| 發(fā)布日期：2016-10-26 11:20:20 來源： 分享到： |
“現(xiàn)在能踏踏實實靜下心來學(xué)蜀錦織造技藝的人不多了，這門技藝傳承的現(xiàn)狀讓人擔(dān)憂！”在成都古蜀蜀錦研究所，67歲的胡光俊感嘆道。胡光俊是非遺蜀錦織造技藝省級代表性傳承人，頭發(fā)花白的他依然精神矍鑠，不過，在談到蜀錦織造技藝傳承時，他的聲音有些低沉。
“Now, people do not want to learn weaving skills, and it worries me a lot on how to keep the art heritage,” said 67-year-old Hu Guangjun at the Shu Brocade Research Institute in Chengdu.
Hu Guangjun is one of the best-known Shu Brocade artists in Chengdu and one of the city’s accredited inheritors of Intangible Cultural Heritage. Even with graying hair, he is full of energy, but when talking about brocade weaving art heritage, his voice is solemn.
蜀錦是我國重要的文化遺產(chǎn)和著名的傳統(tǒng)工藝，與云錦、壯錦、宋錦并稱為中國四大名錦，并長期占有“母錦”地位。蜀錦歷經(jīng)數(shù)千載而不衰，在于它厚重的文化藝術(shù)內(nèi)涵和獨(dú)特的工藝技藝。同時，蜀錦是成都的標(biāo)志性技藝，成都以盛產(chǎn)錦而獲得“錦城”、“錦官城”的美名，在“絲綢之路”中作為文化交流及貿(mào)易的載體見證了歷史的發(fā)展，具有獨(dú)特的文化價值。
The Shu Brocade is an important national-level ICH item, and is the oldest among the four famous brocades in China, namely the Yun Brocade, Zhuang Brocade, Song Brocade and Shu Brocade. Even after a thousand years, the Sichuan Brocade’s status remains the same because of its rich culture, artistic connotation, and unique craftsmanship. The Shu Brocade is also a symbol of Chengdu art, which has resulted in the titles Chengdu was given“Jincheng” (Brocade City) and “Jinguan City” (Brocade Government City). Chengdu was a carrier of cultural exchanges and trade in the “Silk Road”, and it has witnessed the development of history and has a unique cultural value.
日前，我們探訪了位于成都雙流區(qū)九江鎮(zhèn)雙九路2段86號的成都古蜀蜀錦研究所，這家集保護(hù)、傳承、研究、生產(chǎn)蜀錦為一體的綜合性單位聚集了一批包括原成都蜀錦廠的專家和藝人，還有一些技術(shù)工人。研究所最初成立于2008年4月，于2016年7月改制為股份制企業(yè)。胡光俊正是這里的副所長兼技術(shù)總監(jiān)和工程師。
On September 12, we visited the Shu Brocade Research Institute at Jiujiang Town in Shuangliu District. The workers at this institute include the Chengdu Brocade Factory experts and artists, and a number of technical workers. The Ancient Shu Brocade Institute was first open in April 2008. Hu Guangjun is the deputy director, technical director and engineer at the institute.
進(jìn)入研究所大門，一架花樓織機(jī)映入眼簾。胡先生告訴我們，這架花樓織機(jī)現(xiàn)在他們用得并不多了，為了提高蜀錦的產(chǎn)量，節(jié)約人力，他們升級了設(shè)備，采用有梭機(jī)械織機(jī)來完成蜀錦的最后織造，但是，蜀錦的核心技藝沒有變。
Entering the institute, you can see the Hua Lou draw-loom. Hu told us they did not use this draw-loom very often because it only runs on manpower, so they had adopted new methods to lower manpower in order to increase Shu Brocade production. They used this new machine to finish the final part of a Shu Brocade weave. Even with the use of more advanced technology, the history of making the Shu Brocade was not tarnished because a majority of the brocade was made with the Hua Lou draw-loom.
難道蜀錦不是全手工的嗎？當(dāng)我們感到困惑時，胡先生耐心地告訴我們，蜀錦生產(chǎn)的傳統(tǒng)工藝過程，大致可以分為紋制工藝和織造工藝兩大部分。與花樓織機(jī)融合在一起的蜀錦織造技藝，從紋樣設(shè)計、挑花結(jié)本到挽花工、織工合作生產(chǎn)，一直秉承古老的傳統(tǒng)，其后替代傳統(tǒng)織錦的有梭機(jī)械織機(jī)，技藝原理與之相同。現(xiàn)代蜀錦采用了現(xiàn)代技術(shù)織造，保持了蜀錦色塊飽滿、立體感強(qiáng)的特點，并較大程度地提高了產(chǎn)品的產(chǎn)量，縮短了產(chǎn)品的生產(chǎn)時間。
其實蜀錦有著不為人知的繁瑣工藝。據(jù)胡老師介紹，蜀錦織造工藝繁雜，共有十多個工種，五六十道工序，是團(tuán)隊合作的結(jié)晶。胡老師說道：“一個人是無法完成一個蜀錦產(chǎn)品的，從小樣設(shè)計到上機(jī)織造，一般需要七、八個人，耗時更是少至數(shù)月，多至數(shù)年。”
Hu explained that the traditional process of brocade production can be roughly divided into two parts: card punching and weaving. The Hua Lou draw-loom and the Shu Brocade weave technique are combined from pattern design to the cross stitch. The corporate production of the Shu Brocade has been adhering to the old tradition, even after the machine is updated. Actually, the Shu Brocade has many unknown crafts. According to Hu, the brocade weaving process is complicated; there are a total of more than 10 jobs and 5-60 processes; this means that production requires a lot of teamwork. Hu said: “One person is unable to complete Shu Brocade products. From design to sample weaving, itusually takes years for seven or eight people to finish it.”
