徐繼宏

三月的西溪，繁花如錦，游人如織。

在杭州西溪貴山窯陶瓷藝術(shù)館，筆者見(jiàn)到了慕名已久的中國(guó)工藝美術(shù)大師嵇錫貴。她正專心致志地伏在工作臺(tái)上為作品上釉彩。

今年78歲的嵇錫貴精神矍鑠，風(fēng)采依舊。“陶瓷里面有許多國(guó)家級(jí)非物質(zhì)文化遺產(chǎn)，我希望這些珍貴的藝術(shù)能永遠(yuǎn)傳承下去?！比缃?，已經(jīng)從事陶瓷藝術(shù)60多年的她，仍舊在不斷地創(chuàng)作陶瓷藝術(shù)作品，續(xù)寫中國(guó)陶瓷的美麗傳說(shuō)。

陶藝人家

“我有一種不服輸?shù)男愿?，做事一定要做到最好。這份執(zhí)著，推動(dòng)我不斷努力，從不放棄對(duì)事業(yè)的追求?！憋a貴說(shuō)，她在水鄉(xiāng)湖州度過(guò)了美好的童年，初中畢業(yè)后考上景德鎮(zhèn)市陶瓷美術(shù)技藝學(xué)校，從此走上了陶瓷藝術(shù)之路，潛心鉆研，帶徒傳藝。

17歲擔(dān)任兩個(gè)班的素描課老師和一個(gè)班的班主任，而立之年擔(dān)綱為中央領(lǐng)導(dǎo)人設(shè)計(jì)制作日用瓷任務(wù)，古稀之年擔(dān)綱G20杭州峰會(huì)國(guó)宴用瓷設(shè)計(jì)制作重任……嵇錫貴一輩子從事陶瓷藝術(shù)一件事，傾注了一生情。

“貴山窯”是嵇錫貴和丈夫郭琳山的名字各取一字而成。1998年，杭州貴山窯陶瓷藝術(shù)研究院成立，2011年5月，嵇錫貴將“貴山窯”從三墩遷至西溪濕地，2013年杭州西溪貴山窯陶瓷藝術(shù)館掛牌開(kāi)館。從此，綠樹(shù)掩映的濕地里又多了一處耀眼的人文景觀。

走進(jìn)藝術(shù)館，這里是陶瓷的世界。除了嵇錫貴，還有先生郭琳山、女兒郭藝、徒弟周明明等人的作品，都一一展放在陳列柜里，供中外游客觀賞。

到藝術(shù)館參觀的游客絡(luò)繹不絕。來(lái)自湖南醴陽(yáng)的小王和朋友看得非常認(rèn)真，在青花斗彩瓶《國(guó)色天香》前足足看了五六分鐘，不停地贊嘆：“太美了，太美了?！彼囆g(shù)館除每周閉館休整一天外，常年對(duì)外開(kāi)放，得到了社會(huì)各界的關(guān)注和廣大游客的好評(píng)。

1992年，嵇錫貴與丈夫郭琳山、女兒郭藝共同舉辦了陶瓷藝術(shù)作品展，著名陶瓷專家鄧白先生為展覽題詞“陶藝人家”。從此，“陶藝人家”便成為品牌一直流傳至今。在嵇錫貴看來(lái)，優(yōu)秀的工藝美術(shù)品是天巧與人工的完美結(jié)合，它可以讓我們感恩自然、懷念傳統(tǒng)、感受人性的溫暖。正如這些匠心獨(dú)特的陶瓷藝術(shù)，展示給人的不僅是藝術(shù)之美，更是人們追求美、享受美的心靈洗滌。

“這是我和先生共同創(chuàng)作的‘青花斗彩佳品，以大外孫童年時(shí)的各種生活狀態(tài)為原型，或露著屁股倒立、或半蹲張望、或弓步斜蹲，或起舞弄袖，每一個(gè)動(dòng)作都不相同。孩童臉?lè)杭t暈，身著‘斗彩，充滿天趣童真，非常討觀眾喜歡。也是我們一家人非常喜歡的作品系列?！憋a貴指著《嬰戲系列》的一組作品回憶過(guò)去的往事，臉上滿是幸福的笑容，特別開(kāi)心。

