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瓯塑，浙江温州的民间传统美术，由传统的堆漆工艺发展演变而成，是国家非物质文化遗产之一。
作为瓯塑传承人，通过青弘的手，诸多文物以另一种生命形态“重生”了，没有人能够亲手触摸《千里江山图》，现在可以了。画里山势绵亘、水天一色的浩大气象在指尖划过，那水村野市、茅屋楼阁仿佛穿越过千年的时光，再次来到人间。
2020年初夏，一位温州的女艺术家将中国十大传世名画之一的《千里江山图》“搬”进了自己的作品里。
于是，艺术圈里有人戏称：她专“盗”国宝级文物，这次竟向故宫博物院下手了。
你看，这些年，她“盗”过石涛的《陶渊明诗意山水册》、任伯年的《仕女图》、宋徽宗赵佶的《瑞鹤图》、韩滉的《五牛图》、长沙楚墓出土的《人物龙凤帛画》、白象塔出土的《白象塔文物》、黄公望《富春山居图》、朱瞻基的《莲浦松阴图》……哪一件不是各大博物馆的镇馆之宝？
在艺术界，盗版、复制从来不是什么好评价，偏偏对于这位女艺术家的“盗”，却是满满的敬意。
一
青弘，一个艺术的“苦行者”。
七年来，在青弘的生命里只有一件事——弘扬温州的瓯塑技艺。
不忘师恩，不负如来不负卿。自从2013年进入国家瓯塑大师周锦云先生工作室后，青弘成了这一行的小师妹。在深受师傅和师兄师姐宠爱的同时，她的肩头也压上了一副沉重的担子。
瓯塑艺术是一种古老的艺术，它与“黄杨木雕”“东阳木雕”“青田石雕”并称“浙江三雕一塑”。北京人民大会堂浙江厅的风景壁塑“西湖全景”和“雁荡秋色”便是瓯塑中的优秀作品。这两幅瓯塑代表作，前者像一个秀丽、文静、含情多姿的少女，后者则是一个雄壮、威武、粗犷豪爽的壮士。创作者运用一系列的表现手法，突出了一静一动、一柔一刚、一冷一暖、一细一粗、一浓一淡的对比效果，如2017年青弘为温州新永强中学创作的《罗峰物语》，充分体现了瓯塑艺术的精湛技艺和丰富的表现手段。
然而，几乎大部分的“非遗”，都面临着传承的难题，瓯塑也不例外。
20世纪八九十年代，在以中国工艺美术大师周锦云为代表的瓯塑代表性传承人的带领下，经过长期的探索与创新，瓯塑艺术曾经出现过一段时间的繁荣。但随着上一代大师们的老去，断层问题还是不可避免地出现了。
“因为太难了！”青弘脫口而出。瓯塑艺术的传承需要相当深厚的美术功底，至少是美术类本科水平，而且完成一件瓯塑作品，不论大小繁简，程序上就得一个来月，更别说最后的作品是不是能够卖得上价钱。
“所以，很少有年轻人愿意学，可以理解。”青弘说，“七年了，我依然还算是这一行的小师妹！”
传说，上古时代有一只鸟，叫“精卫”，是炎帝最小的女儿“女娃”所化。不知那是何年何月，女娃在东海游玩，被巨浪卷入海底，肉体被埋于滔滔海浪深处，然而她的神识，于万劫不复之地，悄悄孵化，长出灵魂的翅膀，破海飞冲而出。
她立志与天地抗争，与命搏，与运斗，立志填平那广袤无边的大海。因此，这一寸大小的身躯，日日来回飞奔几万里，衔西山木石，以堙东海。不知经历多少时间，直到精疲力尽，她，又一次葬身海底……
青弘将自己比作精卫，她选择了一条肩负瓯塑传承的道路，这条道路充满了荆棘和坎坷。
“我希望自己能勇敢坚强地行走，学习精卫不改的初心、不灭的意志，向死而生，金刚不摧。每一个温州人，都是海之子，勇敢而无畏。这便是祖祖辈辈遗传给我们的基因！”
这些年，除了瓯塑创作，青弘大部分的时间用在了瓯塑艺术的整理和推广上，她整理出版了瓯塑第一本真正意义上的教科书《瓯塑基础教程》;她走进学校、博物馆、图书馆、社区，尽可能地去让更多人了解瓯塑。
瓯塑在技艺上的门槛很高，大多数时候，没经过专业学习的人是无法尝试体验的，只能由她示范、展示给大家观摩。另一方面，就是通过创作更多的瓯塑作品，让人们通过作品去了解和喜欢上这项技艺。
这么多年来，青弘工作到凌晨两三点是常有的事，甚至都顾不上恋爱、结婚，至今仍是孑然一身。
“负笈尘中游，抱书雪前宿”，在艺术的“苦行”路上，青弘却并未感觉到太多悲戚，传承虽难，乐在其中。
二
近些年，青弘创作了一系列古画、文物的瓯塑作品，用瓯塑技艺赋予了这些原本不相干的事物新的姿态。
古画是二维的，古器是三维的，瓯塑是介于二维和三维之间的一种艺术，即拥有平面的视觉，又拥有立体的触感。
