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Translated By Catherine Fu
 
 
       心靈與化石的對話
Dialogue between Heart and Fossil

——寫在《古柏凝香—朱永興琥珀雕刻藝術(shù)作品集》出版前夕

— Preface to Coagulated Time—Zhu Yongxing’s Amber Carving Art Works Collection

   認(rèn)識朱永興已有多年，平時(shí)他的言語雖不多，但只要一聊起琥珀與雕刻，他的興奮之情便溢于言表，兩眼放光、口若懸河，且常常妙語連珠。朱永興對琥珀雕刻可謂一往情深，情有獨(dú)鐘，這在玉雕行業(yè)里是不多見的。

  I’ve known Zhu Yongxing for many years. Reticent as he is, he would become excited and eloquent with endless witty remarks as soon as he is talking of amber and carving. Zhu Yongxing is really infatuated with amber carving and he has poured passionate love into it, which is rare in jade carving business. 

正是這種矢志不渝的癡迷與執(zhí)著使他在這個(gè)領(lǐng)域里成果斐然。如今，他將多年苦心鉆研、精心創(chuàng)作的作品付梓出版《古柏凝香》，實(shí)是水到渠成、順理成章的事。翻開作品集，觀賞那一件件巧妙利用琥珀斑斕色彩所組成的情景，以及所折射出的曼妙線條與幻影，一股敬佩之情油然而生，它不僅使人領(lǐng)略到了大自然造化的神奇與美妙，更使人感受到作者所凝結(jié)著的心靈跳動的脈搏，以及對生活、對藝術(shù)火一般燃燒著的激情。

Thanks to his unshaken infatuation and persistence, now he’s been returned with such a success. Now he published Coagulated Time, the collection of his selected works which he’s poured his effort and love in for so many years. Opening the book, I couldn’t help exclaiming with admiration at seeing those wonderful amber works created by skillfully taking advantage of gorgeous natural colors of amber and their reflected graceful and enchanting lines and images. They not only make us appreciate the marvelous and magic changes of the Nature but also make us feel an infatuated soul dancing on the amber as well as his flame-like passion devoting to life and art.  
 
琥珀，是遠(yuǎn)古松柏科植物的樹脂埋藏于地層，經(jīng)漫長歲月演變而成的一種化石，其形成距今已有4000至6000萬年的時(shí)間。琥珀透明似水晶，光亮若珍珠，色澤如瑪瑙。品種有金珀、血珀、花珀、明珀、藍(lán)珀、綠珀、蟲珀、翳珀等。

Amber is a kind of fossil formed by the resin of ancient pine and cypress after being buried for a long time of from 40 million years to 60 millions years. Amber combines such properties as lucidity of crystal, brilliance of pearl and color of agate. It has varieties such as golden amber, red amber, piebald amber, bright amber, blue amber, green amber, insect amber and black amber, etc.  

若是呈不透明狀或半不透明狀的琥珀被稱為密臘。自古以來，琥珀一直被歐洲的貴族們用于佩戴的傳統(tǒng)飾品，代表著高貴、古典、含蓄的美麗。從我國傳統(tǒng)中醫(yī)的角度講，琥珀還是一種名貴的藥材。

Traditionally, the non-lucent or translucent amber is called Mila in Chinese. Since ancient time, amber, which represents noble, classic, reserved charm, has been a kind of traditional ornaments worn by the European aristocrat. When speaking of Chinese traditional medicine, amber is also a kind of rare and precious medicinal material.

至于琥珀的雕刻起始于何時(shí)，雖尚未去尋找更多的依據(jù)，但料想，既然琥珀長久作為原生態(tài)的佩飾之用，其中也必定包涵有人的創(chuàng)造的痕跡，當(dāng)然在琥珀上行刀走筆，并展現(xiàn)出書畫意蘊(yùn)，應(yīng)該是我國當(dāng)代人的創(chuàng)造，朱永興無疑是其中的一個(gè)踐行者。

No more evidences have yet been found that when amber carving originated, while one can image that without doubt amber contains the some human-created traces or marks since it has been existing as a kind of primitive wearing ornament for people for a long time. Certainly, carving on amber with calligraphy and painting must be creativity of modern people and among which, undoubtedly, Zhu Yongxing is a pioneer.

