風(fēng)箏的發(fā)明與運(yùn)用，在我國最早可以追溯到春秋戰(zhàn)國時(shí)代，且多應(yīng)用于軍事領(lǐng)域。到唐五代時(shí)期，放風(fēng)箏才成為一種供人健身娛樂的戶外活動(dòng)。當(dāng)前，中國有以北京、天津、山東濰坊、江蘇南通為主的四大風(fēng)箏產(chǎn)地。當(dāng)人們談到北京風(fēng)箏時(shí)，民間流傳著“南城大沙燕，北城黑鍋底”的俗語，其中“南城大沙燕”所說的是有著170余年傳承歷史的“哈氏風(fēng)箏”，又稱“風(fēng)箏哈”。

“哈氏風(fēng)箏”的創(chuàng)始人哈國梁通過研究摸索，在愛好的驅(qū)動(dòng)下開始探索制作風(fēng)箏的工藝。在隨后的家族傳承中，“哈氏風(fēng)箏”的制作技藝不斷完善，自成一格，不僅在當(dāng)?shù)仡H有名氣，更是蜚聲海外。1915年“哈氏風(fēng)箏”第二代傳承人哈長英的四件風(fēng)箏作品《蝴蝶》《蜻蜓》《仙鶴》《鳳凰》在巴拿馬萬國博覽會(huì)上榮獲銀獎(jiǎng)。

作為“哈氏風(fēng)箏”第四代傳承人的哈亦琦在改革開放之初便潛心風(fēng)箏技藝研究。他在風(fēng)箏藝術(shù)風(fēng)格創(chuàng)新，造型的幾何化改造，風(fēng)箏元素的現(xiàn)代性轉(zhuǎn)化等諸多方面取得了頗多成果。近期，在北京師范大學(xué)圖書館舉辦的“國家級(jí)非物質(zhì)文化遺產(chǎn)”之“哈氏風(fēng)箏”校園行活動(dòng)中，哈亦琦拿出自改革開放以來“哈氏風(fēng)箏”三代傳承人的作品，更有流傳至海外的前兩代人作品的復(fù)制品。除了大、中、小不同規(guī)格的風(fēng)箏作品外，哈亦琦還展示了8副頗具代表性的風(fēng)箏畫譜供觀者欣賞?！胺俏镔|(zhì)文化遺產(chǎn)的傳承是一個(gè)長久的工作，我們趕上了一個(gè)好時(shí)代，怎樣才能不辜負(fù)政府、社會(huì)、民族和后人的期望，只有不斷地學(xué)習(xí)、繼承、創(chuàng)作和發(fā)展?！惫噻f。

“我”眼中的非遺傳承

2008年“哈氏風(fēng)箏”被列入國家級(jí)非物質(zhì)文化遺產(chǎn)代表性項(xiàng)目名錄，扎、糊、繪、放的藝術(shù)中凝聚著前人在實(shí)踐中總結(jié)的經(jīng)驗(yàn)智慧。作為國家級(jí)非物質(zhì)文化遺產(chǎn)保護(hù)項(xiàng)目傳承人的哈亦琦從自身經(jīng)歷出發(fā)，道出了他對(duì)非物質(zhì)文化遺產(chǎn)的理解，“小時(shí)候，父親每天都在做風(fēng)箏，當(dāng)我也對(duì)風(fēng)箏產(chǎn)生興趣后，他教我做第一個(gè)風(fēng)箏時(shí)并不教我技巧，而是把他幾十年還有幾代人做風(fēng)箏的優(yōu)勢(shì)告訴我，讓我自己去體會(huì)。這就是非物質(zhì)的，如果讓我用文字寫出來具體該怎么做，不見得能寫出來”。