经由瓯塑重新创作的文物，竟然拥有了一种新的生命。
“你看，它们也悄悄变化，拥有了自己的温度和灵魂，我将它们命名为‘重生’。”青弘说。
通过青弘的手，诸多文物用另一种生命形态“重生”了，没有人能够亲手触摸《千里江山图》，现在可以了。画里山势绵亘、水天一色的浩大气象在指尖划过，那水村野市、渔船游艇、桥梁水车、茅屋楼阁仿佛统统穿越过千年的时光，再次来到人间。
艺术不在心外，唯存心中。十年前，青弘痴迷张大千泼墨，用纸绘来表达过。十年后，她尝试着用泥土来重塑。她喜爱宋画，如宋徽宗的《瑞鹤图》之温柔敦厚、含蓄优雅之美，以及《五牛图》《千里江山图》《富春山居图》等等，都在她的手里，直接以一种新的色彩，用瓯塑的工艺手法“重生”，然后再将它植入生活！
“我想让更多人都能触摸得到，让更多的人去拥有它。然而真正的名画，凡有幸留存，那也是世间独一无二的孤品，价值连城。寻常人如何能拥有？或许一睹真容都是一种奢望。”
不知不觉间，青弘似乎为瓯塑传承找到了一条新的道路，谁说只是古画文物的“重塑”，难道不是瓯塑的“新生”？
上天总是眷顾脚踏实地的人，老一辈的瓯塑艺术大师，在他们的年代为瓯塑艺术找到了保护和传承的办法，在这个时代，依然有。 九百多年前，十八歲的王希孟留下千古名作《千里江山图》。
九百多年后，《千里江山图》在九个白玉盘当中，以另一种形式“重生”。
最重要的，它不是盗版和复制，它依然是一件艺术品，虽然有点贵，但终究是一件可以“飞入寻常百姓家”的艺术品。
愿这样的“重生”更多一些，愿瓯塑艺术更灿烂一些。
Qinghong： Master of Wenzhou Clay Sculpture
By Zhu Yangjian
Wenzhou-based sculptor Qinghong found her own way to pay tribute to ancient painting masterpieces. Her most recent release is a clay creation remade from ， created by Wang Ximeng at 18 in the Northern Song （960-1127） and regarded as one of the “top 10 paintings from ancient China”.
（Wenzhou clay sculpture） has been the life of Qinghong in the past seven years. Born as Li Ruixin， Qinghong is the name the female artist uses in her career. She joined the studio of Zhou Jinyun in 2013 as the youngest apprentice on the team of the master.
Ranking together with Boxwood Carving， Dongyang Wood Carving and Qingtian Stone Carving as the Zhejiang handicraft quartet， has found its way into the “Zhejiang Hall” of the Great Hall of the People in Beijing. There are two Wenzhou Clay Sculpture artworks displayed at the Zhejiang Hall. The two masterpieces that depict the scenery of the West Lake in Hangzhou and Yandang Mountain in Wenzhou fully show the unique features of the Wenzhou craftsmanship that is， like many other cultural treasures， struggling to survive in modern times.
