刻刀為筆繪春秋

王福田

“選擇在德清開(kāi)館是因?yàn)檫@里是我的第二故鄉(xiāng)，這里有著深厚的文化底蘊(yùn)，并且非常重視營(yíng)造藝術(shù)文化氛圍?！?016年12月22日上午，坐落在浙江省德清縣余英溪畔的“陸放藝術(shù)館”正式開(kāi)館，85歲的中國(guó)著名版畫(huà)家陸放作為名譽(yù)館長(zhǎng)，出席了開(kāi)館儀式并致辭。

在刀痕水跡中耕耘一甲子，贏得卓越成就

“陸放藝術(shù)館”與“俞平伯紀(jì)念館”同處余英溪北岸，相互為鄰。兩幢建筑風(fēng)格相近，同為粉墻黛瓦，都是藝術(shù)大家的個(gè)人專題館。陸放藝術(shù)館收藏陳列了陸放創(chuàng)作的323幅版畫(huà)精品以及原版、手稿。這些作品的創(chuàng)作時(shí)間橫跨59年，總共花費(fèi)了近20萬(wàn)個(gè)小時(shí)才完成。進(jìn)入展館右側(cè)，“刀痕水跡”展板上書(shū)寫(xiě)著陸放的藝術(shù)人生歷程：1932年，正值中國(guó)局部抗戰(zhàn)興起救國(guó)存亡之際，也正是魯迅先生在上海倡導(dǎo)發(fā)起中國(guó)新興木刻版畫(huà)運(yùn)動(dòng)之時(shí)，陸放降生在距離上海僅70公里的江南水鄉(xiāng)昆山。也許是命運(yùn)的安排，少年時(shí)期的他經(jīng)歷了中華民族的覺(jué)醒和反抗，而當(dāng)時(shí)作為宣傳材料的木刻版畫(huà)給了他莫大震撼。他說(shuō)：“我走上版畫(huà)的道路，是受到新興版畫(huà)運(yùn)動(dòng)的影響。魯迅先生提出木刻要像投向敵人的一把匕首。當(dāng)時(shí)我看到胡一川、野夫的木刻版畫(huà)，作品那么有爆發(fā)力，很受鼓舞?！?949年，17歲的陸放離開(kāi)家鄉(xiāng)，進(jìn)入軍旅，開(kāi)始從事美術(shù)工作。1955年，陸放考入中央美術(shù)學(xué)院華東分院（現(xiàn)中國(guó)美術(shù)學(xué)院）版畫(huà)系深造，1960年畢業(yè)后留校任教。

上世紀(jì)50年代后期，陸放的作品開(kāi)始參加全國(guó)性的大型美術(shù)展覽。1979年作品被國(guó)家選送參加世界第十三屆版畫(huà)展。1994年陸放應(yīng)美國(guó)巴爾的摩美術(shù)學(xué)院邀請(qǐng)赴美國(guó)五所大學(xué)講學(xué)，被授予巴爾的摩市榮譽(yù)市民，并在巴爾的摩和波士頓兩地舉辦水印木刻展。1996年中國(guó)版畫(huà)家協(xié)會(huì)授予陸放版畫(huà)界最高榮譽(yù)“魯迅版畫(huà)獎(jiǎng)”。

陸放熱愛(ài)自然，鐘情于風(fēng)景版畫(huà)創(chuàng)作，因擅長(zhǎng)以水印木刻技法創(chuàng)作西湖題材版畫(huà)而被美術(shù)界譽(yù)為“西湖陸”。作品曾被中國(guó)美術(shù)館、天津藝術(shù)博物館、倫敦大英帝國(guó)博物館、巴黎國(guó)家造型藝術(shù)中心、日本神奈種美術(shù)館、莫斯科博物館、美國(guó)巴爾的摩博物館等收藏。代表作品有《蘇堤春曉》《江南水鄉(xiāng)》《沙漠綠洲》等。出版有《陸放畫(huà)集》《水印木刻技法》《新世紀(jì)·新繪畫(huà)》作品集。

陸放藝術(shù)館是一幢獨(dú)立的兩層小樓，兩千余平方米的展館分為“悠悠水鄉(xiāng)”、“煙雨西子”、“魅力山河”和“莫干山情”四大展區(qū)。其中“莫干山情”展區(qū)主要展出了陸放2009年以來(lái)創(chuàng)作的名山、濕地、古鎮(zhèn)作品，通過(guò)傳統(tǒng)木刻水印技藝，描繪出一幅幅清麗悠遠(yuǎn)、意趣盎然的德清特色美景，也述說(shuō)著陸放與德清半個(gè)多世紀(jì)的不解情緣。