成功的實(shí)踐無疑是對(duì)這種言傳身教的教育方式最好的驗(yàn)證。1983年，哈亦琦只身一人來到美國，參加舊金山國際風(fēng)箏大會(huì)。在常用的制作材料都不理想的情況下，哈亦琦決定挑戰(zhàn)一下自己，他計(jì)劃制作一個(gè)八尺的大風(fēng)箏。這里的八尺是指風(fēng)箏的寬度，其他部分要以適當(dāng)?shù)谋壤M(jìn)行制作?？紤]到風(fēng)箏放飛的場(chǎng)地是在海岸邊，風(fēng)箏必須要抗住將近六級(jí)大風(fēng)的考驗(yàn)，哈亦琦的腦海中浮現(xiàn)出父親曾經(jīng)傳授的經(jīng)驗(yàn)——“面對(duì)大風(fēng)要將骨架加厚，加厚的那部分一定是中間部分，要加厚一倍，而且引線的角度要與直立的風(fēng)箏呈小于90度的角，這樣才好控制風(fēng)箏腿部的搖擺”，哈亦琦回憶說，“這都是父親告訴我的經(jīng)驗(yàn)?！碑?dāng)風(fēng)箏大賽正式開始后，在那只沒經(jīng)過試飛的風(fēng)箏《五魚燕》飛上藍(lán)天的那一刻，哈亦琦心中滿是驕傲，因?yàn)樗淼囊呀?jīng)不只是“哈氏風(fēng)箏”，還有中華民族。

舊金山國際風(fēng)箏大會(huì)成為哈亦琦的“出師之戰(zhàn)”，他收獲的特別獎(jiǎng)是大會(huì)成員對(duì)“哈氏風(fēng)箏”的認(rèn)可。在哈亦琦看來，這次成功更多的是驗(yàn)證了他對(duì)祖輩經(jīng)驗(yàn)的吸收，對(duì)風(fēng)箏技藝的理解，非物質(zhì)文化在這種代際之間的口傳心授中得以留存。但隨著時(shí)代的演進(jìn)，文化潮流的轉(zhuǎn)變，風(fēng)箏這一傳統(tǒng)的消遣方式似乎正在失去它原有的影響力。怎樣讓風(fēng)箏在當(dāng)下的文化傳承中保持活力，這成為縈繞哈亦琦心頭的問題。

做好傳承中那片綠葉

“我們不是大藝術(shù)家，是一片綠葉，我們能在有生之年做些小事，能讓小葉總是綠的，那么我們的工作就沒白做?！惫噻f。

早年間，祖輩們制作風(fēng)箏多是出于商業(yè)目的，為了養(yǎng)家糊口維持生計(jì)，回顧自己的傳承經(jīng)歷，哈亦琦感慨不已，他說：“我生在了好時(shí)代，政府給我們很大的資助，讓我們不再為生活奔波，能把時(shí)間用在傳承上。”文化自信、傳承民族文化的責(zé)任感一直激勵(lì)著他，成為支持他再“多做一點(diǎn)”的動(dòng)力。

自上世紀(jì)末期開始，隨著參與對(duì)外文化交流活動(dòng)的增多，哈亦琦被國外優(yōu)秀的風(fēng)箏設(shè)計(jì)制作技藝啟發(fā)，借鑒創(chuàng)新的念頭悄悄萌發(fā)。西方文化中的抽象概念和幾何造型深深吸引著哈亦琦。上世紀(jì)80年代，他嘗試對(duì)風(fēng)箏進(jìn)行幾何化改造，并探索結(jié)構(gòu)的變化對(duì)風(fēng)箏放飛的影響。其中，哈亦琦1982年的小型風(fēng)箏作品《圓》就是一個(gè)成功的范例。整個(gè)風(fēng)箏由兩組相互垂直的八個(gè)圓形紙片組成，用線取代竹子進(jìn)行相互間的牽引，在減輕風(fēng)箏的重量同時(shí)，也勾連出菱形的圖案。小巧的風(fēng)箏只由一根線連接，稍稍用力牽引便能放飛，美觀與實(shí)用兼得。哈亦琦表示，幾何化實(shí)驗(yàn)的目的還是為理解、改進(jìn)傳統(tǒng)風(fēng)箏造型提供思路。

除去對(duì)結(jié)構(gòu)上的思考，哈亦琦還發(fā)揮他美術(shù)專業(yè)出身有油畫功底的優(yōu)勢(shì)，在風(fēng)箏彩繪上花費(fèi)了很大心思。哈亦琦繪制風(fēng)箏時(shí)多用漸變平涂法和烘染暈色，把色彩按面的層次進(jìn)行變化，形成顏色的塊、面對(duì)比，冷、暖對(duì)比，穩(wěn)重與跳躍的對(duì)比，有著強(qiáng)烈的遠(yuǎn)視覺色彩效果。哈亦琦的代表作品《藍(lán)丹蝶》用色大膽，他借鑒青花瓷的用色，漢代紋飾配以厚重的藍(lán)色，讓“蝴蝶”的典雅氣息倍增。

