剪下有世界 紙上見功夫

文/夏斌婷

鮑運達。Bao Yunda.

印象里，小時候每逢喜慶之日，人們便會用剪窗花來表達內心豐富的情感。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展現在眼前，給人以賞心悅目之感。

在金華，民間剪紙豐富多彩，風格各異。尤其是金華蘭溪，二十世紀五六十年代之前，幾乎每個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，也互相競爭。令人感動的是，這些“花師傅”大都有一顆善良的心，有追求藝術精進的工匠精神。今年83歲的蘭溪民間剪紙金華市級非物質文化代表性傳承人鮑運達，正是如此。

村村有藝人

作為中國特有的集民俗性、趣味性、藝術性于一體的傳統民間藝術，剪紙蘊藏了我國勞動人民深厚的情感，沉淀了幾千年的華夏文化。至今仍在傳承發展的中國剪紙藝術被譽為“活化石”，被聯合國列入世界非物質文化遺產保護名錄。

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”，點出了江浙一帶早就有剪紙藝術流行，側面說明了屬于吳越地帶的蘭溪民間剪紙亦應當有一段悠遠的歷史。

剪紙以鏤剪、鐫刻為手段，表現手法多樣，畫面對比鮮明，表現形式種類繁多，應用方式更是多種多樣。過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格有所區別，大都是作為裝飾花、刺繡花樣、民俗節日禮花、燈扎紙扎應用，形成了以幡扎“欞格花”為代表的原生態“祥瑞剪紙”的獨特風格，具有鮮明的地方特色，至今仍在傳承發展，顯示出頑強的藝術生命力。

“幡扎窗花魅力滋，迎祥祈福煥新姿。精鏤巧刻誠情掬，剪藝傳承正有時?！倍嗄陙?，定居蘭溪的鮑運達為收集、搶救、整理民間剪紙，進行了廣泛調研，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，鮑運達就有說不完的話。他說，就風格而言，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，似朝“文人玩賞”方向發展，顯得細柔俊美，有書卷氣，極似明清繡像木刻版畫，而蘭溪民間剪紙則粗獷樸拙類占比較大，屬于較原始的那種，與陜西安塞一帶的剪紙異曲同工，“可以說屬于‘原生態’剪紙”。

隨著時代的演變，蘭溪剪紙表現形式除單色外，還有染色、分色、襯色、繪色等多種形式，表現手法有陰刻、陽刻和陰陽結合三大類。同時，因蘭溪剪紙獨特的鏤空技法，使其具有可雙面同時欣賞的優點，體現了風格的淳樸美、手法的簡潔美、構圖的裝飾美、造型的意象美、色彩的明快美五大特色美。

為什么會這么喜歡蘭溪剪紙？“正是源于它的原生態之美?！滨U運達說，他少時跟隨父母從安徽遷居蘭溪，一直對當地的各種文藝活動很感興趣?！?0世紀50年代初，我讀小學五年級時，姐姐從她教書的蘭溪游埠鎮節門張村帶回幾張剪紙。頭一次見到這些不到巴掌大的精美‘花樣’，我受到極大震撼，從此和剪紙結下了不解之緣?！?/p>

若干年后，18歲的鮑運達到文化站工作，開始收集民間剪紙和采集記錄民歌，并一直堅持至今。他經常會帶著孩子做剪紙手工，很受歡迎。

“學剪紙，一要有恒心有毅力，二要多看多練習。但想要在掌握基本技能的基礎上創作出有自己獨特風格的剪紙作品，就需要細細揣摩了?！备母镩_放后，民間剪紙受到重視，鮑運達摸索著學習剪紙知識和提升技藝，也慢慢地在剪紙藝術界有了立足之地。

2000年退休后，鮑運達更是專心撲到了剪紙這項愛好上，常常查資料、練習剪紙，一忙一整天。難得抽空和老伴出門旅游時，他總被景點的門窗木雕、石雕等迷住，只顧著拍照以致掉了隊。

