文/夏斌婷

鮑運(yùn)達(dá)。Bao Yunda.

印象里，小時(shí)候每逢喜慶之日，人們便會(huì)用剪窗花來(lái)表達(dá)內(nèi)心豐富的情感。幾張彩紙，一把剪刀，一雙巧手，一幅幅色彩繽紛、栩栩如生的剪紙作品就會(huì)展現(xiàn)在眼前，給人以賞心悅目之感。

在金華，民間剪紙豐富多彩，風(fēng)格各異。尤其是金華蘭溪，二十世紀(jì)五六十年代之前，幾乎每個(gè)村子都有幾位被村民尊為“花師傅”的剪紙能手，他們走村串戶、相互切磋，也互相競(jìng)爭(zhēng)。令人感動(dòng)的是，這些“花師傅”大都有一顆善良的心，有追求藝術(shù)精進(jìn)的工匠精神。今年83歲的蘭溪民間剪紙金華市級(jí)非物質(zhì)文化代表性傳承人鮑運(yùn)達(dá)，正是如此。

村村有藝人

作為中國(guó)特有的集民俗性、趣味性、藝術(shù)性于一體的傳統(tǒng)民間藝術(shù)，剪紙?zhí)N藏了我國(guó)勞動(dòng)人民深厚的情感，沉淀了幾千年的華夏文化。至今仍在傳承發(fā)展的中國(guó)剪紙藝術(shù)被譽(yù)為“活化石”，被聯(lián)合國(guó)列入世界非物質(zhì)文化遺產(chǎn)保護(hù)名錄。

金華剪紙歷史悠久，有記載的就有1500多年，蘭溪民間剪紙的歷史淵源已無(wú)從查考。但明代《武林梵志》記載的“城外百戶，不張懸錦緞，皆用彩紙剪人馬以代”，點(diǎn)出了江浙一帶早就有剪紙藝術(shù)流行，側(cè)面說(shuō)明了屬于吳越地帶的蘭溪民間剪紙亦應(yīng)當(dāng)有一段悠遠(yuǎn)的歷史。

剪紙以鏤剪、鐫刻為手段，表現(xiàn)手法多樣，畫(huà)面對(duì)比鮮明，表現(xiàn)形式種類(lèi)繁多，應(yīng)用方式更是多種多樣。過(guò)去的蘭溪民間幾乎村村都有剪紙藝人。蘭溪剪紙與周邊縣市的風(fēng)格有所區(qū)別，大都是作為裝飾花、刺繡花樣、民俗節(jié)日禮花、燈扎紙?jiān)鷳?yīng)用，形成了以幡扎“欞格花”為代表的原生態(tài)“祥瑞剪紙”的獨(dú)特風(fēng)格，具有鮮明的地方特色，至今仍在傳承發(fā)展，顯示出頑強(qiáng)的藝術(shù)生命力。

“幡扎窗花魅力滋，迎祥祈福煥新姿。精鏤巧刻誠(chéng)情掬，剪藝傳承正有時(shí)。”多年來(lái)，定居蘭溪的鮑運(yùn)達(dá)為收集、搶救、整理民間剪紙，進(jìn)行了廣泛調(diào)研，積累了大量資料。

五大特色美

“你知道剪紙也分南北流派嗎？這些流派都各有特色……浙江剪紙普及面廣，題材多樣……”提到剪紙，鮑運(yùn)達(dá)就有說(shuō)不完的話。他說(shuō)，就風(fēng)格而言，蘭溪民間剪紙與毗鄰的浦江、永康剪紙有所不同，后二者如戲曲窗花類(lèi)，似朝“文人玩賞”方向發(fā)展，顯得細(xì)柔俊美，有書(shū)卷氣，極似明清繡像木刻版畫(huà)，而蘭溪民間剪紙則粗獷樸拙類(lèi)占比較大，屬于較原始的那種，與陜西安塞一帶的剪紙異曲同工，“可以說(shuō)屬于‘原生態(tài)’剪紙”。

