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木偶会说话吗？你肯定不信。当你看过木偶雕刻家徐竹初的作品，也许就会相信。
徐竹初，国家一级美术师，木偶雕刻家，在他的刀下，尊尊木偶神态活现，个性突出，讲述一个个动听的故事。
缘起：听着刻刀在樟木上滑动的声音长大
记者：“刻木牵线作老翁，鸡皮鹤发与真同。须臾弄罢寂无事，还似人生一梦中。”唐诗《傀儡吟》对傀儡戏进行了形象描绘。傀儡戏就是我们今天熟知的木偶戏，说起木偶戏，就要提到福建漳州的徐氏木偶。请问您是怎样与木偶结缘的呢？
徐竹初：说到与木偶的缘分，我想可能得从我的名字说起。我是1938年出生的，“竹初”二字是弘一法师给取的。那年他来漳州说法，住在东门外祈宝亭佛祖庙。当时，城里常常受到日本飞机轰炸，我家也临时搬到了佛祖庙隔壁的外祖父家中。外祖父是一个有学问的中医,父亲是个雕刻佛像的高手，因此我家和弘一法师来往较为密切。我出生后，父亲请他起个名字。他十分乐意，思考了一下说道：“就叫竹初吧！竹之初是竹笋，初，又有头胎的意思，孩子将会像新笋那样茁壮成长。今后，一家人就会像雨后春笋那样兴旺发达。”
记者：原来您与弘一法师还有这样一段渊源，那您的木偶雕刻艺术又是跟谁学的呢？
徐竹初：我的祖上早在明末清初就开了木偶雕刻作坊，从太高祖徐梓清的“成成是”到父亲徐松年的“天然”作坊，都是闽南有名的手工作坊。
我十岁出头就开始学习雕刻木偶，是听着刻刀在樟木上滑动的声音长大的。虽然父亲是远近闻名的巧匠高手，但我是一点一滴从他那里刻苦学来的。在学习阶段，我经常干到半夜，家中的坯木都快被我的刻刀消灭殆尽了。有的时候，因为学得太入迷，头发曾被灯火烤焦。技术还不是很娴熟时常常会滑刀，记得有一次，我不小心将手指割破了，母亲半夜醒来看到我还没睡，于是让我赶紧睡觉。她走到我跟前，看到我手指都是血，还有整个木偶都被染红了，她打趣道：“你这刻的可是关公？”打趣归打趣，母亲还是很心疼的，她立马拿了一些药给我包扎起来。
特色：表情让我的木偶会“说话”
记者：学艺的过程是辛苦的。您长年与木偶为伴，想来木偶的重要性不言而喻。
徐竹初：你说得没错。儿子也曾跟我说过，我可以一连好几天都不说一句话，活在我的木偶世界里。或许认为跟人说话的时间多了，跟木偶说话的时间也就少了。我常常把自己当成木偶，也将木偶想成自己，它笑我也跟着笑，有时它愁眉苦脸，在刻制过程中，我的心情也是惆怅的，好像我的性格、我的心情跟整个这个木偶的心情是交融在一起。
刻木为偶，以偶做戏。在我看来，木偶与观众见面的是“木头人”，而不是幕后操纵的演员。这里的“木头人”，既是木头，又要是“人”。由于是偶，表情是相对固定的，所以雕刻木偶选定最具代表性的表情是非常重要的，透过表情，让我的木偶会“说话”，尽最大努力传递信息量。
记者：木偶是您的艺术载体，凝聚着独到的颖悟和智慧。能否请您简单介绍一下其特点呢？
徐竹初：徐氏木偶俗称北派木偶，其技法源自北方汉剧的风格模式。我认真学习祖辈优秀的雕刻手法，并加以创新发展，形成了自己的独特风格。认真领悟中国雕塑优秀传统的精髓——“以形写神”，强调木偶戏剧的表情化和性格化。
我在落刀之前，总要细细研究，认真揣摩人物身世、身份、性格和好恶。思考成熟后，下刀就有把握了。作品是以现实生活中的人物为蓝本，以对称、均衡、对比和调和为法则，使用造型、线条和色彩等语言，运用夸张、变形、提炼和概括等手段，拟容取心，为对象传神写照。
我所设计的戏曲人物造型多达六百多种，生、旦、净、末、丑等各行当齐全，其中既有传统名剧的名角儿，又有神话传说的神仙、魔怪等形象，个个脸谱不同，率真、精致、优美，神态各异，栩栩如生。
记者：郭沫若先生曾题词赞道：“木偶头神情逼真生动”。为充分表现木偶的艺术表情，您是怎样找灵感的呢？
徐竹初：我经常去木偶剧场，跟观众一起看木偶表演，从动态中挖掘其表现力。我需要借鉴其他传统艺术，从小就爱看戏，常去看野台戏、汉剧和京剧等，《群英会》、《武松打虎》等百看不厌。我也是书场的常客，《三国演义》、《西游记》等也已耳熟能详。如果去庙宇，我会认真观察那里供奉的各种神像，记住那些特殊的造型。
当然，我还经常翻阅古书，在书中找灵感。看的听的多了，脑海里形象的内容也就丰富了，创作也就更自由了。
发展：将传统技艺很好地传承下去
Q: The carved puppets have precisely caught the roles mien and internal quality, which were represented through the face expressions. We have wondered, since the decades of devotion to the art, what did you get the most from the puppet carving?
A: The delicate, vivid puppets are important to a puppet show. The puppets, performing their roles usually on a simple built stage, bring the audience laughter and joyful moments. This is what I am eager to see, and is the greatest spiritual support in my life.