朱永興迷戀在琥珀上奏刀，有其必然性，也有其偶然性。他是生于斯，長于斯的蘇州人，青山秀水滋潤了他那寧靜而恬淡的性情，小橋流水培育了他那如詩似畫般的情懷。

Maybe it is destined, or accidental for Zhu Yongxing to be infatuated with carving amber. He is a native-born Suzhou local, and enchanting landscape of hometown nurtured his quiet composition and cultivated his scholar style affection.  

如果說，少年時(shí)對書畫的愛好為他的人生旅程奠定了不可動搖的基石，青年時(shí)的執(zhí)刀竹刻造就了他演繹書畫的藝術(shù)造詣，那么，在光怪陸離的琥珀世界里，他可以盡情放飛他那想象的翅膀。

On the unshaken basis of his love of calligraphy and painting as a child and bamboo carving as a youth, he can now flies freely with his wings of amazing imagination in such a marvelous world of amber.

朱永興自幼便富有想象，思維的馳騁有時(shí)如天馬行空，以他自己的話說，那時(shí)他總是可以從山墻上蜿蜒而下的屋漏痕里想象出一幅幅線描勾勒的圖案，這種印象至今還深深地烙印在他的腦海中。因此，當(dāng)一個(gè)偶然的機(jī)會接觸到奇妙的琥珀，尤其是那樹脂流動時(shí)產(chǎn)生的紋理及氣泡，以及糅合著的昆蟲與植物碎屑構(gòu)成的諸多美妙元素深深地打動了他，由興趣到全身心的投入，從此一發(fā)而不可收拾，“竟然玩命似的撲在這上面了。”

Rich in imagination as a little child, his wings of thinking always fly in a vigorous and unconstrained way, and as he says himself, at that time he could always image all kinds of line patterns from the marks and traces of rain leakage on the wall, which now still remains indelible in his mind. So, accidentally when he met magic amber, he was deeply moved by the stunning and marvelous charm of vein and bubble formed by the flowing of resin as well as the insects and plants crumbs. From interest to infatuation and finally he even developed a kind of flame-style passion to it. “I’ve almost poured all my life into it.”   

世界上絕沒有兩塊完全相同的琥珀，因此每一塊琥珀的雕刻都要費(fèi)盡心思。朱永興常常揣摩著那些坑坑洼洼的琥珀，尋找那千思一得，有時(shí)需要思考一年，甚至更多時(shí)間。

No two pieces of amber are the same in the world, so it needs so much consideration in the carving of each piece of amber. Zhu Yongxing often makes a painful study of those bumpy amber pieces, looking for and grasping accidental inspiration sparkles. Sometimes it takes him one year to do it and sometimes more.   
 
然后，集中一段時(shí)間一個(gè)人獨(dú)處，使心清氣靜、從容思索，舒緩奏刀。“荷韻”是朱永興刻畫最多的主題，在他的的刻刀下，風(fēng)化已久的冰裂紋可以化作舒展著的荷葉的脈絡(luò)，黝黑粗糙的紋理可以演繹為遒勁的梅花枝干，幾個(gè)小小的氣泡則成為荷葉上滾動著的幾滴水珠，于是，純凈瑰麗的琥珀便即刻轉(zhuǎn)化為富有詩情的畫卷，處處閃耀著思維靈動的火花。

Then he would select to stay alone for a period of time to quiet himself down and contemplate with easiness, then he started carving in an easy and relaxed way. Enchanting Lotus is Zhu Yongxing’s favorite topic for carving. Under his carving knife, those weathering ice-cracks became the stretching veins on the lotus leave, a stripe of coarse and dark vein became a vigorous branch of plum tree, and a little bubble became a water drop rolling on the lotus leave. In this way, the pure and gorgeous amber instantly turned out to be poetic painting scroll sparkling with inspiration.