國(guó)寶傳奇

青花瓷，廣為世人熟悉。青花，其實(shí)是中國(guó)瓷器的大宗。用含氧化鈷的青花料在陶瓷坯體上描繪，再罩上一層透明釉，然后進(jìn)窯在1300多攝氏度的高溫下淬煉。黑色的鈷料燒成后呈藍(lán)色，這就是青花的由來(lái)。在燒成的青花瓷器上進(jìn)行彩繪，再二次燒制，稱作斗彩?！扒嗷ǘ凡适腔鸬乃囆g(shù)，古代做陶瓷的藝人都要拜風(fēng)火神。到了現(xiàn)代社會(huì)，仿佛還有一種冥冥中的神秘力量藏在爐火中?！憋a貴說(shuō)，陶瓷藝術(shù)是一門綜合藝術(shù)，可貴之處在于它風(fēng)格上多姿多彩，品質(zhì)上唯我獨(dú)有，唯我獨(dú)精。

1975年1月，嵇錫貴所在的輕工部陶瓷研究所接到任務(wù)，設(shè)計(jì)制作一批專供毛澤東主席使用的生活用瓷，代號(hào)“7501”。她擔(dān)任“釉下彩”組負(fù)責(zé)人?！坝韵虏省辈缓U，是生活用瓷的首選，但難度最大，在泥坯上作畫(huà)，成功率不足十分之一。為此，嵇錫貴和她的小組付出了巨大的努力。

“7501”千余件瓷具，大小、高低、厚薄、重量幾乎等同，從設(shè)計(jì)到成品，歷經(jīng)10個(gè)月，每件瓷器都經(jīng)過(guò)嵇錫貴的手?！澳菚r(shí)工作條件極差，天氣炎熱，沒(méi)有空調(diào)。經(jīng)常通宵加班，但沒(méi)有人叫苦叫累?！贝耸码m已過(guò)去40多年，嵇錫貴記憶猶新。

“7501”餐具無(wú)論原料、成型、彩繪還是燒成，都堪比歷代陶瓷，制作極為精美，代表了中國(guó)現(xiàn)代陶瓷藝術(shù)制作的最高水平，成為我國(guó)陶瓷歷史上的國(guó)寶。據(jù)說(shuō)，散落在民間的這一批瓷器經(jīng)過(guò)多次溢價(jià)，現(xiàn)在一只小小的調(diào)羹，都已經(jīng)賣到十多萬(wàn)元。

2015年，75歲的嵇錫貴，又接到一個(gè)新任務(wù)——設(shè)計(jì)G20杭州峰會(huì)晚宴餐具。根據(jù)設(shè)計(jì)要求，作品需體現(xiàn)“西湖元素、江南韻味、浙江特色、中國(guó)氣派、世界大同”的理念。

由于時(shí)間緊迫，接到任務(wù)后，她帶著徒弟們立馬動(dòng)手。最忙時(shí)，凌晨3點(diǎn)多起床，晚上12點(diǎn)多睡覺(jué)，設(shè)計(jì)圖紙累積有20多厘米高。經(jīng)專家評(píng)審，嵇錫貴設(shè)計(jì)的三套方案全部入選?！拔骱崱薄胺比A盛世”“國(guó)色天香”三套瓷器分別對(duì)應(yīng)G20杭州峰會(huì)三場(chǎng)宴會(huì)的三個(gè)不同主題，受到了專家評(píng)委的一致好評(píng)。

2016年9月4日晚，G20杭州峰會(huì)歡迎宴會(huì)上，擺在餐桌上的一整套晚宴餐具一亮相，就驚艷全場(chǎng)，尤其是瓷器上的花面，水墨氤氳，山色空蒙，讓人有一種就坐在西湖邊把風(fēng)景看透的感覺(jué)。來(lái)自各國(guó)的貴賓紛紛伸出大拇指點(diǎn)贊?！百F山窯”師徒的技藝，再次獲得社會(huì)的贊揚(yáng)和陶瓷界的認(rèn)可。

嵇錫貴最滿意的是5日晚金磚五國(guó)在西湖國(guó)賓館晚宴用的青花斗彩《繁華盛世》。嵇錫貴說(shuō)，一開(kāi)始，作品上面用到了22個(gè)國(guó)家的國(guó)花，后來(lái)，世界各地有名的花也都擺上去了。比如日本櫻花、韓國(guó)木槿花、俄羅斯向日葵、法國(guó)玫瑰、意大利小雛菊，一共有30多種花，都用不同的顏色表現(xiàn)出來(lái)。

嵇錫貴曬出一張樓蘭淺盤的照片，青瓷上繁花遍地，但花中間“開(kāi)光”。嵇錫貴說(shuō)可以理解成繁花間開(kāi)出一個(gè)窗子，里面是西湖的三潭印月。實(shí)際上，它有兩個(gè)面，從北面往南面看，白堤、斷橋，然后對(duì)應(yīng)了荷花。從另一面看，雷峰塔、蘇堤，然后對(duì)應(yīng)到桂花。“荷為桂，和為貴。而荷花和桂花，也是杭州最典型的兩種花?！憋a貴說(shuō)，這是一層層剝進(jìn)去的，這一套，她自己覺(jué)得最精彩。