The art flourished for about a decade in the 1980s and 1990s， thanks to the hard work of a team led by Zhou Jinyun. “ is high-demanding by nature， which adds a lot of difficulty to its inheritance，” Qinghong explains， “It takes a high mastery of art basics to start with， and it takes at least a whole month to get the main work of an project done， not to mention the follow-up marketing possibilities.”
“Wenzhounese are the children of the sea， dauntless and pioneering. I have the genes in me， and will never quit on my pursuits as an artist， no matter what sacrifice I have to take.”
Over the years， Qinghong also spent a lot of time on the theoretical researches of and the promotion of this art genre. The result of her effort is the first textbook officially published. She tried what she could to introduce to more people through lectures and exhibitions in schools， libraries and residential communities.
Realizing that the high level of professionalism required for real involvement in this art form is the biggest obstacle in passing down the relay baton， Qinghong tries her best to create as many works as possible for more people to at least understand what really is. The art journey of Qinghong can be described as ascetic. She puts heart and soul into the clay sculpture， living a life without family happiness. For her， it is like running against time for a now-and-never task. “I have no time to feel lonely，” she said.
Qinghong’s creations in recent years， drawing inspiration from a series of ancient paintings and cultural relics， seem to have given a new life to the past masterpieces. From a dimensional sense， in her hands is something between the two-dimensional art of painting and three-dimensional artifacts. It is partly graphical and partly tactile.
“You can see the changes that bring passion and soul to the subject， which I call ‘rebirth’.”
It is through the hands of the artist that the grand landscape of rolling mountains， vast rivers and all the earthly goings on depicted in the Song landscape masterpieces became real and tangible.
Over the years， Qinghong released her passionate love for paintings by Song Dynasty artists， including the world-famous ， recreated in her sculptures.
“I want to see such masterworks become more approachable， and I want to make the dream of ownership come true. It is commonsense that such survivors of the world’s most brilliant art treasures are for the museums only. It takes a lot to admire them with one’s own two eyes， not to mention possibilities of ownership.”
In this sense， it seems that the sculptor has found a new way of inheritance for . More than 900 years after 18-year-old Wang Ximeng created his masterpiece， an artist in Wenzhou used clay to make everything in the painting come to life again. The result of the transition is a new， vivid artwork with enormous aesthetic value that can be appreciated and shared by ordinary people.
