林上軍

在美麗的東海之濱，坐落著中國(guó)第一大群島舟山群島，這里也是世界著名漁場(chǎng)。這里有上千個(gè)翡翠般的島嶼，生活著一百多萬(wàn)人口，他們中一部分是純粹的漁民。如今，島上很多人雖不再?gòu)氖潞Ｉ喜遏~(yú)，但純樸、憨厚、豪爽的性格底色已深深地刻進(jìn)他們的基因里。他們憑借自己的想象，用充滿美好愿望的真摯情感以及近乎狂幻的稚拙畫(huà)筆，描繪了一幅幅反映多樣生活、具有奇趣構(gòu)思、塑造夸張形態(tài)、充滿神秘感的畫(huà)卷，這便是舟山漁民畫(huà)，它已被列入第四批浙江省級(jí)非物質(zhì)文化遺產(chǎn)名錄。

漁港邊? ? 漁哥漁嫂繪制精品力作

季春時(shí)節(jié)，草長(zhǎng)鶯飛。筆者走進(jìn)位于舟山沈家門漁港邊的普陀漁民畫(huà)創(chuàng)作中心，只見(jiàn)一間間畫(huà)室內(nèi)，有漁民和漁嫂在埋頭創(chuàng)作。

她叫鄭紅飛，今年53歲，來(lái)自六橫島，從事漁民畫(huà)創(chuàng)作已有36年。怡靜的外表下，有一顆善于想象的心。2020年，她成為當(dāng)?shù)氐谝粋€(gè)加入中國(guó)美協(xié)的漁民畫(huà)作者。

自幼兒園老師起步，鄭紅飛憑借自己的天賦和執(zhí)著，在當(dāng)?shù)乇姸酀O民畫(huà)創(chuàng)作愛(ài)好者中脫穎而出。1987年，她創(chuàng)作的《城頭上掛下的大發(fā)》被中國(guó)美術(shù)館收藏;2014年和2019年，她的《漁之歌》《海韻》先后入展全國(guó)美展，如今她還是當(dāng)?shù)叵硎苋瞬沤蛸N的優(yōu)秀漁民畫(huà)作者。

200多平方米的普陀漁民畫(huà)創(chuàng)作中心內(nèi)，每天總有非遺傳承人在潛心創(chuàng)作。張斌恒，漁家后代，今年48歲，原來(lái)是海島上的一名建筑公司的員工，2010年他參加漁民畫(huà)培訓(xùn)班后，就全身心投入到漁民畫(huà)創(chuàng)作中，并成立了自己的工作室，做起漁民畫(huà)銷售。

李芝琴，桃花島人，2005年開(kāi)始漁民畫(huà)創(chuàng)作，2010年，她的作品開(kāi)始走出國(guó)門，2014年她成立了自己的畫(huà)社。如今的她，一有空還經(jīng)常到各個(gè)學(xué)校傳授自己的手藝。

漁民畫(huà)家們熱愛(ài)自己的海島，熱愛(ài)自己的勞動(dòng)和生活，他們以海為動(dòng)力，依照自己的環(huán)境和生活在創(chuàng)作中進(jìn)行聯(lián)想，用形象的思維來(lái)表達(dá)他們樸素的思想情感。他們從客觀事物的真實(shí)形象出發(fā)，進(jìn)行大膽的創(chuàng)意和夸張，立意奇特，想象豐富，用畫(huà)筆流露出自己對(duì)生活的真情實(shí)感和對(duì)大海的深情眷戀，作品散發(fā)著濃郁的“海腥味”。多年來(lái)，普陀漁民畫(huà)在保持藝術(shù)風(fēng)格整體性的基礎(chǔ)上，強(qiáng)調(diào)地域特色，力求多樣性，創(chuàng)作了一批又一批精品力作。

普陀文化館美術(shù)干部姜聲慧介紹，自二十世紀(jì)80年代以來(lái)，普陀漁民畫(huà)已有近2000件作品入選全國(guó)及省級(jí)展覽，入編各類畫(huà)冊(cè)，入藏多家美術(shù)權(quán)威機(jī)構(gòu)，并到20多個(gè)國(guó)家作對(duì)外交流展出。2012年，普陀漁民畫(huà)列入第四批省級(jí)非物質(zhì)文化遺產(chǎn)名錄。1988年，普陀區(qū)被文化部命名為“中國(guó)民間繪畫(huà)畫(huà)鄉(xiāng)”。繼2008年、2011年、2014年連續(xù)三次入選“中國(guó)民間文化藝術(shù)之鄉(xiāng)”后，2021年普陀區(qū)再次入選2021—2023年度“中國(guó)民間文化藝術(shù)之鄉(xiāng)”。除了沈家門之外，普陀區(qū)文化館還開(kāi)辟了東極島、六橫島、螞蟻島三個(gè)漁民畫(huà)創(chuàng)作基地，拓展到講座、培訓(xùn)、參觀、研討等工作，對(duì)人才的培養(yǎng)和交流產(chǎn)生積極的作用。 尤其是東極的漁民畫(huà)創(chuàng)作基地，助推著當(dāng)?shù)芈糜谓?jīng)濟(jì)、文化產(chǎn)業(yè)。

