#吾城吾乡# 一錾一刻一世界 :黑水银匠苏郎格西的故事[2022]
“我从事了40余年手工银饰制作,对自己的技术充满自信,许多当地人将我制作的银首饰当做收藏。”苏郎格西颇为得意的说道。便拿出了一件已制作好的手工银饰给记者看,他指着银饰上细微的花纹告诉记者,“这些细小的花纹,都是我一錾一刻敲打出来的,每一錾一刻都有它独特的印记,呈现出了一簪一刻一世界的特殊魅力,暗合了一花一叶一世界的境界,这是现代工业制作所不能达成的。”
“我们传统嘉绒银饰的制作工序比较复杂,一般要经过敲打、錾刻、焊接、洗银等几道工序。”苏朗格西说着便向记者演示起了银饰的制作步骤……
一个银片在反复的捶打下泛出了光泽,他便拿出珍藏的花纹模子,一笔一画的在银片上描绘起来。看似随意却透露着深厚的功底,通过反复的捶打、錾刻、焊接,一个银块便在他的手中有了生命的迹象。
手捧着刚制作出的银饰,就像捧着初生的婴儿,苏郎格西露出了会心的笑容,仔细查看着“初生婴儿”的样貌。
“传统的手工银饰的制作工序复杂、耗时大,人工成本很高,不能与现代流水线制作的银饰比量,但它也有着自己的粉丝,收入也足够了我们一家的生活。”苏郎格西略显无奈的说道,一时间银匠铺里的嘈杂声便平静了下来,静静的,静静的……
随着现代流水线制作的银饰越来越广泛,从事手工银饰锻造的匠人越来越少,苏郎格西的传统银饰制作手艺也面临同样的失传困境。
“叮叮叮……当当当……”离开银匠铺,记者就听到了一阵阵锻打的声音再次在银匠铺内响起……
在这敲打声中,记者见到苏郎格西们,通过自己的手艺穿越千年,走向未来……
“我从事了40余年手工银饰制作,对自己的技术充满自信,许多当地人将我制作的银首饰当做收藏。”苏郎格西颇为得意的说道。便拿出了一件已制作好的手工银饰给记者看,他指着银饰上细微的花纹告诉记者,“这些细小的花纹,都是我一錾一刻敲打出来的,每一錾一刻都有它独特的印记,呈现出了一簪一刻一世界的特殊魅力,暗合了一花一叶一世界的境界,这是现代工业制作所不能达成的。”
“我们传统嘉绒银饰的制作工序比较复杂,一般要经过敲打、錾刻、焊接、洗银等几道工序。”苏朗格西说着便向记者演示起了银饰的制作步骤……
一个银片在反复的捶打下泛出了光泽,他便拿出珍藏的花纹模子,一笔一画的在银片上描绘起来。看似随意却透露着深厚的功底,通过反复的捶打、錾刻、焊接,一个银块便在他的手中有了生命的迹象。
手捧着刚制作出的银饰,就像捧着初生的婴儿,苏郎格西露出了会心的笑容,仔细查看着“初生婴儿”的样貌。
“传统的手工银饰的制作工序复杂、耗时大,人工成本很高,不能与现代流水线制作的银饰比量,但它也有着自己的粉丝,收入也足够了我们一家的生活。”苏郎格西略显无奈的说道,一时间银匠铺里的嘈杂声便平静了下来,静静的,静静的……
随着现代流水线制作的银饰越来越广泛,从事手工银饰锻造的匠人越来越少,苏郎格西的传统银饰制作手艺也面临同样的失传困境。
“叮叮叮……当当当……”离开银匠铺,记者就听到了一阵阵锻打的声音再次在银匠铺内响起……
在这敲打声中,记者见到苏郎格西们,通过自己的手艺穿越千年,走向未来……
“试问岭南应不好。却道。此心安处是吾乡。”世界如此辽阔,哪里才算是故乡呢?心安的地方,便是故乡吧。人生,记载着欢乐,也记载着幸福;记载着忧愁,也记载着伤痛。达观之人不为痛苦左右,不为坎坷羁绊,不为愁云缠绕。这种达观何尝不是另一种王者风范。天意终究难参,假若登顶成憾,那么当笑看成败,一切心安吧!
早安[心][心][心]
早安[心][心][心]
#画家[超话]#
国画欣赏丨齐白石的笔下小虫,让你一次看个够!过瘾!!!