創(chuàng)新是一種傳承的方式，哈亦琦以此為使命一直在努力。但隨著年歲的增長，他也開始考慮多樣化的傳承方式。他走進(jìn)各級(jí)課堂，講授風(fēng)箏制作技藝和文化；他收徒傳業(yè)，摒棄“傳家人不傳外人”的傳統(tǒng)觀念，向熱愛風(fēng)箏技藝的青年一代傳遞火種；他舉辦展覽，系統(tǒng)地展示“哈氏風(fēng)箏”，讓觀者可以近距離感受風(fēng)箏的魅力。除此之外，哈亦琦受父親生前囑托，進(jìn)行著工程量巨大的風(fēng)箏畫譜的繪制工作。2016年哈亦琦將用時(shí)10年時(shí)間完成的100件（套）畫譜作品捐獻(xiàn)給了中國美術(shù)館。2019年，他還在竭盡全力繪制余下的170幅待完成作品。

近年來，哈亦琦的“老花眼”日益加重，看著自己不斷變厚的眼鏡片，他戲言“自己的時(shí)間不多了”?；厥诇嫔q月，哈亦琦感慨自己做得還不夠多，他仍在努力，以求在身體狀況允許的情況下再多留些東西給后人。

The invention and application of kites can be traced back to the Spring and Autumn Period and the Warring States Period in China,and are mostly applied in the military field. By the Tang and Five Dynasties,kite flying became an outdoor activity for fitness and recreation. At present,China has four major kite producing areas,including Beijing,Tianjin,Weifang of Shandong and Nantong of Jiangsu. Upon talking about Beijing kites,the public used to say "Dashayan of South City,Heiguodi of North City",among which "Dashayan of South City" is the "Ha's Kite" featuring more than 170 years of inheritance,also namely "Kite of Ha".

Ha Guoliang,the founder of "Ha's Kite",began to explore the craft of making kites simply out of his hobby. During the subsequent family inheritance,the production skills constantly been improved,which is not only famous in the local area,but also winning its popularity overseas. In 1915,the four kites,"Butterfly","Dragonfly","Crane" and "Phoenix" of Ha Changying,the second generation of "Ha's Kite",have claimed the Silver Award at the Panama World Expo.

As the inheritor of the fourth generation of "Ha's Kite",Ha Yiqi has concentrated on kite skills research since the beginning of China's Reform and Opening up,realizing many achievements in a number of aspects,such as the innovation of kite art style,the geometric transformation of modeling,and the modern transformation of kite elements. Recently at the "Ha's Kite"campus tour of the "National Intangible Cultural Heritage"held by the library of Beijing Normal University,Ha Yiqi exhibited the works of the three generations of "Ha's Kite" since the Reform and Opening up,as well as the copies of the works of the first two generations that have been circulated overseas during. In addition to large,medium and small kites with different specifications,Ha Yiqi also displayed 8 representative kites for the viewers. "The inheritance of intangible cultural heritage is long-term work. We have caught up with a good era,how can we live up to the expectations of the government,society,the whole nation and future generations without keep learning,inheriting,creating and developing?" Ha Yiqi said.

Inheritance of Intangible Cultural Heritage in "My" Eyes

In 2008,"Ha's Kite" was included in the list of representative projects of national intangible cultural heritage. And its art of tying,pasting,painting and flying techniques embodies the experience and wisdom gathered by the predecessors in practice. As the successor of the noble cause,Ha Yiqi has explained his understanding of intangible cultural heritage by starting from his own experience. "When I was a child,my father was making kites every day. When I turned interested in kites,he did not teach me the skills when I tried to make my first one,but told me about the advantages of his kites for generations in the past decades,allowing me to comprehending myself. This is immaterial,I don't know how to do it If I were about to write it in words."