古城內(nèi)? ? 幾十年如一日不離不棄

定海，浙江省屈指可數(shù)的海上歷史文化名城。厚重的文化底蘊(yùn)，孕育了一批漁民畫(huà)創(chuàng)作愛(ài)好者。

定海金塘島上，有兩位特別有名的漁民畫(huà)創(chuàng)作者、傳承人——朱松祥、徐重芳。

春日下午，筆者專程拜訪他倆。

在金塘柳行老街，朱松祥的“大網(wǎng)頭漁民畫(huà)工作室”格外引人注目。里面攤滿了顏料、畫(huà)紙等各種材料。

朱松祥今年62歲，他的經(jīng)歷豐富奇特：初中畢業(yè)后，先后從事篾匠、船工、村鎮(zhèn)規(guī)劃辦工作人員、電影放映員、文化站工作人員、漆匠、養(yǎng)兔、開(kāi)店、螺桿廠負(fù)責(zé)人等行當(dāng)工作。盡管角色多變，但業(yè)余美術(shù)創(chuàng)作一直沒(méi)放棄 。1987年，他的漁民畫(huà)《大網(wǎng)頭》獲得浙江省首屆工農(nóng)畫(huà)展一等獎(jiǎng)。近些年，他的畫(huà)作先后赴日本、澳大利亞、美國(guó)、歐洲等地展出?，F(xiàn)在每年有數(shù)萬(wàn)元售畫(huà)收入。

2017年，他退休后，全身心撲在創(chuàng)作上，還帶出一批學(xué)生。幾年下來(lái)，他指導(dǎo)的學(xué)生在全省書(shū)畫(huà)比賽中多次獲獎(jiǎng)。

見(jiàn)到徐重芳時(shí)，這位八旬老人剛從田頭回來(lái)，腳穿拖鞋，衣著樸實(shí)。如果不熟悉他，沒(méi)人能想到他是當(dāng)?shù)赜忻臐O民畫(huà)創(chuàng)作者。現(xiàn)在，向他要畫(huà)的人很多，一幅畫(huà)至少在一萬(wàn)元以上。

筆者發(fā)現(xiàn)，徐重芳的作品略顯暗色，但照片拍出來(lái)卻呈亮色。風(fēng)格有別于其他漁民畫(huà)。他說(shuō)，10多年前，他的畫(huà)風(fēng)有比較大的改變，市場(chǎng)上也更加暢銷。

自二十世紀(jì)80年代以來(lái)，他的畫(huà)作參加全國(guó)一系列漁民畫(huà)展并屢屢獲獎(jiǎng)。2004年，他被評(píng)為全國(guó)優(yōu)秀民間繪畫(huà)優(yōu)秀畫(huà)家;2005年被評(píng)為定海區(qū)十大民間藝人，2009年被評(píng)為浙江省優(yōu)秀民間人才，2010年被評(píng)為中國(guó)十大農(nóng)民畫(huà)家。

在定海，熱愛(ài)漁民畫(huà)的繪畫(huà)愛(ài)好者聚在一塊兒，組成了定?！巴薄睗O民畫(huà)群體。群體負(fù)責(zé)人黃海敏介紹，近年來(lái)，定海區(qū)文體局依托定海區(qū)農(nóng)村素質(zhì)提升工程、“百姓課堂”文化公益培訓(xùn)等載體，為基層群眾、文體骨干開(kāi)辦漁民畫(huà)培訓(xùn)班，目前，已擁有了一支穩(wěn)定性好、綜合素質(zhì)高的“望潮”漁民畫(huà)群體。此外，該區(qū)還組織“望潮”漁民畫(huà)群體成員到浙江嘉興秀洲、上海金山等地學(xué)習(xí)交流農(nóng)民畫(huà)，提高作者對(duì)民間美術(shù)的審美水平及創(chuàng)作水平。