Here, I would like to tell a true story. In 1995, my three puppets — a child, an old man and a painted face male — were nominated for the first Childrens Works Exhibition of Crafts and SciTech（少年儿童科学技术和工艺品作品展览会）in Beijing and finally won the National Grand Prize.（全国特等奖）For this, the Central News Studio（中央新闻制片厂）made a documentary film about me.（《少年雕刻家徐竹初》）Xu Xiangqian and Xu Teli have visited to show their encouragement. I asked would they help to express my respect to the Chairman Mao and deliver two puppets as presents. They guaranteed and about just a month later, I received a response: Dear Xu Zhuchu, the pair of puppets you give to Chairman Mao had been successfully delivered. Chairman Mao was pleasant to have them. Wish you to work hard on your study and make contribution to the construction of our nation… I have perfectly preserved this letter all these years.
Q: All the memories have inspired you in the carving creation.
A: The puppet art has given me so much and enriched my daily life. I hope it could be well passed along. The Xu family has engaged in the art for six generations, now my son carried on the family tradition. I wish more people could join us in the carving industry, but we confronted many obstacles: we had once started up a class on our expense teaching puppet carving in Zhangzhou, unfortunately, not a single one was willing to take the class; my son, had also made the same effort in China Puppet Art Theatre and places alike, attracting only a few ones who were already in this practice.
Besides, we are always seeking for ways to break through in the development of traditional arts, say, trying to spread it among students in schools, etc. And we explored the possibilities of industrialize it, one of the big moves is the establishment of the great Zhuchu Puppet Gallery of Zhangzhou.
Q: How is it going?
A: Zhuchu Puppet Gallery of Zhangzhou will be open to the public around October 1, 2011. The 9stored and nearly ten thousand square metres building is a centre of puppet presentation, carving, performance and sale. We got the land use approval in 1997 when I was 59 and it is till 2011 when I am 73 to see it complete.
I believe there will be increasingly more people like the unique art of our nation.