隨著時(shí)代的演變，蘭溪剪紙表現(xiàn)形式除單色外，還有染色、分色、襯色、繪色等多種形式，表現(xiàn)手法有陰刻、陽(yáng)刻和陰陽(yáng)結(jié)合三大類(lèi)。同時(shí)，因蘭溪剪紙獨(dú)特的鏤空技法，使其具有可雙面同時(shí)欣賞的優(yōu)點(diǎn)，體現(xiàn)了風(fēng)格的淳樸美、手法的簡(jiǎn)潔美、構(gòu)圖的裝飾美、造型的意象美、色彩的明快美五大特色美。

為什么會(huì)這么喜歡蘭溪剪紙？“正是源于它的原生態(tài)之美?！滨U運(yùn)達(dá)說(shuō)，他少時(shí)跟隨父母從安徽遷居蘭溪，一直對(duì)當(dāng)?shù)氐母鞣N文藝活動(dòng)很感興趣?！?0世紀(jì)50年代初，我讀小學(xué)五年級(jí)時(shí)，姐姐從她教書(shū)的蘭溪游埠鎮(zhèn)節(jié)門(mén)張村帶回幾張剪紙。頭一次見(jiàn)到這些不到巴掌大的精美‘花樣’，我受到極大震撼，從此和剪紙結(jié)下了不解之緣?！?/p>

若干年后，18歲的鮑運(yùn)達(dá)到文化站工作，開(kāi)始收集民間剪紙和采集記錄民歌，并一直堅(jiān)持至今。他經(jīng)常會(huì)帶著孩子做剪紙手工，很受歡迎。

“學(xué)剪紙，一要有恒心有毅力，二要多看多練習(xí)。但想要在掌握基本技能的基礎(chǔ)上創(chuàng)作出有自己獨(dú)特風(fēng)格的剪紙作品，就需要細(xì)細(xì)揣摩了?！备母镩_(kāi)放后，民間剪紙受到重視，鮑運(yùn)達(dá)摸索著學(xué)習(xí)剪紙知識(shí)和提升技藝，也慢慢地在剪紙藝術(shù)界有了立足之地。

2000年退休后，鮑運(yùn)達(dá)更是專心撲到了剪紙這項(xiàng)愛(ài)好上，常常查資料、練習(xí)剪紙，一忙一整天。難得抽空和老伴出門(mén)旅游時(shí)，他總被景點(diǎn)的門(mén)窗木雕、石雕等迷住，只顧著拍照以致掉了隊(duì)。

2003年11月，經(jīng)被譽(yù)為“金華第一剪”的王風(fēng)的多年努力，金華市民間文藝家協(xié)會(huì)剪紙藝術(shù)委員會(huì)正式成立，鮑運(yùn)達(dá)任副會(huì)長(zhǎng)兼秘書(shū)長(zhǎng)。

因?yàn)閰f(xié)會(huì)活動(dòng)，他與外地剪紙達(dá)人交流學(xué)習(xí)的機(jī)會(huì)增多，開(kāi)始注重對(duì)蘭溪剪紙這項(xiàng)非遺進(jìn)行更加理論化的研究和總結(jié)。

邊看邊學(xué)，他先后將部分成果總結(jié)成《傳統(tǒng)民間剪紙藝術(shù)初探》《民間剪紙與中國(guó)繪畫(huà)之間的淵源關(guān)系管窺》等論文發(fā)表。在2006年發(fā)表的《蘭溪“原生態(tài)”民間剪紙的藝術(shù)特性》一文中，鮑運(yùn)達(dá)就對(duì)蘭溪剪紙的應(yīng)用范圍、表現(xiàn)形式、特點(diǎn)、技藝等進(jìn)行了深入的剖析。

同時(shí)，結(jié)合研究，鮑運(yùn)達(dá)持續(xù)嘗試創(chuàng)新題材和剪刻手法，如將蘭溪當(dāng)?shù)氐慕ㄖ?、藍(lán)印花布花樣、風(fēng)俗故事、書(shū)畫(huà)作品等融入作品，收獲大片好評(píng)?！澳憧磯ι系倪@一幅作品，外圈我用的就是藍(lán)印花布花樣，里面則是自己創(chuàng)作的一首詩(shī)，主要用了藍(lán)紙陰刻，很多人第一次看到還以為這是藍(lán)印花布呢?！?/p>

鮑運(yùn)達(dá)的剪紙作品。Paper-cutting work by Bao Yunda.

