農家院里的泥塑夢

文、圖／小強

農家院里的泥塑夢

THE CLAY SCULPTURE DREAM IN A PEASANT COTTAGE

文、圖／小強

東郊彩石鎮山區一處農家小院里，擺放著王令濤最近完成的孔子與孔門七十二賢的陶塑群雕：謙恭有禮的孔子居于最前，顏回、子貢、子路……形態各異的七十二弟子分列其后。這組群雕像展現著氣勢浩大的史詩，讓人心生敬畏。72尊泥塑或手持竹簡，或抱拳作揖，栩栩如生，形態各異。細微處，連臉上的須眉、身上的衣褶都能看得真真切切。

○ 王令濤做了不少案頭工作。他查找典故、搜集人物圖片，以獲取創作靈感。Wang Lingtao has produced much work. He looks up literary quotations and pictures of collected figures in order to acquire creative inspiration.

○ 燒制前，如發現個別作品有點問題，還要親自精修、小改、去塵。When finding a defect on some work, he personally rectifies and dedusts it.

王令濤畢業于濟南一家烹飪專科學校，早期是一名五星級酒店廚師，主要負責餐飲部雕刻擺盤工作，從事這一行業已20年。去年，為了實現自己的陶藝夢，王令濤毅然辭職，在南部山區的一個村落里租了一套農家小院，專心做起孔子系列泥塑。

○燒窯前要在作品上上釉。Glazing before firing.

○只有對創作的人物有所了解，才能知道哪個姿勢最能體現這個人物的性格。You could know which posture could best reflect the figure’s character when you have a better understanding of the figure you are creating.

○一抔泥土，在王令濤的手中，可以捏出幾千個造型各異的人物形象。Wang Lingtao can use clay to make thousand kinds of figures.

一抔泥土，在王令濤的手中，可以呈現出幾千個造型各異的人物形象。在他的工作室里，陳列著近百件泥塑作品，對他而言，這些“泥人兒”是生活的一部分。

關于孔門中的七十二賢，古書上的記載有詳有略，很難找到原始圖像作為依據。為了還原最真實的形象，王令濤做了不少案頭工作。他查找史料、典故，并搜集了大量古代人物圖片，以獲取創作靈感。“光看圖片資料是不夠的。一方面，圖片是平面的，它和泥塑、彩塑這種造型藝術還不太一樣，另一方面，只有對創作的人物生平有所了解，才能知道哪個姿勢最能體現這個人物的性格。”最終，他以戴敦邦的畫作為底本，創作了一套孔門七十二賢的雕塑。

泥塑作品看似簡單，卻需要“采泥、淘漿、陳泥、捏塑、定型、整修、陰干、打磨、上色”等十幾道制作工序。而在制作過程中，80%的工序要靠手工來完成。只有在手指達不到的地方，才用“抿子”幫忙。所謂“抿子”，指的是由紅木、竹子、紫檀等制成的柳葉形工具，大約十幾厘米長、1厘米寬。盡管市面上也有這類工具出售，但王令濤還是堅持自己做所有的工具，他說：“還是自己做的東西用起來‘得勁’。”

泥塑的缺點是不易保存，為此他干脆花高價造了一座窯爐，請了一位精通陶藝燒制的失聰手藝人，共同燒制每一件作品。上爐前，擺置陶品是個慢活兒，每一件都要擺放平穩整齊，以節省空間。每窯要經過三四個小時才能擺放好，然后再慢慢推入窯內。入窯前，如發現個別作品出現問題，還要精修、小改、去塵。燒窯過程要求爐子不能升溫太快，要一點一點升。作品燒制的這兩三天時間里，他和助手輪流守在爐子前，記錄下每一個時間段的溫度。窯爐溫度最高時可以達到1180攝氏度，能將從透風口前晃過的鉛筆瞬間燒黑。在這樣的環境里，王令濤一守就是十幾個小時。

夢想有多大，舞臺就有多大。從廚師到藝術家，王令濤始終堅持對作品的精雕細琢、精益求精，對工匠精神的孜孜追求，為傳播山東儒學文化盡一份力。

○ 1、上爐前，擺置陶品是個慢活，每一件要擺放平穩整齊，節省空間。Before firing, placing the pottery works is a kind of quality operation. Each piece of work shall be placed steadily and regularly in order to save space.

○ 2、經過幾十個小時，第一窯終于出爐了。After dozens of hours, the first kiln finally drew a charge.

○ 3、王令濤在每一件作品上都標注上泥塑人物名字。Wang Lingtao noted the name of the clay sculpture figure on every piece of work.

W ang Lingtao, who was a cook in a fivestar hotel, was mainly responsible for sculpture and presentation in the Food and Beverage Department. Last year, Wang Lingtao resigned, determined to realize his clay sculpture dream. He rented a peasant cottage in a village in the southern mountains. Then, he concentrated his attention on making his Confucius series clay sculpture.

Nearly one hundred clay sculpture works are displayed in Wang Lingtao’s workshop. For him, these “clay people” are a part of his life.

Wang Lingtao set up a kiln at a high price. He also invited a deaf craftsman, who is proficient in pottery firing, to fire each piece of work. During the two or three days needed for fi ring, he and his assistant will take turns in watching the kiln and recording the temperature of each period of time. The maximum temperature of will reach 1180 Celsius degrees. However, Wang Lingtao often keeps watching the kiln for more than 10 hours.

From a cook to an artist, Wang Lingtao always persists in care, precision and perfection in his work and his diligent pursuit of craftsman spirit. He would like to make a contribution to spreading Shandong Confucian culture.