德清是第二故鄉(xiāng)，愿意把藝術(shù)館建在這里

故鄉(xiāng)昆山的陸放說(shuō)：德清名人孟郊、俞曲園、俞平伯等與昆山淵源頗深。德清從古至今都是富庶之地，近50年來(lái)，自己無(wú)數(shù)次到過(guò)德清，這里已是第二故鄉(xiāng)。早在1967年12月，陸放就以《工農(nóng)兵畫(huà)報(bào)》記者身份到德清雷甸采訪。1972年夏季，浙江省文化廳和省美術(shù)家協(xié)會(huì)組織“全國(guó)美展創(chuàng)作”活動(dòng)，在莫干山上生活了一個(gè)多月。改革開(kāi)放前期，江南大地處處呈現(xiàn)出蓬勃的景象，陸放幾乎每個(gè)月都要帶領(lǐng)學(xué)生到湖州鄉(xiāng)下寫(xiě)生，或者參加農(nóng)村文化工作隊(duì)，菱湖、鐘管、新市等江南水鄉(xiāng)都短暫停留過(guò)。正是因?yàn)殚L(zhǎng)期對(duì)江南水鄉(xiāng)深入觀察、體驗(yàn)、研究，有了真感受，動(dòng)了真感情，把握了江南文化的本質(zhì)美，陸放才創(chuàng)作出了無(wú)數(shù)動(dòng)人的藝術(shù)作品。

2009年6月20日，由浙江省政協(xié)詩(shī)書(shū)畫(huà)之友社、德清縣委宣傳部主辦的“秀色江南——陸放水印版畫(huà)展”在德清舉行，首次展出了德清題材的系列版畫(huà)作品6幅：《莫干山旭光臺(tái)》《雅居莫干》《月照下渚湖》《下渚湖之晨》和《江南古鎮(zhèn)》《古鎮(zhèn)雪景》。它們?yōu)榈虑蹇h的山水和人文景色留下了藝術(shù)的注腳。一位文化人士觀看展覽后認(rèn)為：“陸放版畫(huà)的藝術(shù)之美與江南之優(yōu)雅完美融合，恰如一顆水晶球折射出現(xiàn)實(shí)世界的千變?nèi)f化。”2011年11月28日，陸放版畫(huà)藏書(shū)票館在德清瘐村開(kāi)館，莫干山麓又增添了一道古典又現(xiàn)代的人文風(fēng)景。2015年，德清縣政府聘請(qǐng)陸放擔(dān)任文化顧問(wèn)。當(dāng)年10月29日，陸放決定把他創(chuàng)作的300多件作品無(wú)償捐贈(zèng)給德清縣，新建一座精致的陸放藝術(shù)館。

水印木刻的西湖，展示東方藝術(shù)神韻

“水至柔，卻蘊(yùn)骨；水骨無(wú)痕，卻致山川河谷。所經(jīng)之處，高縱萬(wàn)壑，是為水印?！标懛潘囆g(shù)館的“悠悠水鄉(xiāng)”展區(qū)，集中展出了陸放的20多幅江南水鄉(xiāng)四季景物、生活場(chǎng)景作品。水鎮(zhèn)之冬、雪花飄飄、橋鄉(xiāng)雪景、水鄉(xiāng)雪景、恬靜的清水灣、清江澹泊、小鎮(zhèn)水街、澤國(guó)垂釣、漁家姑娘、水鄉(xiāng)夜話、水庫(kù)新城、臘月雪茫茫等作品。觀眾能一窺刀尖下的水鄉(xiāng)美景，通過(guò)塊面與線條的組合，構(gòu)成一幅幅意境深遠(yuǎn)、清新淡雅而又引人入勝的江南水鄉(xiāng)畫(huà)景，令人回味再三。

陸放以清新淡雅、平實(shí)含蓄的畫(huà)作在中國(guó)當(dāng)代版畫(huà)苑里占據(jù)了重要一席，他用獨(dú)特的水印木刻技法，精心選用質(zhì)地細(xì)膩的梨木和優(yōu)質(zhì)夾宣為材料，刻畫(huà)出了一個(gè)又一個(gè)江南水鄉(xiāng)新的境地。正如美術(shù)評(píng)論家、中國(guó)美術(shù)學(xué)院教授毛建波說(shuō)的那樣：陸放以一個(gè)詩(shī)人的眼光觀察世界、體味自然，他的畫(huà)充滿了濃厚的東方色彩和濃郁的詩(shī)意，傳遞了他對(duì)江南水鄉(xiāng)煙雨輕嵐的審美感受，表達(dá)了他對(duì)寧?kù)o祥和、安居樂(lè)業(yè)生活的禮贊。

循著陸放的傳統(tǒng)木刻水印痕跡，走進(jìn)“煙雨西子”展區(qū)。陸放在杭州西湖畔生活了60多年，西湖的柔水日日在眼前蕩漾，自1973年創(chuàng)作第一件水印木刻《蘇堤春曉》后，陸放把大部分時(shí)光都停留在西湖上，《西湖春雨》的淡雅、《柳浪聞鶯》的娟秀、《保俶初陽(yáng)》的明麗、《平湖秋月》的清幽、《斷橋殘雪》的雋永……歷40余年之久，陸放得之于西湖的畫(huà)作也不過(guò)30余幅。但每一幅都可謂是鏤神雕心之作，鏤刻著他60多年來(lái)的發(fā)現(xiàn)，畫(huà)里的神韻乃是美麗西湖詩(shī)意的凝結(jié)。