“有人會(huì)寫(xiě)不會(huì)剪，有人會(huì)剪不會(huì)寫(xiě)。鮑運(yùn)達(dá)能剪會(huì)寫(xiě)愛(ài)創(chuàng)新，也很愿意培養(yǎng)新人，很是難得?！蓖躏L(fēng)如是評(píng)價(jià)。據(jù)悉，今年新增的3位蘭溪市剪紙非遺傳承人中，有兩位是鮑運(yùn)達(dá)的學(xué)生。

傳承貴創(chuàng)新

“剪紙是我熱愛(ài)的事，剪紙技藝不僅是一種文化傳承，也是一種精神傳承?！睂?duì)于鮑運(yùn)達(dá)而言，推動(dòng)蘭溪剪紙傳承發(fā)展，讓這門(mén)技藝薪火相傳，是作為非遺傳承人的使命與責(zé)任。

為了更好地留住和傳承這份手藝，2004年3月，鮑運(yùn)達(dá)應(yīng)邀在蘭溪市老年大學(xué)開(kāi)辦剪紙教學(xué)班(后為剪紙聯(lián)誼會(huì)）。多年來(lái)，剪紙班培養(yǎng)了一大批愛(ài)剪紙的老年人，還挖掘出一批中青年剪紙藝人。其3年間陸陸續(xù)續(xù)編寫(xiě)的講義，也被匯編成了《中國(guó)剪紙與民俗文化》一書(shū)，作為校本教材流傳至今。

但是讓他覺(jué)得遺憾的是，長(zhǎng)期以來(lái)，剪紙并不是一個(gè)可以謀生的行業(yè)?！半m然在學(xué)校里有所普及，卻少有人愿意將其作為事業(yè)，專業(yè)化、規(guī)?；l(fā)展不足，以致傳承勢(shì)弱?！北热珲U運(yùn)達(dá)持續(xù)關(guān)注著的蘭溪河西一帶的欞格剪紙，雖被不少人贊為“哭泣的藝術(shù)”，卻因未受到重視，其圖案和紋飾現(xiàn)已被電腦刻剪所代替。所幸，這一藝術(shù)近來(lái)受外國(guó)藝術(shù)家大加贊譽(yù)，一位青年剪紙傳人在鮑運(yùn)達(dá)的熱心鼓勵(lì)下，把欞格剪紙融入家傳的無(wú)骨花燈制作，讓其獲得創(chuàng)新性發(fā)展。

“普通人常常會(huì)低估剪紙的價(jià)值，其實(shí)它蘊(yùn)含著非常高深的審美水平和工藝技巧。剪紙的門(mén)檻很低，小到幾歲的孩子稍加培訓(xùn)就能上手，但想要做好卻很難。一件復(fù)雜的剪紙作品，少則要花數(shù)月，多則一年。”浙江省工藝美術(shù)大師、金華市剪紙博物館館長(zhǎng)詹東明說(shuō)，如何改變?nèi)藗兊墓逃杏^念，讓金華剪紙的影響力更大，是他一直努力的方向。他創(chuàng)建金華市剪紙博物館的初心也是基于此，希望哪怕多一個(gè)能讓人了解剪紙藝術(shù)的平臺(tái)。