作为瓯塑传承人，通过青弘的手，诸多文物以另一种生命形态“重生”了，没有人能够亲手触摸《千里江山图》，现在可以了。画里山势绵亘、水天一色的浩大气象在指尖划过，那水村野市、茅屋楼阁仿佛穿越过千年的时光，再次来到人间。
2020年初夏，一位温州的女艺术家将中国十大传世名画之一的《千里江山图》“搬”进了自己的作品里。
于是，艺术圈里有人戏称：她专“盗”国宝级文物，这次竟向故宫博物院下手了。
你看，这些年，她“盗”过石涛的《陶渊明诗意山水册》、任伯年的《仕女图》、宋徽宗赵佶的《瑞鹤图》、韩滉的《五牛图》、长沙楚墓出土的《人物龙凤帛画》、白象塔出土的《白象塔文物》、黄公望《富春山居图》、朱瞻基的《莲浦松阴图》……哪一件不是各大博物馆的镇馆之宝？
在艺术界，盗版、复制从来不是什么好评价，偏偏对于这位女艺术家的“盗”，却是满满的敬意。
一
青弘，一个艺术的“苦行者”。
七年来，在青弘的生命里只有一件事——弘扬温州的瓯塑技艺。
不忘师恩，不负如来不负卿。自从2013年进入国家瓯塑大师周锦云先生工作室后，青弘成了这一行的小师妹。在深受师傅和师兄师姐宠爱的同时，她的肩头也压上了一副沉重的担子。
瓯塑艺术是一种古老的艺术，它与“黄杨木雕”“东阳木雕”“青田石雕”并称“浙江三雕一塑”。北京人民大会堂浙江厅的风景壁塑“西湖全景”和“雁荡秋色”便是瓯塑中的优秀作品。这两幅瓯塑代表作，前者像一个秀丽、文静、含情多姿的少女，后者则是一个雄壮、威武、粗犷豪爽的壮士。创作者运用一系列的表现手法，突出了一静一动、一柔一刚、一冷一暖、一细一粗、一浓一淡的对比效果，如2017年青弘为温州新永强中学创作的《罗峰物语》，充分体现了瓯塑艺术的精湛技艺和丰富的表现手段。
然而，几乎大部分的“非遗”，都面临着传承的难题，瓯塑也不例外。
20世纪八九十年代，在以中国工艺美术大师周锦云为代表的瓯塑代表性传承人的带领下，经过长期的探索与创新，瓯塑艺术曾经出现过一段时间的繁荣。但随着上一代大师们的老去，断层问题还是不可避免地出现了。
“因为太难了！”青弘脫口而出。瓯塑艺术的传承需要相当深厚的美术功底，至少是美术类本科水平，而且完成一件瓯塑作品，不论大小繁简，程序上就得一个来月，更别说最后的作品是不是能够卖得上价钱。
“所以，很少有年轻人愿意学，可以理解。”青弘说，“七年了，我依然还算是这一行的小师妹！”
传说，上古时代有一只鸟，叫“精卫”，是炎帝最小的女儿“女娃”所化。不知那是何年何月，女娃在东海游玩，被巨浪卷入海底，肉体被埋于滔滔海浪深处，然而她的神识，于万劫不复之地，悄悄孵化，长出灵魂的翅膀，破海飞冲而出。
她立志与天地抗争，与命搏，与运斗，立志填平那广袤无边的大海。因此，这一寸大小的身躯，日日来回飞奔几万里，衔西山木石，以堙东海。不知经历多少时间，直到精疲力尽，她，又一次葬身海底……
青弘将自己比作精卫，她选择了一条肩负瓯塑传承的道路，这条道路充满了荆棘和坎坷。
“我希望自己能勇敢坚强地行走，学习精卫不改的初心、不灭的意志，向死而生，金刚不摧。每一个温州人，都是海之子，勇敢而无畏。这便是祖祖辈辈遗传给我们的基因！”
这些年，除了瓯塑创作，青弘大部分的时间用在了瓯塑艺术的整理和推广上，她整理出版了瓯塑第一本真正意义上的教科书《瓯塑基础教程》;她走进学校、博物馆、图书馆、社区，尽可能地去让更多人了解瓯塑。
瓯塑在技艺上的门槛很高，大多数时候，没经过专业学习的人是无法尝试体验的，只能由她示范、展示给大家观摩。另一方面，就是通过创作更多的瓯塑作品，让人们通过作品去了解和喜欢上这项技艺。
这么多年来，青弘工作到凌晨两三点是常有的事，甚至都顾不上恋爱、结婚，至今仍是孑然一身。
“负笈尘中游，抱书雪前宿”，在艺术的“苦行”路上，青弘却并未感觉到太多悲戚，传承虽难，乐在其中。
二
近些年，青弘创作了一系列古画、文物的瓯塑作品，用瓯塑技艺赋予了这些原本不相干的事物新的姿态。
古画是二维的，古器是三维的，瓯塑是介于二维和三维之间的一种艺术，即拥有平面的视觉，又拥有立体的触感。
经由瓯塑重新创作的文物，竟然拥有了一种新的生命。
“你看，它们也悄悄变化，拥有了自己的温度和灵魂，我将它们命名为‘重生’。”青弘说。
通过青弘的手，诸多文物用另一种生命形态“重生”了，没有人能够亲手触摸《千里江山图》，现在可以了。画里山势绵亘、水天一色的浩大气象在指尖划过，那水村野市、渔船游艇、桥梁水车、茅屋楼阁仿佛统统穿越过千年的时光，再次来到人间。
艺术不在心外，唯存心中。十年前，青弘痴迷张大千泼墨，用纸绘来表达过。十年后，她尝试着用泥土来重塑。她喜爱宋画，如宋徽宗的《瑞鹤图》之温柔敦厚、含蓄优雅之美，以及《五牛图》《千里江山图》《富春山居图》等等，都在她的手里，直接以一种新的色彩，用瓯塑的工艺手法“重生”，然后再将它植入生活！
“我想让更多人都能触摸得到，让更多的人去拥有它。然而真正的名画，凡有幸留存，那也是世间独一无二的孤品，价值连城。寻常人如何能拥有？或许一睹真容都是一种奢望。”
不知不觉间，青弘似乎为瓯塑传承找到了一条新的道路，谁说只是古画文物的“重塑”，难道不是瓯塑的“新生”？
上天总是眷顾脚踏实地的人，老一辈的瓯塑艺术大师，在他们的年代为瓯塑艺术找到了保护和传承的办法，在这个时代，依然有。 九百多年前，十八歲的王希孟留下千古名作《千里江山图》。
九百多年后，《千里江山图》在九个白玉盘当中，以另一种形式“重生”。
最重要的，它不是盗版和复制，它依然是一件艺术品，虽然有点贵，但终究是一件可以“飞入寻常百姓家”的艺术品。
愿这样的“重生”更多一些，愿瓯塑艺术更灿烂一些。
Qinghong： Master of Wenzhou Clay Sculpture
By Zhu Yangjian
Wenzhou-based sculptor Qinghong found her own way to pay tribute to ancient painting masterpieces. Her most recent release is a clay creation remade from ， created by Wang Ximeng at 18 in the Northern Song （960-1127） and regarded as one of the “top 10 paintings from ancient China”.
