揽近千年江南春色
——观“远山春色——龙泉青瓷五人精品展”
青璧王武
世界青瓷看龙泉。1600多年前，龙泉青瓷发祥于江南的青山绿水之中。在千年传承中，龙泉青瓷逐渐形成了青釉配置、多次施釉、厚釉烧成和开片控制等传统的独特的烧制技艺。2006年，龙泉青瓷传统烧制技艺被列入第一批《国家级非物质文化遗产名录》，而古老的龙泉青瓷也在当代工艺美术家的手中绽放出属于新生代的艺术光彩。4月13日至7月4日，由北京市紫竹院公园管理处、龙泉市青瓷宝剑产业局主办，北京皇家园林书画研究会承办的“远山春色——龙泉青瓷五人精品展”在紫竹院公园行宫举行。本次展览展出了王武、陈勇、徐诗微、张浩、陈希托5位来自浙江省龙泉市的非物质文化遗产传承人近3年来创作的173件龙泉青瓷，他们以各自的创新技艺展示出的对龙泉青瓷的独到见解。
王武在传统的“璧”上进行突破，同时结合“玉”的文化，以《问佛》《青韵西湖》等作品组成了青璧系列。他以“璧”作背景，置入佛像、雷峰塔、荷等元素，简洁素净，意境空幽，契合了龙泉青瓷含蓄典雅之风。“除了器型外观带来的简朴与亲切感之外，玉璧文化特有的庄严和神韵之美感亦会油然而生。”浙江省龙泉市新闻传媒中心主任洪峰表示。
擅长手拉坯制作成型的陈勇力求将青瓷魅力与自然和谐融为一体，他的《御莲》描述了“莲”的天然之态，体现出了“清凉的智慧”。擅长堆塑、浅浮雕、半刀泥等装饰手法的徐诗微追寻“以刀代笔，以釉代墨”的理念，她的《静水斑斓》《悠然花器组合》《云水谣》以植物、花草、树叶、虫鸟为主要装饰，来表达四季的诗意。不同于古人的精雕细刻，徐诗微的画面在青釉中若隐若现，带着几分写意与浪漫。
在张浩心里，“源于自然，归于本真，拙中见致，简中拾趣”的制瓷理念是贯穿在其作品中的。他“运用‘跳刀’装饰手法，跳刀刀痕行走自然，富有意境”，中国陶瓷艺术大师陈爱明评价。就像张浩在《怀远盖罐》中运用浮雕的装饰手法，寥寥几刀刻画出不乱层峦的青山远黛。罐身以传统跳刀纹作装饰，行走自然的刀痕仿佛呈现出细雨绕山行、山色烟雨中的意境。
在青瓷技艺的传承与创新方面，陈希托是一位坚守者，同时秉持着“生活艺术化，艺术生活化”的理念。他的作品《立》造型取“立”字，施以粉青釉，不多作装饰，既是三十而立之意，亦具有顶天立地之气。“他在烧制技艺上，推崇龙泉青瓷传统烧制技艺，坚持手工制作；造型设计上，追求年轻化、时尚化；装饰手法上，喜欢将大自然美好事物，通过刻划花、堆塑等手法，惟妙惟肖表现于作品之上。”洪峰认为。正如其作品《苍穹》《童趣》，于传统中见突破，于现代中见诗意。
谈及创作心得时，王武感言：“作品好不好，首先从烧成工艺角度，必须做到釉型工‘三到位’，缺一不可；其次要看作品有没有抒发出艺人的真实内心情感。”在明丽如峰翠、晶莹似冰玉的清雅之色中，龙泉青瓷潜藏着大道至简的高贵、单纯、静穆之美。如今龙泉青瓷产业繁荣的景象，得益于新中国成立后对民族文化遗产的发掘、积极推动重建、保护和复兴的系列举措，同样得益于当代传承人的探索。“无论是倡导复古，还是践行创新，几代工艺美术师都在为龙泉青瓷艺术的发扬光大倾智献力、博采求精，诚可谓遥接上了龙泉青瓷辉煌的历史文脉。”本次展览的策展人魏祥奇表示。
Take a look at the spring scenery in the south of the Yangtze River for nearly a thousand years -- see the "spring scenery in the distant mountains - Longquan celadon five person boutique Exhibition" and see Longquan with the Celadon of the world. Celadon originated in the green spring in the south of the Yangtze River 1600 years ago. In the Millennium inheritance, Longquan celadon has gradually formed traditional and unique firing techniques, such as blue glaze configuration, multiple glaze application, thick glaze firing and opening control. In 2006, the traditional firing techniques of Longquan celadon were listed in the first batch of national intangible cultural heritage list, and the ancient Longquan celadon also bloomed in the hands of contemporary craft artists, which belongs to the new generation of artistic brilliance. From April 13 to July 4, the "spring in the distant mountains - Longquan celadon five person boutique Exhibition" hosted by Beijing Zizhuyuan Park Management Office and Longquan celadon Sword Industry Bureau and hosted by Beijing Royal Garden calligraphy and Painting Research Association was held in the palace of Zizhuyuan Park. This exhibition displays 173 pieces of Longquan celadon created by five intangible cultural heritage inheritors from Longquan City, Zhejiang Province in recent three years, Wang Wu, Chen Yong, Xu Shiwei, Zhang Hao and Chen Xituo. They show their unique views on Longquan celadon with their own innovative skills. Wang Wu made a breakthrough in the traditional "Bi". At the same time, combined with the culture of "jade", he composed a series of Qingbi with works such as "asking the Buddha" and "Qingyun West Lake". He takes "Bi" as the background and puts in Buddhist statues, Leifeng Tower, lotus and other elements. It is simple and pure, and the artistic conception is empty and quiet, which conforms to the implicit and elegant style of Longquan celadon. "In addition to the simplicity and cordiality brought about by the appearance of utensils, the unique beauty of solemnity and charm of jade culture will also arise