《漆园即家园》

许江（中国美术学院院长） 

面前摆着一本即将出版的关于“漆园”的书。我以为这书，明修久已在写，在鼓浪屿南端的艺校，在鼓楼光禄坊窄巷的深处，在榕城福建博物馆的庭园中，明修久已在写。

但这不是一本书，这是一处山园的写照。在福州北岭，在人迹与自然的某个断接处，有溪流、瀑布、山林、白雾，漾着湿漉漉的绿味。即便在冬季，那优游自在的云气漫上窗台门扉，轻轻推墙而过，如烟如缕，载沉载浮，一切都浸在水里，浸润在水气之中。明修在这里觅得了漆的生活。

这也不是一处一般的园，这是明修的自我安顿。他把即将被闹市重建而拆毁的晚清老厝，蚂蚁啃山般地迁到园内。人们习惯将搬不走的东西称作家园，明修正将这些搬不走的东西迁集到这里，将它们嵌回到山水之中，重建与自然如胶似漆的家园。

http://s10/middle/500d5e0fh9fe98348a929&690&690早期漆画作品三幅 / 许江《漆园即家园》" TITLE="唐明修 早期漆画作品三幅 / 许江《漆园即家园》" />

我没有到过明修的“漆园”，但对福州的北岭，我却不仅了解，而且还有几分神契。因为我的整个童年都是对着这高耸入云的北岭度过的。闽中盆地的雨水，东南沿海的暖风，孕育那四季不变的青绿。北岭黛色的水流千折百回注入山脚的八一水库，又逐着沟壑蜿蜒东去，流入晋安河。每当我赤着脚淌在溪水中的时候，总把头向着云山处探望。那北岭一年中有多半时间是隐在云气中的，绿林悬在半天。明修的“漆园”正在那记忆深处的半天云水之中。

我与明修，相识久矣。八十年代初，曾一道在厦门逐岸写生。还看过他所创作的不少生动而瑰丽的磨漆画，这些画给他带来中国艺坛最早的关注。九十年代初，又曾在他的井巷深处的老厝，瞥见他储藏在阁楼之上的数十只由麻布与瓦灰脱制而成的器胎，我知道他正面临着从漆画向漆艺的回归。后来听说他花了五年多时间制作了一批以屏心为载体的大型漆画。他的漆作品开始变得如礼器一般的神秘而庄重，那是一种东方特有的仪容。近几年又听说他制作了一批“漆语”作品。在麻片之上，让大漆如日月星宿一般留下朴真的痕迹。麻与漆在那里对话，植物的纤维与乳汁分离之后，以人类命定的方式在此聚合，让自然与沧桑一道叙说恒永。我感觉明修在漆园中将自己浸淫在漆的生活之中，借着山水的静寂的舟筏，正一站一站地向着中华古漆文化回溯，由唐宋的丰腻而入秦汉的稳重，由春秋战国的瑰秘而入远古年代的朴质，他向着漆的最原初的生命世界里，同时向着自己的朴真世界去探觅漆的真意。我还感觉明修在漆园中，他的生命正随着这园而渐次“漆化”了。与当年比，明修变得平静而规矩，少言而深沉，举止中透着陶醉的神情，眉眼处流转某种守敬和乐、浑然一体的操守与自足。

http://s5/middle/500d5e0fh9fe982fc6094&690&690早期漆画作品三幅 / 许江《漆园即家园》" TITLE="唐明修 早期漆画作品三幅 / 许江《漆园即家园》" />

历史上少有人敢称“漆园”，因为那伟大而神圣的庄子曾是管理漆园事物的漆吏。“漆园”从来就有几分命定的仙风道骨，几分守望自然大道、扶摇无有之乡、体悟生命真谛的意味。我想像中的“漆园”是一种境界，一种人与自然相安的境界，一种在家的日常胸襟与生命的远游逍遥相合的境界，一种以一己的生活去打探千古文化的奥秘，又将这种奥秘复隐在生命本有的机契之中的境界。据说，在明修的漆园中，山水是活的，云气是活的，髹漆是活的，时间、岁月、辰光却都凝冻，一抹一磨，一风一干，就是生命的十数个年头。明修打磨着真漆，岁月打磨着明修。那神奇的真漆，“那树干被刮破后流出的树汁，开始是白色的，然后变成褐色，最后静静地凝成了黑色。”这是漆的生命过程，也是漆园或明修的生命岁月，或者，也正是中华民族几千年塑成的某种生命本色！

http://s6/middle/500d5e0fh9fe9831af125&690&690早期漆画作品三幅 / 许江《漆园即家园》" TITLE="唐明修 早期漆画作品三幅 / 许江《漆园即家园》" />