百島縣? ? 斑斕色彩匯成別樣風(fēng)情

有人說(shuō)，到過(guò)“百島之縣”嵊泗，你就知道“海上仙山”絕不是浪得虛名。柔軟細(xì)膩的沙灘、漁舟穿梭的海面、民風(fēng)淳樸的漁村、美味無(wú)比的海鮮……就如一顆璀璨的明珠，閃耀在萬(wàn)頃碧波之中。而且，那富有韻味的漁民畫(huà)，會(huì)時(shí)時(shí)撲入你的眼簾，在墻上、在民宿、在村口、在船頭，這是嵊泗漁民畫(huà)作者的風(fēng)采展示，也是海島漁村的文氣所在。

盧秀絨是嵊泗縣第一批漁民畫(huà)作者，一幅《烏賊夫妻》讓她名聲大振，成為經(jīng)典之作，如今一些文創(chuàng)產(chǎn)品上就經(jīng)常可見(jiàn)這幅畫(huà)作。

“其實(shí)我當(dāng)時(shí)什么繪畫(huà)功底都沒(méi)有?！北R秀絨回憶說(shuō)，1987年，17歲的她參加縣文化館漁民畫(huà)創(chuàng)作培訓(xùn)班，當(dāng)時(shí)無(wú)美術(shù)基礎(chǔ)的她和其他幾位漁家姑娘，經(jīng)過(guò)幾個(gè)月的磨煉，硬生生完成了一批漁民畫(huà)作品，而后在上海美術(shù)館展出，不久又到中國(guó)美術(shù)館展出。

嵊泗田岙村，典型的漁民畫(huà)創(chuàng)作基地。外立面能被外人看到的民宿墻上，一幅幅漁民畫(huà)，瞬間就把人帶進(jìn)了海的世界：漁船上，漁夫使勁拉網(wǎng)，活蹦亂竄的魚(yú)兒，把漁網(wǎng)壓得沉甸甸;碼頭邊，漁嫂打著赤腳，挽起袖子忙著揀魚(yú)貨;沙灘上，漁家姑娘織漁網(wǎng)，絲線長(zhǎng)長(zhǎng)，牽系著遠(yuǎn)洋搏浪的親人……

2014年，村內(nèi)打造起一個(gè)漁民畫(huà)創(chuàng)意體驗(yàn)館，不僅吸引了眾多高校美術(shù)院系創(chuàng)作團(tuán)隊(duì)，更壯大了村內(nèi)的漁民畫(huà)創(chuàng)作隊(duì)伍。現(xiàn)在，一到旅游旺季，這里是游客們的漁民畫(huà)體驗(yàn)打卡點(diǎn)。而到了淡季，這里則成了漁嫂們的創(chuàng)作基地。

目前，田岙村共有近200戶漁家民宿，年均接待游客超9萬(wàn)人次，僅旅游收入就達(dá)2000多萬(wàn)元，并成為美術(shù)學(xué)院嵊泗東海漁村墻體壁畫(huà)創(chuàng)作基地。

產(chǎn)業(yè)化? ? 任重道遠(yuǎn)踏浪摸索前行

舟山漁民畫(huà)，盡管興起于改革開(kāi)放年代，但其源遠(yuǎn)流長(zhǎng)，最早由古代船飾畫(huà)演變而來(lái)。舟山群島的先民們?cè)诖伯?huà)上泥鰍以象征“龍外甥”，即魚(yú)龍，以鎮(zhèn)水妖，避災(zāi)禍;在船艙上畫(huà)“足踏蓮花觀世音”“龍王獻(xiàn)魚(yú)蝦”等，以祈保平安豐年。解放后，隨著時(shí)代的變遷，漁區(qū)木帆船變成機(jī)帆船，駕駛臺(tái)門板上都會(huì)畫(huà)上“日出東?！薄皟升垜蛑椤钡却棶?huà)。漁家人獨(dú)特的生產(chǎn)生活方式、多姿多彩的民俗風(fēng)情，成為漁民畫(huà)題材的寶庫(kù)，可以說(shuō)，舟山豐富深厚的民間傳統(tǒng)美術(shù)正是滋養(yǎng)漁民畫(huà)之樹(shù)能夠根深葉茂的豐厚土壤。

近年來(lái)，隨著國(guó)家對(duì)非物質(zhì)文化遺產(chǎn)的重視，舟山漁民畫(huà)先后被列入浙江省民間藝術(shù)保護(hù)一二三批名錄;2006年12月，舟山漁民畫(huà)被列入“首批市級(jí)非物質(zhì)文化遺產(chǎn)代表作名錄”，2012年7月，普陀漁民畫(huà)被列入省級(jí)第四批非物質(zhì)文化遺產(chǎn)名錄。