徐竹初，国家一级美术师，木偶雕刻家， 2005年被中国艺术研究院聘为“民间艺术创作研究员”。十岁起随父学艺，继承发展创作了木偶造型六百多种，被中国文化部授予“中华一绝”称号。作品先后在中国美术馆及世界许多国家巡回专展并获奖，并被美国、俄罗斯、法国、日本、匈牙利等国家及香港等地的艺术博物馆收藏。他曾为三十多部木偶艺术电影片和电视剧设计并制作木偶，出版有《徐竹初木偶雕刻艺术》等专著画册。
徐竹初，国家一级美术师，木偶雕刻家，在他的刀下，尊尊木偶神态活现，个性突出，讲述一个个动听的故事。
缘起：听着刻刀在樟木上滑动的声音长大
记者：“刻木牵线作老翁，鸡皮鹤发与真同。须臾弄罢寂无事，还似人生一梦中。”唐诗《傀儡吟》对傀儡戏进行了形象描绘。傀儡戏就是我们今天熟知的木偶戏，说起木偶戏，就要提到福建漳州的徐氏木偶。请问您是怎样与木偶结缘的呢？
徐竹初：说到与木偶的缘分，我想可能得从我的名字说起。我是1938年出生的，“竹初”二字是弘一法师给取的。那年他来漳州说法，住在东门外祈宝亭佛祖庙。当时，城里常常受到日本飞机轰炸，我家也临时搬到了佛祖庙隔壁的外祖父家中。外祖父是一个有学问的中医,父亲是个雕刻佛像的高手，因此我家和弘一法师来往较为密切。我出生后，父亲请他起个名字。他十分乐意，思考了一下说道：“就叫竹初吧！竹之初是竹笋，初，又有头胎的意思，孩子将会像新笋那样茁壮成长。今后，一家人就会像雨后春笋那样兴旺发达。”
记者：原来您与弘一法师还有这样一段渊源，那您的木偶雕刻艺术又是跟谁学的呢？
徐竹初：我的祖上早在明末清初就开了木偶雕刻作坊，从太高祖徐梓清的“成成是”到父亲徐松年的“天然”作坊，都是闽南有名的手工作坊。
我十岁出头就开始学习雕刻木偶，是听着刻刀在樟木上滑动的声音长大的。虽然父亲是远近闻名的巧匠高手，但我是一点一滴从他那里刻苦学来的。在学习阶段，我经常干到半夜，家中的坯木都快被我的刻刀消灭殆尽了。有的时候，因为学得太入迷，头发曾被灯火烤焦。技术还不是很娴熟时常常会滑刀，记得有一次，我不小心将手指割破了，母亲半夜醒来看到我还没睡，于是让我赶紧睡觉。她走到我跟前，看到我手指都是血，还有整个木偶都被染红了，她打趣道：“你这刻的可是关公？”打趣归打趣，母亲还是很心疼的，她立马拿了一些药给我包扎起来。
特色：表情让我的木偶会“说话”
记者：学艺的过程是辛苦的。您长年与木偶为伴，想来木偶的重要性不言而喻。
徐竹初：你说得没错。儿子也曾跟我说过，我可以一连好几天都不说一句话，活在我的木偶世界里。或许认为跟人说话的时间多了，跟木偶说话的时间也就少了。我常常把自己当成木偶，也将木偶想成自己，它笑我也跟着笑，有时它愁眉苦脸，在刻制过程中，我的心情也是惆怅的，好像我的性格、我的心情跟整个这个木偶的心情是交融在一起。
刻木为偶，以偶做戏。在我看来，木偶与观众见面的是“木头人”，而不是幕后操纵的演员。这里的“木头人”，既是木头，又要是“人”。由于是偶，表情是相对固定的，所以雕刻木偶选定最具代表性的表情是非常重要的，透过表情，让我的木偶会“说话”，尽最大努力传递信息量。
记者：木偶是您的艺术载体，凝聚着独到的颖悟和智慧。能否请您简单介绍一下其特点呢？
徐竹初：徐氏木偶俗称北派木偶，其技法源自北方汉剧的风格模式。我认真学习祖辈优秀的雕刻手法，并加以创新发展，形成了自己的独特风格。认真领悟中国雕塑优秀传统的精髓——“以形写神”，强调木偶戏剧的表情化和性格化。
我在落刀之前，总要细细研究，认真揣摩人物身世、身份、性格和好恶。思考成熟后，下刀就有把握了。作品是以现实生活中的人物为蓝本，以对称、均衡、对比和调和为法则，使用造型、线条和色彩等语言，运用夸张、变形、提炼和概括等手段，拟容取心，为对象传神写照。
我所设计的戏曲人物造型多达六百多种，生、旦、净、末、丑等各行当齐全，其中既有传统名剧的名角儿，又有神话传说的神仙、魔怪等形象，个个脸谱不同，率真、精致、优美，神态各异，栩栩如生。
记者：郭沫若先生曾题词赞道：“木偶头神情逼真生动”。为充分表现木偶的艺术表情，您是怎样找灵感的呢？
徐竹初：我经常去木偶剧场，跟观众一起看木偶表演，从动态中挖掘其表现力。我需要借鉴其他传统艺术，从小就爱看戏，常去看野台戏、汉剧和京剧等，《群英会》、《武松打虎》等百看不厌。我也是书场的常客，《三国演义》、《西游记》等也已耳熟能详。如果去庙宇，我会认真观察那里供奉的各种神像，记住那些特殊的造型。
当然，我还经常翻阅古书，在书中找灵感。看的听的多了，脑海里形象的内容也就丰富了，创作也就更自由了。
发展：将传统技艺很好地传承下去
Q: The carved puppets have precisely caught the roles mien and internal quality, which were represented through the face expressions. We have wondered, since the decades of devotion to the art, what did you get the most from the puppet carving?
A: The delicate, vivid puppets are important to a puppet show. The puppets, performing their roles usually on a simple built stage, bring the audience laughter and joyful moments. This is what I am eager to see, and is the greatest spiritual support in my life.