“我一生的夢(mèng)想，就是讓中國(guó)的陶瓷藝術(shù)在全世界發(fā)光發(fā)彩。而G20杭州峰會(huì)是一個(gè)非常好的展現(xiàn)機(jī)會(huì)和舞臺(tái)?！?h3>薪火傳承

“我們這代人的成就與國(guó)家的培養(yǎng)分不開(kāi)。我到了一定的年紀(jì)，依然停不下來(lái)，想著要多做些事情回報(bào)社會(huì)?，F(xiàn)在，我除了創(chuàng)作作品之外，就是要把更多的精力花在帶徒、教授學(xué)生上，要把自己的技藝經(jīng)驗(yàn)傳承給年輕人。就像當(dāng)年我的老師們一樣，不僅要傳授技藝還要傳承工藝精神。只有這樣，陶瓷藝術(shù)才能代代相傳，薪火不息?！?/p>

2012年9月，杭州市舉辦薪火傳承計(jì)劃，嵇錫貴收了5個(gè)徒弟。入門第一天，嵇錫貴就要求徒弟們苦練基本功。從畫(huà)線條開(kāi)始，到每周兩張素描寫生，畫(huà)好后釘在工作室的墻上。

“在我這里，要想把一坨泥巴變成一件瓷器，就必須實(shí)打?qū)嵉卣J(rèn)真做好揉泥、拉坯、刻花、上釉、燒窯……等72道工序。”每一道工序，嵇錫貴要求都非?？量蹋约阂彩呛翢o(wú)保留，手把手地教好每一個(gè)學(xué)生。5年過(guò)去了，如今，每人的作品圖片裝訂起來(lái)，已是厚厚好幾本。

畢業(yè)于江西景德鎮(zhèn)陶瓷學(xué)院的甄景虎感受到了老師的澤潤(rùn)。當(dāng)初，得知嵇錫貴同意收他為徒，已有10余年制瓷功底的他，毫不猶豫關(guān)閉了經(jīng)營(yíng)多年、有40人規(guī)模的瓷廠，坐上了從景德鎮(zhèn)開(kāi)往杭州的列車。

在徒弟周明明看來(lái)，嵇錫貴更像一位可愛(ài)的奶奶，用羽翼呵護(hù)著每一個(gè)跟她學(xué)藝的徒弟。奶奶不僅將自己的陶瓷技藝傾囊相授，還把每一個(gè)徒弟的生活考慮得非常仔細(xì)和周到，包括為他們辦理社保、過(guò)好每一個(gè)節(jié)日等。嵇錫貴認(rèn)為，自己有責(zé)任幫助徒弟們生活得更好，生活好才能傳承好。

在藝術(shù)館二樓，筆者看到了許多獎(jiǎng)牌和作品?！斑@些都是徒弟們參加國(guó)內(nèi)外各種比賽捧回的獎(jiǎng)狀和證書(shū)。陳興圓的工筆畫(huà)出彩；徐周萍擅青瓷刻花；張愛(ài)青陶瓷雕塑技藝突出；甄景虎釉中彩技法嫻熟；周明明制作的器物裝飾趣味濃。”嵇錫貴對(duì)每個(gè)徒弟的長(zhǎng)處了然于心，對(duì)他們未來(lái)的藝術(shù)之路充滿了信心。

從感受自然到藝術(shù)地再現(xiàn)自然，嵇錫貴用個(gè)人的藝術(shù)才華闡釋客觀世界，在這之中融入了她對(duì)人生、對(duì)世事的感性理解?！八囆g(shù)家應(yīng)該尊重自己的感受，我總希望把我的這份真誠(chéng)表達(dá)出來(lái)，這也許是我的性格吧。人在世間的生存，本來(lái)就要經(jīng)過(guò)許多磨難，但大自然的賜予彌補(bǔ)了我們?cè)S多許多。我熱愛(ài)大自然，寧?kù)o舒坦的田園風(fēng)光，微風(fēng)細(xì)雨中的小花小草，殘陽(yáng)如血的層林，晨露中的蜘蛛網(wǎng)，活潑可愛(ài)的小動(dòng)物等，都使我的心靈震撼，成為我表現(xiàn)的形象。民間美術(shù)的樸拙、中國(guó)畫(huà)的神韻和西畫(huà)色彩的絢麗都給予我養(yǎng)分。利用陶瓷顏料的燒成特性，可以取得紙上所達(dá)不到的效果?！?/p>