明修的漆园中，塑成一片据称直径六米多的巨大的漆碗。那碗顶着屋脊，根本搬不出家门。搬走它只有拆房，只有拆毁家园。这是一个当代的活着的寓言：那搬不走的就是家园，那碗正代表搬不走的家园的魂。明修用日复一日的生命，髹漆这碗，这家园的魂灵……

XuJiang

<Qiyauan As A Home>

This is a book about Qiyuan-the Garden of Lacquer. I believe Tang Mingxiu has spent decades writing it since he entered the art world.

This is not only a book but a portrayal of a garden. At Fuzhou's Beiling, the junction of human world and nature, there are brooks, waterfall, forest and white brume. Even in winter, everything seems to be enveloped in mist. Tang Mingxiu found his life of lacquer there.

This is not an ordinary garden. It is a place where Tang planted himself. He portaged tons of abandoned parts of an old house of late Qing Dynast into his garden before it was destroyed in the city reconstruction process. Tang put those things together at the garden to build a home merged into nature.

Though I have never been there, I know much about Beiling. I spent my entire childhood there seeing the rain and wind keep the mountain evergreen. The water from the top of Beiling was flowing down into a reservoir. I used to watch the mountain in mist while I was standing in the brook. Beiling seemed to be enveloped by dense fog all the time. The green woods looked like hanging half in the air. There is exactly where Tang's Qiyuan is situated.

I have been an old friend of Tang since the 1980s. We used to sketch together at the seashore of Xiamen. I saw a lot of his lacquer paintings with vivid images. These paintings drew him first attention from China's art circle. In the early 1990s, I saw dozens of semi finished lacquer wares made of flax and plaster at the attic of his old house deep in a lane. I realized that Tang was converting himself from a lacquer painter to a lacquerware maker. I heard later that he spent over 5 years producing a series of large lacquer paintings. His lacquer work became as mysterious and solemn as ancient ritual articles with a typical oriental atmosphere. In recent years he has created a number of works named "the language of lacquer". On the surface of flaxes the lacquer will imprint the eternal purity. The flaxes and lacquer are in complete harmony; together they witness the immortality of the universe.

Tang indulges himself in the life of lacquer. Step by step he is tracing back to the ancient Chinese lacquer art. From the exuberance of Tang and Song Dynasty to the solemnity of Qing and Han Dynasty, from the mystery of Spring and Autumn Period and Warring States Period to the simplicity of remote antiquity, Tang Mingxiu explores the true meaning of lacquer in its pristine state. I also feel that Tang's life is gradually "lacquerized". He is now quiet and orderly. I can see contentment and mildness from his face.

Few artists in history dared to name where they lived Qiyuan, because the great and sacred master Zhuangtzu once was a lacquer man. The name of Qiyuan holds a predestined connotation of Tao that determines the way of being and non-being. In my imagination, Qiyuan is a place where man and nature are in harmony, where ordinary life and free spirituality integrate. In his Qiyuan, everything concrete is alive while the time, days and seconds are compact. Tang polishes the lacquer just as the time polishes him. The magical lacquer, "the exudation of the lacquer tree was white at first, it became brown later and finally turned into black." This is the lacquer's life process that symbolizes Qiyuan or Tang's life. I heard that Tang made a giant bowl with over 6 meters in diameter and is as high as his house. That means it is impossible to remove the bowl out of the house. He can only do that by breaking his house down and destroying his home. This is a living fable: what cannot be removed means home; that giant bowl stands for the spirit within his home. Day after day, Tang Mingxiu lacquers the bowl, the soul of home...

原文刊于 《漆园（唐明修作品集）：1994 - 2005》（2005，中国美术学院出版社）

供图：唐明修

转载请注明，谢谢