spontaneously." Hong Feng, director of Longquan news and media center in Zhejiang Province, said. Chen Yongli, who is good at making and shaping hand drawn blanks, seeks to integrate the charm of celadon into harmony with nature. His "Royal Lotus" describes the natural state of "Lotus" and embodies "cool wisdom". Xu Shiwei, who is good at plastic stacking, shallow relief, half knife mud and other decorative techniques, pursues the concept of "replacing pen with knife and ink with glaze". Her beautiful still water, leisurely flower combination and cloud water ballad mainly decorate plants, flowers, leaves, insects and birds to express the poetry of the four seasons. Different from the exquisite carving of the ancients, Xu Shiwei's picture looms in the green glaze, with a bit of freehand brushwork and romance. In Zhang Hao's mind, the porcelain making concept of "originating from nature, belonging to authenticity, seeing beauty in clumsiness and picking up fun in simplicity" runs through his works. He "used the decorative technique of 'jumping knife' to make the jumping knife trace walk naturally and full of artistic conception", commented Chen aiming, a master of Chinese ceramic art. Just like Zhang Hao's decorative technique of relief in "Huaiyuan can cover", a few knives depict the green mountain yuandai without disorderly mountains. The pot body is decorated with traditional jumping knife patterns. The natural knife marks seem to show the artistic conception of drizzle walking around the mountain and misty rain. In terms of the inheritance and innovation of celadon technology, Chen Xituo is a believer and adheres to the concept of "artistic life and artistic life". His work "Li" takes the shape of "Li", applies powder blue glaze, and does not make much decoration. It not only means to stand in the thirties, but also has the spirit of towering. "In terms of firing techniques, he respected the traditional firing techniques of Longquan celadon and insisted on manual production; in terms of modeling design, he pursued youth and fashion; in terms of decoration techniques, he liked to vividly express the beautiful things of nature in his works by means of engraving flowers, stacking sculptures and so on." Hongfeng thinks. Just like his works "the sky" and "children's fun", he sees a breakthrough in tradition and poetry in modern times. When talking about his creative experience, Wang Wu said: "whether the work is good or not, first of all, from the perspective of firing technology, we must achieve the 'three in place' of glaze work, which is indispensable; secondly, we should see whether the work expresses the artist's real inner feelings." In the clear and elegant color like peak emerald and crystal like ice jade, Longquan celadon hides the noble, simple and quiet beauty of simplicity. Today, the prosperity of Longquan celadon industry benefits from a series of measures to explore national cultural heritage and actively promote reconstruction, protection and rejuvenation after the founding of new China, as well as the exploration of contemporary inheritors. "Whether advocating retro or practicing innovation, several generations of craft artists are devoting their wisdom and strength to the development of Longquan celadon art. It can be said that they are connected with the glorious historical context of Longquan celadon." Wei Xiangqi, the curator of this exhibition, said.