农家院里的泥塑梦

文、图／小强

农家院里的泥塑梦

THE CLAY SCULPTURE DREAM IN A PEASANT COTTAGE

文、图／小强

东郊彩石镇山区一处农家小院里，摆放着王令涛最近完成的孔子与孔门七十二贤的陶塑群雕：谦恭有礼的孔子居于最前，颜回、子贡、子路……形态各异的七十二弟子分列其后。这组群雕像展现着气势浩大的史诗，让人心生敬畏。72尊泥塑或手持竹简，或抱拳作揖，栩栩如生，形态各异。细微处，连脸上的须眉、身上的衣褶都能看得真真切切。

○ 王令涛做了不少案头工作。他查找典故、搜集人物图片，以获取创作灵感。Wang Lingtao has produced much work. He looks up literary quotations and pictures of collected figures in order to acquire creative inspiration.

○ 烧制前，如发现个别作品有点问题，还要亲自精修、小改、去尘。When finding a defect on some work, he personally rectifies and dedusts it.

王令涛毕业于济南一家烹饪专科学校，早期是一名五星级酒店厨师，主要负责餐饮部雕刻摆盘工作，从事这一行业已20年。去年，为了实现自己的陶艺梦，王令涛毅然辞职，在南部山区的一个村落里租了一套农家小院，专心做起孔子系列泥塑。

○烧窑前要在作品上上釉。Glazing before firing.

○只有对创作的人物有所了解，才能知道哪个姿势最能体现这个人物的性格。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，在王令涛的手中，可以捏出几千个造型各异的人物形象。Wang Lingtao can use clay to make thousand kinds of figures.

一抔泥土，在王令涛的手中，可以呈现出几千个造型各异的人物形象。在他的工作室里，陈列着近百件泥塑作品，对他而言，这些“泥人儿”是生活的一部分。

关于孔门中的七十二贤，古书上的记载有详有略，很难找到原始图像作为依据。为了还原最真实的形象，王令涛做了不少案头工作。他查找史料、典故，并搜集了大量古代人物图片，以获取创作灵感。“光看图片资料是不够的。一方面，图片是平面的，它和泥塑、彩塑这种造型艺术还不太一样，另一方面，只有对创作的人物生平有所了解，才能知道哪个姿势最能体现这个人物的性格。”最终，他以戴敦邦的画作为底本，创作了一套孔门七十二贤的雕塑。

泥塑作品看似简单，却需要“采泥、淘浆、陈泥、捏塑、定型、整修、阴干、打磨、上色”等十几道制作工序。而在制作过程中，80%的工序要靠手工来完成。只有在手指达不到的地方，才用“抿子”帮忙。所谓“抿子”，指的是由红木、竹子、紫檀等制成的柳叶形工具，大约十几厘米长、1厘米宽。尽管市面上也有这类工具出售，但王令涛还是坚持自己做所有的工具，他说：“还是自己做的东西用起来‘得劲’。”

泥塑的缺点是不易保存，为此他干脆花高价造了一座窑炉，请了一位精通陶艺烧制的失聪手艺人，共同烧制每一件作品。上炉前，摆置陶品是个慢活儿，每一件都要摆放平稳整齐，以节省空间。每窑要经过三四个小时才能摆放好，然后再慢慢推入窑内。入窑前，如发现个别作品出现问题，还要精修、小改、去尘。烧窑过程要求炉子不能升温太快，要一点一点升。作品烧制的这两三天时间里，他和助手轮流守在炉子前，记录下每一个时间段的温度。窑炉温度最高时可以达到1180摄氏度，能将从透风口前晃过的铅笔瞬间烧黑。在这样的环境里，王令涛一守就是十几个小时。

梦想有多大，舞台就有多大。从厨师到艺术家，王令涛始终坚持对作品的精雕细琢、精益求精，对工匠精神的孜孜追求，为传播山东儒学文化尽一份力。

○ 1、上炉前，摆置陶品是个慢活，每一件要摆放平稳整齐，节省空间。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、经过几十个小时，第一窑终于出炉了。After dozens of hours, the first kiln finally drew a charge.

○ 3、王令涛在每一件作品上都标注上泥塑人物名字。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.