蘸海為墨，踏浪而行。這幾年，舟山漁民畫(huà)產(chǎn)業(yè)化進(jìn)度有所加快，2014年，舟山漁民畫(huà)產(chǎn)業(yè)協(xié)會(huì)成立，56家企業(yè)和個(gè)人畫(huà)坊成為會(huì)員單位?！爱?dāng)年，漁民畫(huà)文創(chuàng)產(chǎn)品僅有二三十種，現(xiàn)在有二三百種?！眳f(xié)會(huì)會(huì)長(zhǎng)張高俊，是當(dāng)?shù)赜忻漠?huà)家，作品多次參加中國(guó)美展。日前，筆者走近他的畫(huà)室，只見(jiàn)他又在制作新的文創(chuàng)產(chǎn)品，用剪紙將漁民畫(huà)展現(xiàn)出來(lái)，再進(jìn)行裝裱，而且內(nèi)容也融入了舟山海天佛國(guó)元素。

服飾、鞋類、箱包、飾品、扇子……如今的舟山漁民畫(huà)文創(chuàng)產(chǎn)品幾乎無(wú)所不包，產(chǎn)值已從2014年的50萬(wàn)元增加到400萬(wàn)元。每年，張高俊都會(huì)帶著大家外出參觀考察交流。漁民畫(huà)家蔣德葉年收益二三十萬(wàn)元。有的漁民畫(huà)工作室試著將鵝卵石、貝殼等作為繪畫(huà)的載體，創(chuàng)作家居擺設(shè)品，并推出漁民畫(huà)DIY創(chuàng)作活動(dòng)，受到了市場(chǎng)的歡迎。

最近，張高俊正在摸索漁民畫(huà)提升工程，他嘗試將漁民畫(huà)顏料、材質(zhì)由普通的一般化顏料改為油漆、板材，如此讓漁民畫(huà)有了一種立體感，也提高了收藏價(jià)值。

舟山市美術(shù)家協(xié)會(huì)副主席、舟山漁民畫(huà)協(xié)會(huì)會(huì)長(zhǎng)朱國(guó)安說(shuō)，自二十世紀(jì)80年代以來(lái)逐漸興起的舟山漁民創(chuàng)作群體，雖有潮起潮落態(tài)勢(shì)，但整體在變強(qiáng)，人員在增加。舟山漁民畫(huà)以大膽的藝術(shù)想象和強(qiáng)烈的生活氣息，又通過(guò)造型上的夸張、隨意和色彩上的艷麗、強(qiáng)烈，成為頗受歡迎的漁民畫(huà)種，每次參展獲獎(jiǎng)率總是名列前茅。他希望政府能強(qiáng)化漁民畫(huà)知識(shí)產(chǎn)權(quán)保護(hù)，加大文創(chuàng)產(chǎn)品銷售窗口建設(shè)，加強(qiáng)漁民畫(huà)產(chǎn)業(yè)鏈建設(shè)和創(chuàng)新人才培養(yǎng)，讓舟山漁民畫(huà)產(chǎn)業(yè)行穩(wěn)致遠(yuǎn)。

Zhoushan Fishermen’s Paintings：

Full of Local Flavors

By Lin Shangjun

On the coast of the East China Sea lies Zhoushan， China's largest archipelago and world-famous fishing ground. Home to more than a million inhabitants， Zhoushan is a collection of over a thousand islands. Today， many Zhoushan people no longer fish for a living. With their rich imagination， their good wishes， as well as their authentic feelings， they have painted pictures of all sorts of colors， interesting ideas， touching expressions， exaggerated shapes， and grotesque and mysterious conceptions. They are known as “fishermen's paintings”， which have been inscribed on Zhejiang’s provincial intangible cultural heritage list.

Walking into the Putuo Fishermen's Painting Center near the Shenjiamen Port in Putuo district， Zhoushan city， one is immediately struck by the scene fishermen and fisherwomen immersed in painting in one painting room after another. The 53-year-old Zheng Hongfei， from Liuheng Island， has been painting for 36 years. With a quiet demeanor， Zheng is full of imaginative power. In 2020， she became the first local fisherman artist to join the China Artists Association.

Starting as a kindergarten teacher， Zheng stands out among fellow fishermen painters with her talent and dedication. In 1987， one of her works was collected by the National Art Museum of China. In 2014 and 2019， her Song of Fishing and Fishing in the Sea were showcased in national art exhibitions.