（Wenzhou clay sculpture） has been the life of Qinghong in the past seven years. Born as Li Ruixin， Qinghong is the name the female artist uses in her career. She joined the studio of Zhou Jinyun in 2013 as the youngest apprentice on the team of the master.
Ranking together with Boxwood Carving， Dongyang Wood Carving and Qingtian Stone Carving as the Zhejiang handicraft quartet， has found its way into the “Zhejiang Hall” of the Great Hall of the People in Beijing. There are two Wenzhou Clay Sculpture artworks displayed at the Zhejiang Hall. The two masterpieces that depict the scenery of the West Lake in Hangzhou and Yandang Mountain in Wenzhou fully show the unique features of the Wenzhou craftsmanship that is， like many other cultural treasures， struggling to survive in modern times.
The art flourished for about a decade in the 1980s and 1990s， thanks to the hard work of a team led by Zhou Jinyun. “ is high-demanding by nature， which adds a lot of difficulty to its inheritance，” Qinghong explains， “It takes a high mastery of art basics to start with， and it takes at least a whole month to get the main work of an project done， not to mention the follow-up marketing possibilities.”
“Wenzhounese are the children of the sea， dauntless and pioneering. I have the genes in me， and will never quit on my pursuits as an artist， no matter what sacrifice I have to take.”
Over the years， Qinghong also spent a lot of time on the theoretical researches of and the promotion of this art genre. The result of her effort is the first textbook officially published. She tried what she could to introduce to more people through lectures and exhibitions in schools， libraries and residential communities.
Realizing that the high level of professionalism required for real involvement in this art form is the biggest obstacle in passing down the relay baton， Qinghong tries her best to create as many works as possible for more people to at least understand what really is. The art journey of Qinghong can be described as ascetic. She puts heart and soul into the clay sculpture， living a life without family happiness. For her， it is like running against time for a now-and-never task. “I have no time to feel lonely，” she said.
Qinghong’s creations in recent years， drawing inspiration from a series of ancient paintings and cultural relics， seem to have given a new life to the past masterpieces. From a dimensional sense， in her hands is something between the two-dimensional art of painting and three-dimensional artifacts. It is partly graphical and partly tactile.
“You can see the changes that bring passion and soul to the subject， which I call ‘rebirth’.”
It is through the hands of the artist that the grand landscape of rolling mountains， vast rivers and all the earthly goings on depicted in the Song landscape masterpieces became real and tangible.
Over the years， Qinghong released her passionate love for paintings by Song Dynasty artists， including the world-famous ， recreated in her sculptures.
“I want to see such masterworks become more approachable， and I want to make the dream of ownership come true. It is commonsense that such survivors of the world’s most brilliant art treasures are for the museums only. It takes a lot to admire them with one’s own two eyes， not to mention possibilities of ownership.”
In this sense， it seems that the sculptor has found a new way of inheritance for . More than 900 years after 18-year-old Wang Ximeng created his masterpiece， an artist in Wenzhou used clay to make everything in the painting come to life again. The result of the transition is a new， vivid artwork with enormous aesthetic value that can be appreciated and shared by ordinary people.