Here, I would like to tell a true story. In 1995, my three puppets — a child, an old man and a painted face male — were nominated for the first Childrens Works Exhibition of Crafts and SciTech（少年儿童科学技术和工艺品作品展览会）in Beijing and finally won the National Grand Prize.（全国特等奖）For this, the Central News Studio（中央新闻制片厂）made a documentary film about me.（《少年雕刻家徐竹初》）Xu Xiangqian and Xu Teli have visited to show their encouragement. I asked would they help to express my respect to the Chairman Mao and deliver two puppets as presents. They guaranteed and about just a month later, I received a response: Dear Xu Zhuchu, the pair of puppets you give to Chairman Mao had been successfully delivered. Chairman Mao was pleasant to have them. Wish you to work hard on your study and make contribution to the construction of our nation… I have perfectly preserved this letter all these years.
Q: All the memories have inspired you in the carving creation.
A: The puppet art has given me so much and enriched my daily life. I hope it could be well passed along. The Xu family has engaged in the art for six generations, now my son carried on the family tradition. I wish more people could join us in the carving industry, but we confronted many obstacles: we had once started up a class on our expense teaching puppet carving in Zhangzhou, unfortunately, not a single one was willing to take the class; my son, had also made the same effort in China Puppet Art Theatre and places alike, attracting only a few ones who were already in this practice.
Besides, we are always seeking for ways to break through in the development of traditional arts, say, trying to spread it among students in schools, etc. And we explored the possibilities of industrialize it, one of the big moves is the establishment of the great Zhuchu Puppet Gallery of Zhangzhou.
Q: How is it going?
A: Zhuchu Puppet Gallery of Zhangzhou will be open to the public around October 1, 2011. The 9stored and nearly ten thousand square metres building is a centre of puppet presentation, carving, performance and sale. We got the land use approval in 1997 when I was 59 and it is till 2011 when I am 73 to see it complete.
I believe there will be increasingly more people like the unique art of our nation.
徐竹初，国家一级美术师，木偶雕刻家， 2005年被中国艺术研究院聘为“民间艺术创作研究员”。十岁起随父学艺，继承发展创作了木偶造型六百多种，被中国文化部授予“中华一绝”称号。作品先后在中国美术馆及世界许多国家巡回专展并获奖，并被美国、俄罗斯、法国、日本、匈牙利等国家及香港等地的艺术博物馆收藏。他曾为三十多部木偶艺术电影片和电视剧设计并制作木偶，出版有《徐竹初木偶雕刻艺术》等专著画册。