真如作家蘇迅對他的作品評價(jià)的那樣，“秋雨纏綿殘荷翻卷，已到暑氛消歇更漏滴盡的時(shí)刻，花已落墮，葉正暗黃，生意闌干卻猶流連花期的繁秾。荷葉的經(jīng)經(jīng)絡(luò)絡(luò)、葉上滾動著的珠光以及荷梗的倔強(qiáng)，滿是張大千潑彩的筆意。”這是以生命的心靈與萬古凝結(jié)的化石水乳交融般的對話，這是以藝術(shù)的審美破譯出的大自然造化的密碼。

Indeed as what Su Xun, a writer said in his evaluation of Zhu’s works, “Weathered lotus leaves tremble amidst chilly fall rain, at this moment when summer heat retires with coming of dawn, still lingering is are prosperity remain of blossoming season although now flowers are fallen and leaves are yellow. The veins of lotus leave, luminous water drops rolling on the leave as well as stubborn leave stalks, all of these show us the enchanting bearing and appeal of Zhang Daqian’s Chinese painting. ” This is the harmonious dialogue between of an infatuated artistic soul and ancient fossil and this is the password of natural changes which is unlocked by artistic aesthetic effort. 

從技藝層面講，琥珀雕刻遠(yuǎn)沒有竹木牙雕那般挺刀爽勁，雖然琥珀硬度低，但質(zhì)地較為輕脆、凝滯，更因色彩變化多，且內(nèi)里包含多種雜質(zhì)，需在雕刻過程中不斷調(diào)整思路，以在方寸之中展現(xiàn)其藝術(shù)魅力，奏刀鑿刻也須隨機(jī)應(yīng)變，這對操刀者的技藝造詣無疑是一次次的挑戰(zhàn)。按朱永興自己的感受說，琥珀雕刻的美有其不確定性，有時(shí)需要巧妙地為一個(gè)蟲子或水膽“讓道”，因此，其出彩點(diǎn)有時(shí)并非如己所愿，要使之達(dá)到完美，更為難得。

Technically, amber carving is much more difficult when compared with carving of bamboo, wood and ivory due to its nature of being crispy, fragile and light weighted with various colors and impurity. It needs much more continuous adjustment and flexibility of skill during the course of carving so as to fully display its art charm, which is really a sort of challenge to a carver. Just as what Zhu Yongxing feels, the charm of amber carving is uncertainty, sometimes he needs to give way to one insect or a bubble, thus its bright points are not what he expects, and of course, much more difficult is it to reach of perfection.  

如今，朱永興的用刀愈發(fā)講究了，那些層次與過渡似乎不是用刀鐫刻的，而是用心靈凝結(jié)起來的。這樣的雕刻在傳統(tǒng)竹刻的字典里無從尋找，這是朱永興長期歷練的結(jié)果。當(dāng)人們在逆光里觀賞這樣的作品，誰都難以預(yù)料，原來琥珀也可以表現(xiàn)得如此淋漓盡致。

Now, Zhu Yongxing’s carving is more and more exquisite. It seems that that those layers and details are coagulated with heart and soul instead of being carving out by knife. Such carving cannot be found among the traditional bamboo carving field, which exactly is the return of Zhu Yongxing’s long-term painful practice.

誠然，朱永興的琥珀雕刻尚處于成長期，他的藝術(shù)生命還有很長的一段路要走。在這里，權(quán)且以著名數(shù)學(xué)家陳省身的名言來作為對他的勉勵(lì)，“一個(gè)人一生中的時(shí)間是個(gè)常數(shù)，能集中精力做好一件事已屬不易。”學(xué)無止境，藝無止境，衷心祝愿朱永興在琥珀雕刻的天地里百尺竿頭更進(jìn)一步，即使特立孤行，也要一如既往地耕耘不輟，一份耕耘，一份收獲，以生命與心靈去創(chuàng)造，必然使藝術(shù)之花開放得更加艷麗。是為序。

Indeed, frankly speaking, Zhu Yongxing’s carving is still in its growing stage, and as an artist there is still a long way for him to go. Hereby, I would like to present my incitement to encourage him with a renowned mathematician Chen Xingshen’s famous remarks “The time of human life is a constant and it is not easy to do one work well by devoting all one’s life to it.” Knowledge is infinite, so is art. We wish that Zhu Yongxing would make more and more progress in his loved amber carving field with painful effort and even in his unique way. Gains always come from pains. His hearty effort and infatuation towards art are bound to grow more and more charming art flowers.  Here is what this preface presents.