所內(nèi)“鎮(zhèn)館之寶”，是一幅長達(dá)13米的《清明上河圖》，作品中人物、車船、園林有動有靜，精美絕倫，在2011年成都國際非物質(zhì)文化遺產(chǎn)展上展出時曾引起極大轟動。胡光俊一邊欣賞著這幅作品一邊介紹說：“這幅作品從設(shè)計到上機(jī)織造總耗時3年零8個月，由10多名工程技術(shù)人員共同合作完成，其中包括兩名非遺蜀錦織造技藝項目國家級傳承人。即使是現(xiàn)在上機(jī)批量織造，也需3個月才能完成一幅。”胡先生透露，四川省博物館都已收藏該作品。
The most treasured brocade of the Shu Brocade Institute is a 13-meters-long work named Riverside Scene at Qingming Festival. The brocades in the works are boats, carriages, and landscapes. They show movement and stillness, and they are very realistic and exquisite. In 2011, its exhibition made a splash at the Chengdu International Exhibition of ICH. While admiring the painting, Hu said: “The painting from design to weaving takes a total of 3 years and 8 months. It is made by more than 10 engineers and technical personnel, including two weaving specialists of the Sichuan Brocade. Even now with the use of the new machine, it takes 3 months to complete one.” Sichuan Provincial Museum has collected this work.
研究所目前主要生產(chǎn)的蜀錦產(chǎn)品大多為旅游紀(jì)念品、禮品、工藝美術(shù)品、服飾面料等。“為了使古蜀錦走進(jìn)千家萬戶，我們將進(jìn)一步深度開發(fā)，如床上用品、室內(nèi)飾品以及各類小產(chǎn)品。同時。我們還可以專門為客戶定制蜀錦產(chǎn)品。”胡光俊說道。
The institute is currently the main production of Shu Brocade. Products are mostly tourist souvenirs, gifts, crafts, clothing and other fabrics. “In order to spread the Ancient Shu Brocade into millions of households, we will further the depth of development, such as bedding, interior decoration and all kinds of small products. We can also specially customize Shu Brocade products,” He said.
平日里，胡老師會接待來自各地對蜀錦感興趣的人士，耐心為他們講解蜀錦技藝的輝煌歷史與現(xiàn)狀。
On weekdays, teacher Hu is visited by many people all around the world who are interested in the Shu Brocade. He informs these people of the Shu Brocade’s glorious history and its current status.
“歲數(shù)大了，精力也沒有年輕的時候好了，希望在有生之年將這門手藝傳下去，可現(xiàn)實卻讓人擔(dān)憂。”胡光俊透露，目前研究所里除了他和幾位老員工，整個所里只有不超過20人，他本來這個年齡早應(yīng)該退休享受晚年生活了，卻因為找不到接班人而一直堅守在蜀錦技藝的傳承崗位上，“為了這門技藝的傳承，我們在社會各大招聘網(wǎng)站都發(fā)過招工簡章，包吃包住還有實習(xí)補(bǔ)貼（約1800元），征集過學(xué)徒，不過很多人都是三分鐘熱度，而且有很多年輕人不愿意來，怕苦怕累，認(rèn)為手藝人沒有什么出息。”
“現(xiàn)在會這門技術(shù)的人越來越少，加上學(xué)習(xí)蜀錦耗時極長，五六年才能學(xué)會基本操作，而且略顯枯燥，從而造成了目前這一技藝面臨失傳的尷尬。”胡光俊希望通過GoChengdu網(wǎng)站呼吁：“為了讓這一祖先留下來的珍貴藝術(shù)再現(xiàn)榮光，只要有人想學(xué)，我絕對會毫無保留地傳授這門手藝。” 這種堅持，既是對蜀錦技藝的一份堅守，更是對文化的一種擔(dān)當(dāng)。用胡光俊的話來說，這是一種情結(jié)。
“I am getting older, so I do not have the energy as I did when I was younger. I hope that I am able to pass this technology down before I die, but the reality of this happening is worrying,”
“In order to keep producing this precious, ancient craft, there must be people who want to learn. I will absolutely teach anyone who is interested.” Hu wants to keep the Shu Brocade craft, and especially the brocade culture itself, alive. To Hu Guangjun, the brocade culture is very special to him and he does not want it to die out.
小貼士
蜀錦與其它織錦（尤其是數(shù)碼織錦）的區(qū)別：
一、肉眼觀看
1、蜀錦產(chǎn)品綢面上有平紋、斜紋、緞紋及其這三種組織的變化組織，其它織錦只有平紋或斜紋組織；
2、蜀錦產(chǎn)品綢面顏色越多，塊面效果越清晰層次越分明，其它織錦綢面顏色越多越模糊，遠(yuǎn)看尚可，近看就象是印上去一樣；
3、蜀錦采用重經(jīng)、重緯、重組織的傳統(tǒng)生產(chǎn)技藝，產(chǎn)品在自然光線下無論站在什么方位觀看都會反射出不同的色彩，其它織錦綢面不會或很少反射出色彩。
二、手感區(qū)別：
1、蜀錦產(chǎn)品綢面上有花樣的地方有凹凸感，無花樣的地方很柔和，其它織錦無論有花無花手感都較平且粗糙。所以購買時一定要去辨別，以避免買到其它織錦產(chǎn)品。
2、由于蜀錦產(chǎn)品是雙經(jīng)多重緯絲生產(chǎn)的產(chǎn)品，手感厚重，其它織錦是單經(jīng)單緯織造，手感較薄。
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