Zhang Binheng is another fisherman painter working in the 200-odd-square-meter center. The 48-year-old Zhang used to be an employee of a local construction company and became a full-time painter after attending a training course for fishermen painters in 2010. He has set up his own studio and is now selling his paintings. Li Zhiqing started to make decorative fishing knots in 2005， and her works have been exported abroad since 2010. She now gives lectures from time to time， teaching her craft and skills to local students.

These fishermen artists love their home islands， as well as their life and work. Over the years， nearly 2，000 paintings by artists from Putuo have been seen in international， national， provincial exhibitions， painting albums and collections of arts institutions， according to Jiang Shenghui， an official with the Putuo Cultural Center. Apart from the studio at the Shenjiamen Port， the Putuo Cultural Center also set up three painting bases for fishermen painters， which have been instrumental in promoting local tourism and cultural industry.

In neighboring Dinghai district， fishermen painters can be found as well. On its Jintang Island， 62-year-old Zhu Songxiang has a unique life story. After graduating from middle school， he took up jobs as a bamboo weaver， a boat worker， a village planner， a film projectionist ... and he has never stopped painting in the process. In 1987， his painting Big Fishing Net won the first prize in a provincial exhibition. In recent years， his works have been exhibited in Japan， Australia， the United States and Europe. Currently， Zhu earns tens of thousands of dollars every year from selling his paintings. Since 2017， he has devoted himself to painting after retirement， even training his own students， who won numerous honors in various competitions held in Zhejiang.

For those who haven’t heard of Xu Zhongfang before， they could have easily taken him for their avuncular neighbor. The octogenarian is a well-known fisherman painter in the area. A piece of his painting could fetcher for at least 10，000 yuan or $1，500. Since the 1980s， Xu has participated in myriad national exhibitions for fishermen’s paintings and won multiple awards. In 2009， he was named as one of the Top Ten Farmer Painters in China.

In Dinghai， fishermen art enthusiasts have created their own painting society. Huang Haimin， who is in charge of the society， said that local authorities have organized regular training and programs on fishermen’s painting in recent years for the members of the society.

It is said that one needs only to set foot on Shengsi， known as a “county with a hundred of islands”， one will understand its reputation as a “fairyland on the sea”. Soft and delicate sand beach， fishing boats shuttle on the sea， delicious seafood ... More eye-catching are the fishermen's paintings full of fishing charm： on the wall， in the guesthouses， at the entrance of the villages and at the bow of the boat … you can find them everywhere.

Lu Xiurong was among Shengsi’s first fishermen painters. A Squid Couple， a painting by Lu in 1987， has made her famous and become a classic of fishermen’s paintings.

“I hadn’t learned anything about painting at all，” she recalled her experience of attending a training class in 1987， when she was 17 years old， for fishermen’s paintings at the county cultural center. She and some other fishing girls， who had no next-to-nothing art knowledge or technique， finished a group of fishermen’s paintings after several months of intense training， which were then exhibited in the Shanghai Art Museum and later in the National Art Museum of China.

Tian’ao village in Shengsi county is itself a base for fishermen’s painting. On the walls of homestays， a series of fishermen's paintings instantly bring people into the world of the sea： on the fishing boat， the fishermen pull the net hard， jumping fish weighing down the net; by the wharf， fisherwomen are busy picking up fish with bare feet; on the beach， girls are weaving fishnets ...

In 2014， the village set up a creative experience hall themed on fishermen's paintings， attracting not only those from art institutions， but also more villagers to take up painting. During peak seasons， it is a place for many tourists to try their hands on fishermen's painting. In the off-season， it serves as a painting base for locals.

At present， nearly 200 households in Tian’ao village have opened homestay business， receiving an average of more than 90，000 tourists annually and earning over 20 million yuan.

While modern fishermen’s painting as a genre emerged in the 1980s， its origins go a long way back in history. In ancient times， Zhoushan’s fishermen already began to paint on their boats auspicious symbols and sea creatures， such as Avalokitesvara to pray for peace and prosperity. It is the rich traditional folk art tradition that has given rise to fishermen’s painting as we know today.

In recent years， moves have been taken to make it into an industry. In 2014， the Industrial Association for Zhoushan Fishermen’s Painting was established. “Only 20 or 30 kinds of cultural derivative products from fishermen’s paintings used to be made，” said Zhang Gaojun， president of the association and a well-known local painter. “Now you can easily see 200 or 300 kinds.” From apparel and shoes to handbags and accessories， fishermen’s paintings can be found on various cultural and creative products， the total value of which increased from 500，000 in 2014 to four million. More efforts are still needed for the long-term and steady development of the fishermen’s painting industry， said Zhang， in particular raising awareness on intellectual property rights， opening sales channels for related products and cultivating more talents.