在“魅力山河”展區(qū)，既有萬(wàn)里長(zhǎng)城的雄偉壯觀，也有黃河天險(xiǎn)的懸崖峭壁，更有千里大漠的風(fēng)塵月色，這些作品傳達(dá)了他對(duì)祖國(guó)大好河山的熱愛(ài)和感悟?！澳缮角椤闭箙^(qū)的作品都是陸放熱愛(ài)德清的傾情之作。他說(shuō)：“德清素有魚(yú)米之鄉(xiāng)、絲綢之府、名山之勝、竹茶之地、文化之邦的美譽(yù)。莫干山是江南第一名山，下渚湖滋潤(rùn)著這片美麗土地，新市是東方名鎮(zhèn)?！毙℃?zhèn)水街、舊村老宅、紅杏白墻、山鄉(xiāng)野塘，地處吳越水鄉(xiāng)的德清，處處都是秀麗典雅的濫觴。半個(gè)世紀(jì)里，陸放不計(jì)其數(shù)地訪德清、戀德清、寫(xiě)德清，無(wú)論月夜、雨中，還是霧里、雪后，一經(jīng)他的版畫(huà)表現(xiàn)都會(huì)有特別的氣韻。難怪欣賞陸放的畫(huà)，總覺(jué)得畫(huà)中有詩(shī)，意趣盎然。

（本文攝影 李 驊）

Art Museum Honors Printmakers Career

By Wang Futian

Lu Fang， an 85-year-old printmaking artist， attended the opening ceremony of an art museum on the morning of December 22， 2016. The museum is located in Deqing， a rural county north of Hangzhou. He must attend the ceremony： it is named after him， he is its honorary curator and it houses a collection of over 300 of his original woodcuts and prints.

Lu is a prominent woodprint artist. Born in 1932 in Kunshan， about 70 kilometers from Shanghai， he joined the Peoples Liberation Army at 17 in 1949. He worked in the army as an artist. In 1955， he began his four-year study as a printmaking major at East China Campus of the Central Academy of Fine Arts （the predecessor of the present-day Hangzhou-based China Academy of Art）. He graduated in 1960 and began to teach at his alma mater. His artworks began to appear at national art exhibitions in the 1950s. In 1979， his works of art were selected for the 13th World Woodprint Art Exhibition. In 1994， he lectured in five American universities and held solo exhibitions in Baltimore and Boston. In 1996， he won Lu Xun Woodprint Prize， the top honor for this artistic genre in China.

Lu Fang is best known for his lyrical portrayals of nature. His landscape masterpieces are in various collections of art museums and individuals at home and abroad.

The art museum is a two-story standalone affair on Yuying Stream. The floor space is over 2，000 square meters. The museum displays 323 artworks by Lu Fang. These are the best of all the creations by the artist. They were created over a span of 59 years and cost the artist nearly 200，000 hours of his life. The exhibition features four sections. One of them is about Mogan Mountain， a major scenic attraction in Deqing and a well known summer getaway for urbanites of Hangzhou and Shanghai and other big cities in the south of Yangtze River Delta.

Lu Fang is intimately associated with Deqing and considers it as his second home. His first visit to Deqing occurred in December 1967. Back then he was an art reporter of a pictorial publication. In the summer of 1972， he spent a month in Mogan Mountain， creating paintings for a national exhibition. In the early 1980s， he and his students tripped to the scenic rural areas in Huzhou almost every month and sketched. The total exposure to the scenic beauty of Jiangnan enabled him to understand the aesthetics of nature better. He attributes his artistic achievement to nature. And art critics， collectors and general public agree with him.

His association with Deqing is more than field studies and sketch trips. Deqing holds his art in high esteem.

In June 2009， he held a solo exhibition in Deqing. It was sponsored by the local government and an art society at the provincial level. His depiction of the scenic Deqing won the heart of the local people. A critic commented that Lus woodprints were an artistic footnote to the history and culture of Deqing. A visitor observed that Lus artworks perfectly integrated art and the grace and elegance of Jiangnan， featuring lyrical and surreal versions of the reality of this world. In November 2011， Deqing launched an art museum that holds a collection of ex-libris all featuring Lu Fangs woodprints. In 2015， Lu Fang was appointed a cultural advisor by Deqing County Government. In October 2015， Lu decided to donate over 300 woodprints to Deqing. The museum has come into being to house the artworks.

The best known artworks by Lu Fang are probably those about the West Lake. Though he has lived by the West Lake for more than 60 years， the West Lake has appeared only in 30 plus woodprints of his. The first one was made in 1973. These about the West Lake offer insight into the poetic beauty of the lake.

Mao Jianbo， a professor with China Academy of Art， comments that Lu looks at the world in a poets perspective， which explains the poetry and oriental colors of his portrayals of Jiangnan.