2003年11月，經被譽為“金華第一剪”的王風的多年努力，金華市民間文藝家協會剪紙藝術委員會正式成立，鮑運達任副會長兼秘書長。

因為協會活動，他與外地剪紙達人交流學習的機會增多，開始注重對蘭溪剪紙這項非遺進行更加理論化的研究和總結。

邊看邊學，他先后將部分成果總結成《傳統民間剪紙藝術初探》《民間剪紙與中國繪畫之間的淵源關系管窺》等論文發表。在2006年發表的《蘭溪“原生態”民間剪紙的藝術特性》一文中，鮑運達就對蘭溪剪紙的應用范圍、表現形式、特點、技藝等進行了深入的剖析。

同時，結合研究，鮑運達持續嘗試創新題材和剪刻手法，如將蘭溪當地的建筑、藍印花布花樣、風俗故事、書畫作品等融入作品，收獲大片好評?！澳憧磯ι系倪@一幅作品，外圈我用的就是藍印花布花樣，里面則是自己創作的一首詩，主要用了藍紙陰刻，很多人第一次看到還以為這是藍印花布呢?！?/p>

鮑運達的剪紙作品。Paper-cutting work by Bao Yunda.

“有人會寫不會剪，有人會剪不會寫。鮑運達能剪會寫愛創新，也很愿意培養新人，很是難得?！蓖躏L如是評價。據悉，今年新增的3位蘭溪市剪紙非遺傳承人中，有兩位是鮑運達的學生。

傳承貴創新

“剪紙是我熱愛的事，剪紙技藝不僅是一種文化傳承，也是一種精神傳承?！睂τ邗U運達而言，推動蘭溪剪紙傳承發展，讓這門技藝薪火相傳，是作為非遺傳承人的使命與責任。

為了更好地留住和傳承這份手藝，2004年3月，鮑運達應邀在蘭溪市老年大學開辦剪紙教學班(后為剪紙聯誼會）。多年來，剪紙班培養了一大批愛剪紙的老年人，還挖掘出一批中青年剪紙藝人。其3年間陸陸續續編寫的講義，也被匯編成了《中國剪紙與民俗文化》一書，作為校本教材流傳至今。

但是讓他覺得遺憾的是，長期以來，剪紙并不是一個可以謀生的行業?！半m然在學校里有所普及，卻少有人愿意將其作為事業，專業化、規?；l展不足，以致傳承勢弱?！北热珲U運達持續關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”，卻因未受到重視，其圖案和紋飾現已被電腦刻剪所代替。所幸，這一藝術近來受外國藝術家大加贊譽，一位青年剪紙傳人在鮑運達的熱心鼓勵下，把欞格剪紙融入家傳的無骨花燈制作，讓其獲得創新性發展。

“普通人常常會低估剪紙的價值，其實它蘊含著非常高深的審美水平和工藝技巧。剪紙的門檻很低，小到幾歲的孩子稍加培訓就能上手，但想要做好卻很難。一件復雜的剪紙作品，少則要花數月，多則一年?！闭憬」に嚸佬g大師、金華市剪紙博物館館長詹東明說，如何改變人們的固有觀念，讓金華剪紙的影響力更大，是他一直努力的方向。他創建金華市剪紙博物館的初心也是基于此，希望哪怕多一個能讓人了解剪紙藝術的平臺。

確實，傳承難似乎成了這一行的共性。蘭溪市非物質文化遺產保護中心辦公室主任陸穎異說，如今蘭溪本地幾位與剪紙相關的傳承人所從事的工作，都與紅白喜事緊密相關?！叭欢?，剪紙用在民俗活動中有一定的局限性，只有結合生活用品才具有持久的生命力?！彼f，大家也就此曾作過相關探討，認為蘭溪剪紙乃至金華剪紙技藝要永續傳承，重點在于創新，可以從各類藝術設計中汲取養分，開發一些剪紙藝術相關的文創產品，賦予傳統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元素的瓷具、漢服、真皮手包等衍生系列產品，還與知名餐飲、茶葉等企業合作，與現代科技結合，將剪紙元素運用在餐飲、茶空間、農產品、數字藝術品等領域，開拓了剪紙創新發展之路。這些都是值得學習借鑒的。

鮑運達的剪紙作品。Paper-cutting work by Bao Yunda.

鮑運達收集的與剪紙有關的書籍。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 “living 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.

鮑運達的剪紙作品。Paper-cutting work by Bao Yunda.

鮑運達的剪紙作品。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.

鮑運達的剪紙作品。Paper-cutting work by Bao Yunda.