A successful practice is undoubtedly the best proof of this type of teaching and learning. In 1983,Ha Yiqi came to the United States alone to attend the San Francisco International Kite Festival. In the case that the commonly-used materials were not that ideal,Ha Yiqi decided to challenge himself,making an eightfoot big kite according to his plan. The eight feet here refers to the kite’s width,and the other parts were to be produced in an appropriate ratio. Considering that the kite was to fly off the coast,it must resist the test of nearly six-degree wind. The experience that his father once taught was instantly reflected in Ha's mind- "In the face of the wind,the skeleton should be thickened in the central part,which should be doubled,and the angle of the lead should be less than 90 degrees with the upright kite,so that the swing of the kite's leg can be controlled." Ha Yiqi recalled,"This is the experience my father told me." When the kite contest officially started,the moment when the kiteFive Fish Swallow,which had not been tested,flew into the sky,Ha Yiqi was full of pride because he did not just represent the "Ha's Kite",but also the Chinese nation.

The San Francisco International Kite Festival became the debut ofHa Yiqi. The special prize he won was considered the recognition issued by the conference members. In Ha's view,this success is more to verify his absorption of the ancestral experience,the understanding of kite skills,and the immaterial culture preserved in this oral communication amongst generations. However,with the evolution of the times and the transformation of cultural trends,the traditional pastime of kites seems to be losing its original influence. How to keep the kite alive in the current cultural heritage has become the key issue in his mind.

Play the Better Role of Green Leaf in Inheritance

"We are not great artists,but green leaves. We can do small things in our lifetime,and we can make the leaves always green.Then our work is worthwhile." Ha Yiqi said.

In the early years,the ancestors made kites mostly for commercial purposes or for making a living. When reviewing their inheritance experience,Ha Yiqi quite emotionally said: "I was born at a good time,the government has provided us a lot of support,allowing us to stop struggling for livelihood and spend time for inheritance." A sense of responsibility for cultural self-confidence and the inheritance of national culture have always inspired him to become a driving force and supported him to "do more."

Since the end of the last century,with the increasing participation in foreign cultural exchange activities,Ha Yiqi has been inspired by the excellent kite design and production techniques overseas,and the idea of learning from innovation has quietly sprouted. The abstract concepts and geometric shapes in Western culture are deeply attractive to him. In the 1980s,he attempted to geometrically transform kites and explore the effects of structural changes on kite flying.Amongst them,his small kite workCirclein 1982 was a successful example. The entire kite consists of two sets of eight circular pieces of paper perpendicular to each other. And the bamboo is replaced by wires to connect each other and reduce the weight,creating a diamond pattern. The small kite,combining beauty and practice,is connected by only one wire,and it can be released with a little traction. Ha Yiqi said that the purpose of the geometric experiment is also committed to providing ideas for understanding and improving the traditional kite shape.

Apart from the structural thinking,Ha Yiqi also took advantage of his art major specialized in oil painting,and spent much effort in kite painting. When Ha Yiqi draws a kite,he uses the gradient flat coating method and the baking color to change the color according to the level of the surface to form a color block,face ratio,cold and warm contrast,and the contrast between stability and jumping,possessing a strong distant-visual color effect. Ha's representative workBlue-white Butterflyquite bold in color,he draws on the color of blue-and-white porcelain,together with the thick color of blue originated from the Han Dynasty ornamentation,intensifying the elegance of "Butterfly".

Innovation is a way of inheritance,and Ha Yiqi has been working hard for this mission. But as time goes by,he even began to consider the way of diversification in this cause.

He walked into classrooms at all levels to teach kite making skills and culture; he accepted apprentice while passing on the tradition,and abandoned the traditional concept of "Only Passing Amongst Family" and passed on the heritage to the young generations who love kite skills; he held exhibitions,systematically displaying "Ha's Kite",allowing the viewers to feel the kites’ charm at closer range.

In addition,entrusted by his father,Ha has been carrying out the work of painting a huge amount of kites for collections. In 2016,Ha Yiqi donated 100 pieces (sets) of paintings completed in 10 years to the National Art Museum of China. In 2019,he is still trying his best to draw the remaining 170 pieces.

In recent years,as his "presbyopia" becomes more and more serious,he joked,while looking at his ever-increasing glasses thickness,that "there is not much time left for me." Looking back on the vicissitudes of life,Ha Yiqi felt that he had not done enough. And he is still working hard to make more for future generations if his physical condition allows.