確實(shí)，傳承難似乎成了這一行的共性。蘭溪市非物質(zhì)文化遺產(chǎn)保護(hù)中心辦公室主任陸穎異說(shuō)，如今蘭溪本地幾位與剪紙相關(guān)的傳承人所從事的工作，都與紅白喜事緊密相關(guān)?！叭欢艏堄迷诿袼谆顒?dòng)中有一定的局限性，只有結(jié)合生活用品才具有持久的生命力。”她說(shuō)，大家也就此曾作過(guò)相關(guān)探討，認(rèn)為蘭溪剪紙乃至金華剪紙技藝要永續(xù)傳承，重點(diǎn)在于創(chuàng)新，可以從各類(lèi)藝術(shù)設(shè)計(jì)中汲取養(yǎng)分，開(kāi)發(fā)一些剪紙藝術(shù)相關(guān)的文創(chuàng)產(chǎn)品，賦予傳統(tǒng)技藝新的生命力和活力。比如福建省南平市的浦城剪紙，傳承人不僅推出了剪紙?jiān)氐拇删摺h服、真皮手包等衍生系列產(chǎn)品，還與知名餐飲、茶葉等企業(yè)合作，與現(xiàn)代科技結(jié)合，將剪紙?jiān)剡\(yùn)用在餐飲、茶空間、農(nóng)產(chǎn)品、數(shù)字藝術(shù)品等領(lǐng)域，開(kāi)拓了剪紙創(chuàng)新發(fā)展之路。這些都是值得學(xué)習(xí)借鑒的。

鮑運(yùn)達(dá)的剪紙作品。Paper-cutting work by Bao Yunda.

鮑運(yùn)達(dá)收集的與剪紙有關(guān)的書(shū)籍。Books on paper-cutting that Bao Yunda has collected.

Making Stunning Art out of Paper

By Xia Binting

In my impression, whenever there was a festive occasion in the past, people would use paper-cutting to express their rich emotions. A few sheets of colored paper, a pair of scissors, and a pair of skillful hands would produce colorful and lifelike papercutting works in front of our eyes, giving us a pleasing sensation.

In Jinhua, folk paper-cutting is rich and colorful, with various styles. Particularly in Lianxi, before the 1950s and 1960s, almost every village had a few paper-cutting masters known as “flower masters” by the villagers, who would visit each other’s homes and compete. What is more moving is that these “flower masters” have a kind heart and a craftsman spirit of pursuing artistic excellence.Bao Yunda, 83 years old this year and a representative inheritor of Jinhua’s intangible cultural heritage of Lianxi folk paper-cutting, is such a person.

As a unique traditional folk art in China that combines folk customs, fun and art, paper-cutting embodies the deep emotions of China’s working people and has sedimented the culture of China for thousands of years. China’s paper-cutting art, which is still being inherited and developed, is known as a “l(fā)iving fossil”and has been included on the list of world intangible cultural heritage protected by the United Nations.

The history of Jinhua paper-cutting dates back more than 1,500 years, but the exact origins of Lianxi folk paper-cutting are untraceable. However, theWulin Fanzhi, a Buddhist gazetteer written in the Ming dynasty (1368-1644) recorded that “in the city’s suburbs, there are more than 100 households, none of which hang brocade and silk, all using colorful paper to cut horses and people instead”, indicating that paper-cutting art was popular in Jiangsu and Zhejiang, and suggesting that Lianxi folk papercutting in the Wu and Yue region should also have a long history.

鮑運(yùn)達(dá)的剪紙作品。Paper-cutting work by Bao Yunda.

鮑運(yùn)達(dá)的剪紙作品。Paper-cutting work by Bao Yunda.

Paper-cutting uses the techniques of carving and engraving to express a variety of hand movements, with contrasting images and a wide range of forms of expression. Its applications are also varied. In the past, almost every village in Lianxi had paper-cutting artists. Lianxi paper-cutting has a distinctive style compared to the surrounding counties and cities, mostly used as decorative flowers,embroidered patterns, folk festival flowers, and lamp paper. It has formed a unique style of original “auspicious paper-cutting”represented by “Lingge Flower” banners, with a distinct local character and a strong artistic vitality that is still being inherited and developed.

Over the years, Bao Yunda, after settling in Lianxi, has conducted extensive research on collecting, salvaging and organizing folk paper-cutting, and has accumulated a wealth of materials.

