拓技艺的交流,再引进一些鱼拓展览,蚂蚁岛的名气也会传播开去……
近期,徐斌立正在考察蚂蚁岛的优良避风塘、鱼塘,计划用2~3年的时间,在当地开发一个集鱼拓休闲、自助烧烤、渔具租赁、亲子游项目、休闲赛事在内的休闲海钓基地,延长游客在蚂蚁岛的逗留时间,带动家乡旅游经济蓬勃发展。
Fish prints in China first appeared in the Song Dynasty (960-1279). The art has been carried on. Xu Binli, a native on Mayi Island in Putuo District of Zhoushan, China’s largest archipelago, is a fish print maker.
Before he became a fish print maker, Xu was a champion sea angler as the archipelago provides him with opportunities to take a sail out and angle on the sea. He is one of the earliest professional sea anglers of the country and a winner of national sea angling competitions. It was about 10 years ago that he ran into Li Shixin, a master of fish prints based in Shandong, another province in eastern China. Xu had been engaged in making fish prints before he met Li, but his skills were just rudimentary. It was under Li’s guidance that Xu learned how to make finest fish prints. He learned to apply colors to his fish prints. He also learned how to add the impressions of shells and tree leaves to the margin of his fish prints.
“In making a fish print, a printmaker needs to add the fish eyes manually to the print. Sometimes, the fish fins need a special touch as the spreading fins make a fish print look vivid,” says Xu. For the islander, fish prints are more than visual records and field notes that provide detailed information on a fish he catches from the sea. Poems and sea impressions can be added to fish prints to make them into souvenirs and artworks in the style of traditional Chinese painting.
In recent years, Li Shixin and Xu Binli have joined hands in holding some national and international fish print competitions. The competition notices are distributed through public and private media and professional websites.
In 2017, they held an international competition for fish prints. The event attracted some master fish print makers from Japan and South Korea to present their fish prints. The masters from Japan and South Korea came to visit the exhibition when it was on the road. The road show included exhibitions in Beijing, Yantai and Rizhao in Shandong Province, Nanjing in Jiangsu Province, and Xiapu in Fujian Province. Xu Binli promotes fish print making across the country. He gives lectures at schools and urban communities and teaches the art to young and old enthusiasts.
“At present, fish prints in China are comparable to those by fish print masters in Japan and South Korea. Moreover, our fish prints present some elements of traditional painting, calligraphy and poetry. Our fish prints look more like artworks and present a special oriental charm,” says Xu.
Xu is now thinking about launching a tourism development project on the home island. He has already set up a fish print studio and is holding training classes for local residents on the island. Part of the blueprint for the development is of course fish prints. He wants to have some fine fish prints on sign boards across the island. He plans to hold regular fish print exhibitions on the island. He wants to turn the island into a tourism destination where tourists can have BBQs, angle on the sea, engage themselves in sports games such as sea angling competitions.