菲尔国画艺术联盟
齐白石(1864年1月1日─1957年9月16日),祖籍安徽宿州砀山,生于湖南长沙府湘潭(今湖南湘潭)。
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原名纯芝,字渭青,号兰亭。后改名璜,字濒生,号白石、白石山翁、老萍、饿叟、借山吟馆主者、寄萍堂上老人、三百石印富翁。是近现代中国绘画大师,世界文化名人。早年曾为木工,后以卖画为生,五十七岁后定居北京。擅画花鸟、虫鱼、山水、人物,笔墨雄浑滋润,色彩浓艳明快,造型简练生动,意境淳厚朴实。所作鱼虾虫蟹,天趣横生。
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齐白石书工篆隶,取法于秦汉碑版,行书饶古拙之趣,篆刻自成一家,善写诗文。曾任中央美术学院名誉教授、中国美术家协会主席等职。代表作有《蛙声十里出山泉》《墨虾》等。著有《白石诗草》《白石老人自述》等。
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齐白石在北京定居后,内心却是“故里山花此时开也”的思想轨迹。齐白石不可能将家乡草木赶过黄河带到北京,但家乡草木却作为一种自然信息随齐白石来到北京,并化作艺术信息传达出来,以实现齐白石心理的平衡。
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齐白石刻了许多寄托着怀乡之情的闲文印,如“吾家衡岳山下”、“客中月光亦照家山”,是齐白石自抒胸臆的第一主题。齐白石写了许多的怀乡诗,如:“登高时近倍思乡,饮酒簪花更断肠,寄语南飞天上雁,心随君侣到星塘。”又如“饱谱尘世味,夜夜梦星塘”、“此时正是梅开际,老屋檐前花有无”,这些诗句是齐白石“夜不安眠”、“枕上愁余”时所些的肺腑之语。变法和着变意,变意和着变法,乡心伴着童心,童心也总念乡心。
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齐白石的作品《我最知鱼》,画着小鱼围逐钓饵,是齐白石少时作惯之事,故能“知鱼”;齐白石77岁时画《墨猪出栏》,是因为齐白石有一颗“牧汝追思七十年”的心;齐白石画那些黑蜻蜓、红甲虫,是因为齐白石还记得乡里人叫黑蜻蜓作“黑婆子”,叫小甲虫作“红娘子”,这正是农民眼中的草虫,是农民的审美情趣;齐白石画鲇鱼题“年年有余”,画石榴象征多子,画桃子象征多寿,这也是民间艺术喻意象征的特色。
国画欣赏丨齐白石的笔下小虫,让你一次看个够!过瘾!!!
菲尔国画艺术联盟
齐白石(1864年1月1日─1957年9月16日),祖籍安徽宿州砀山,生于湖南长沙府湘潭(今湖南湘潭)。
图片
原名纯芝,字渭青,号兰亭。后改名璜,字濒生,号白石、白石山翁、老萍、饿叟、借山吟馆主者、寄萍堂上老人、三百石印富翁。是近现代中国绘画大师,世界文化名人。早年曾为木工,后以卖画为生,五十七岁后定居北京。擅画花鸟、虫鱼、山水、人物,笔墨雄浑滋润,色彩浓艳明快,造型简练生动,意境淳厚朴实。所作鱼虾虫蟹,天趣横生。
图片
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齐白石书工篆隶,取法于秦汉碑版,行书饶古拙之趣,篆刻自成一家,善写诗文。曾任中央美术学院名誉教授、中国美术家协会主席等职。代表作有《蛙声十里出山泉》《墨虾》等。著有《白石诗草》《白石老人自述》等。
图片························································································································································································································
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图片
齐白石在北京定居后,内心却是“故里山花此时开也”的思想轨迹。齐白石不可能将家乡草木赶过黄河带到北京,但家乡草木却作为一种自然信息随齐白石来到北京,并化作艺术信息传达出来,以实现齐白石心理的平衡。
图片·······················································································································································································································
图片
齐白石刻了许多寄托着怀乡之情的闲文印,如“吾家衡岳山下”、“客中月光亦照家山”,是齐白石自抒胸臆的第一主题。齐白石写了许多的怀乡诗,如:“登高时近倍思乡,饮酒簪花更断肠,寄语南飞天上雁,心随君侣到星塘。”又如“饱谱尘世味,夜夜梦星塘”、“此时正是梅开际,老屋檐前花有无”,这些诗句是齐白石“夜不安眠”、“枕上愁余”时所些的肺腑之语。变法和着变意,变意和着变法,乡心伴着童心,童心也总念乡心。
图片
图片···········································································································
齐白石的作品《我最知鱼》,画着小鱼围逐钓饵,是齐白石少时作惯之事,故能“知鱼”;齐白石77岁时画《墨猪出栏》,是因为齐白石有一颗“牧汝追思七十年”的心;齐白石画那些黑蜻蜓、红甲虫,是因为齐白石还记得乡里人叫黑蜻蜓作“黑婆子”,叫小甲虫作“红娘子”,这正是农民眼中的草虫,是农民的审美情趣;齐白石画鲇鱼题“年年有余”,画石榴象征多子,画桃子象征多寿,这也是民间艺术喻意象征的特色。
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