“Did you know that paper-cutting also has Northern and

Southern schools?These schools all have their own characteristics.Paper-cutting is widely popular in Zhejiang, with a variety of themes.In terms of style,folk paper-cutting in Lianxi is different from that in nearby Pujiang and Yongkang. The latter, such as opera window flowers, seems to be developing in the direction of ‘literati play and appreciation’, and is delicate and handsome,with a touch of scholarly elegance, much like Ming and Qing embroidered woodblock prints; folk paper-cutting in Lianxi is mostly rough and crude, belonging to the more primitive kind,similar to paper-cutting in Ansai, Shaanxi, and can be said to be primitive paper-cutting,” according to Bao.

With the evolution of the times, Lanxi’s paper-cutting has shown various forms of expression, including coloring, dividing into colors, lining and painting, as well as three main techniques: relief,intaglio, and a combination of the two. At the same time, Lanxi’s unique hollowing technique allows it to be appreciated on both side,showing its five characteristices of simplicity,concise technique,decorative composition, imagistic modeling and bright colors.

Why does Bao Yunda like Lanxi paper cutting so much?

“It’s because of its natural beauty,” Bao said. When he was young, he followed his parents to move to Lanxi from Anhui and has always been interested in various artistic activities in the local area."In the early 1950s,when I was in the fifth grade,my sister brought back some paper-cuttings from the Jiemeng Zhang village(Youbu town, Lanxi city) where she taught. Seeing these small,exquisite ‘patterns’ for the first time gave me a great shock and since then I have had a strong connection with paper-cutting.”

Several years later, the 18-year-old Bao started working at the Cultural Station and began collecting folk paper-cuttings and recording folk songs, which he has continued to do to this day.He often takes his children to do paper-cutting works, which are very popular. “Learning paper-cutting is not difficult, as long as you have patience and perseverance, and as long as you watch and practice a lot. However, to create paper cutting works with your own unique style on the basis of mastering basic skills, you need to study carefully.” After the Reform and Opening-Up, folk paper-cutting was given more attention, and Bao strived to learn and improve his knowledge and skills in paper-cutting, gradually establishing a foothold in the paper-cutting art world.

After retiring in 2000, Bao devoted himself even more to this hobby, often researching and practicing paper-cutting for a whole day. When he had a rare opportunity to travel abroad with his wife, he was always captivated by the wood and stone carvings on doors and windows at the tourist sites and would fall behind to take photos. In November 2003, the Paper-Cutting Art Committee of the Folk Art Association of Jinhua was Officially established,and Bao was appointed as vice chairman and secretary-general.

Because of his involvement in the association, he had more opportunities to exchange and learn from paper-cutters from other regions and began to focus more on the theoretical aspect of Lanxi paper-cutting as an intangible cultural heritage.

At the same time, based on his research, Bao has continued to try to innovate themes and cutting techniques, such as incorporating local architecture, blue-printed fabrics, folk customs and stories, and calligraphy and paintings into his works, and has received many positive reviews.

In order to better preserve and pass on this craft, in March 2004, Bao was invited to open a paper-cutting teaching class (later called the Paper-Cutting Association) at the Lanxi City College for the Elderly. Over the years, the paper-cutting class has trained a large number of elderly people who love paper-cutting and has also unearthed a group of young and middle-aged paper-cutting artists.The lecture notes he created and collected over the three years have also been compiled into a book calledChinese Paper-Cutting and Folk Culture, which has been used as a textbook to this day.

However, Bao regrets that paper-cutting has not been a sustainable industry for a long time. “Although it is popular in schools, few people are willing to make it their career, and there is insufficienr professionalization and scale development,resulting in weak inheritance,” he said.

Indeed, the difficulty of preserving this craft seems to be a commonality in this field. For Lanxi paper-cutting and even Jinhua paper-cutting skills to be sustained, the key is innovation. It is possible to draw inspiration from various types of art and design to develop cultural and creative products related to paper-cutting art, injecting new life and vitality to traditional skills.

鮑運(yùn)達(dá)的剪紙作品。Paper-cutting work by Bao Yunda.