最是人間芳菲季，藝無(wú)止境續(xù)新篇。生命不息，傳承不止。采訪結(jié)束，走出藝術(shù)館，看到門口亭立的一株海棠樹(shù)，枝繁葉茂，花開(kāi)正艷。嵇錫貴說(shuō)她非常喜歡海棠，因?yàn)樗谄饺绽飶牟黄鹧?，花開(kāi)的時(shí)候卻滿樹(shù)紅顏，討人喜愛(ài)。

筆者想，這不正是嵇錫貴藝術(shù)人生的真實(shí)寫照嗎！

（本文圖片由作者提供）

Ji Xigui， now 78， is a national ceramic master based in Hangzhou. She has long since made her reputation as a virtuoso. Set in the scenic Xixi Wetland in the western suburb of Hangzhou is a ceramic museum named after Guishan Kiln. The name of the kiln comes from the names of Ji Xigui and her husband Guo Linshan.

Ji Xigui started Guishan Kiln Ceramic Art Institute in 1998. In May 2011， the kiln was moved to the scenic wetland and in 2013 the museum opened to the general public. The museum displays Jis artworks as well as those by her husband Guo Linshan， their daughter Guo Yi， and Jis disciples. Nowadays， the museum is a huge tourism attraction of Xixi， which is a national park.

As a ceramic master， Ji has a star career track record. There are two landmarks in her 60-year career.

The first was set up in January 1975 when the ceramic institute under the Ministry of Light Industry where Ji Xigui worked was engaged in designing and making some ceramic household pieces for Chairman Mao. Ji was appointed to head a group of artists who were to paint color images onto the bodies of ceramics before the glaze layer was applied. It is extremely tricky and challenging to paint onto the body directly. Back then， the rate of success was 10 percent. Ji and her colleagues worked hard. Altogether they painted more than 1，000 pieces in ten months. Ji left her touch on all of them. She remembers the hard work vividly in the ten months. “Conditions at the place of work were extremely disheartening. There was no air-conditioning. We often worked overtime. But nobody complained，” she recalls.

The pieces they made in 1975 are so sophisticated and exquisite that they could shine beside the best antiques made in the long-gone dynasties in history. It is said that these pieces are the finest ever made in modern times and are considered by collectors as valuable as national treasures. Many pieces from the batch have long since been in the market. It is said that a spoon from the batch can fetch more than 100，000 yuan.

The second highlighted event in her resume occurred in 2015 when the 75-year-old master was engaged in designing ceramic tableware for the state banquets of the G20 Hangzhou Summit to be held in September 2016. The tableware was supposed to feature “the elements of the West Lake， the charms of Jiangnan （the south of the Yangtze River Delta）， unique characteristics of Zhejiang， the grace and elegance of the great Chinese nation， and the harmony of the world”.

Ji Xigui and her younger colleagues， all being her students， worked hard against time. In the busiest times， they got up at three oclock in the morning and didnt retire until midnight. The design drawings they produced were more than 20 centimeters thick in a stack. The three sets of tableware they designed won the final approval of an expert panel. The sets， respectively named as “Charms of West Lake”， “Time of Prosperity”， “National Tints and Celestial Fragrance”， were respectively used at the three banquets at the G20 Hangzhou Summit.

Nowadays， Ji most wants to give what she can to her younger masters. In September 2012， Ji Xigui took in five students in response to Hangzhou Citys call to groom a new generation of masters of traditional arts and crafts. On the first day， she gave her students a very clear instruction： start from basics and work hard. The five needed to submit two sketches per week and these sketches went on the wall of the studio for them to view and compare.

Ji Xigui is a draconian taskmaster. In her general training course， there are 72 steps for making a ceramic piece. All the five students must master each step through hands-on practice and training. And she is more than a taskmaster. She treats her students like family members and reaches out to solve problems for them in everyday life.

Zhen Jinghu， a graduate of Ceramic Institute of Jingdezhen and owner of a ceramic business which employed 40 people， shut down the factory after learning that Ji Xigui agreed to take him in as a disciple. He valued the lifetime opportunity to study under the master.

To Jis satisfaction， her young masters are making themselves outstanding in different fields of ceramic making. Chen Xingyuan is becoming perfect in painting on ceramics in a precise leaving-no-detail-out style. Xu Zhouping masterfully carves flowers on celadon. Zhang Aiqing stands out as a ceramic sculptor. Zhen Jinghu paints between glazes. Zhou Mingming makes fine decorative pieces. Ji Xigui understands the strengths of her students and is confident of their career growth in the future.