◇ 文| 本刊記者 陳科龍 實習生 朱江怡 圖| 劉一周 受訪者提供

傅舟：刀筆下的人生

◇ 文| 本刊記者 陳科龍 實習生 朱江怡 圖| 劉一周 受訪者提供

上世紀70年代初，年幼的傅舟跟著父母隨西南師范學院（現(xiàn)西南大學）遷往忠縣。約摸11歲時，傅舟的物理老師陳老師見他字寫得不賴，便將一本用報紙包裹得嚴嚴實實的字帖送給他，要他勤奮臨摹字帖。

回到家后，傅舟小心翼翼地剝開一層層報紙，打開一看是《曹全碑》。那個暑假，整整40天，傅舟都在臨摹《曹全碑》字帖，由此開始了他與詩書畫印的不解之緣。

In the early 1970s, young Fu Zhou and his parents moved to Zhong County with Southwest Normal University (now Southwest University).At the age of about 11, Fu Zhou’s physics teacher Chen saw his handwriting, gave him a copybook tightly wrapped upwith newspaper,and encouraged him to work hard to practice calligraphy.

When getting home, Fu Zhou peeled off the layers of the newspaper and found it a copybook of Cao Quan Stele.That summer vacation, forty days long, he was always copying Cao Quan Stele, which developed an indissoluble bond between him and poetry, calligraphy, painting and seal cutting.

轉(zhuǎn)益多師是吾師

Great Achievements Come from Great Teachers

1973年，西南師范學院搬回北碚，傅舟開始跟著美術系的郭克、蘇葆楨、方鳳富等老師學習花鳥畫。1977年，高考恢復后，傅舟一心想考入美術系繼續(xù)學習繪畫，但卻4次折戟。直到1979年，第五次高考才終于考上了西南師范學院中文系。

這一境遇不僅沒有成為傅舟的遺憾，相反，正是由于在西師中文系求學，他才有機會受教于徐無聞和秦效侃兩位老師。

“渴不飲盜泉水，熱不息惡木陰?！?980年跟隨徐無聞先生學習書法、篆刻的傅舟，對徐老師的這一枚印章，記憶尤為深刻，它彰顯了徐老師“清剛”的性格。徐老師不僅是位全才，精通書法、篆刻、繪畫，在文字學、詩詞學、金石學等領域都是行家里手，而且對學問要求極為嚴苛，人品學養(yǎng)俱佳。傅舟耳濡目染，深受影響。

面對今天在書畫印上取得的成就，傅舟坦言，離不開徐老師的教誨，敦促自己在中國古典文學上打下了的扎實基礎，“就詩書畫印而言，‘詩’排在第一位，是內(nèi)在的根底，是深沉的學養(yǎng)。而書法則處在第二層，書法的筆法、線條等藝術元素都深刻地影響著繪畫和篆刻。”

In 1973, when Southwest Normal University Moved back to Beibei, Fu Zhou started to learn paintings of flowers and birds in traditional Chinese style from Guo Ke, Su Baozhen, Fang Fengfu and other teachers.In 1977, after Gaokao was reinstated,Fu Zhou was bent on being admitted to department of Fine Arts to continue to learn drawing but he failed four times.Until 1979, he was admitted to department of Chinese language and literature in Southwest Normal University.

The outcome was not a regret for Fu, on the contrary, was bliss.Thanks to studying in department of Chinese language and literature in Southwest Normal University, Fu had a chance to be taught by Xu Wuwen and Qin Xiaokan.

In 1980, Fu followed Mr.Xu to learn calligraphy and seal cutting.He was impressed by Mr.Xu’s seal with “thirsty but do not drink polluted water, hot but do not rest under evil trees” on it,which showed his character of having an iron fist in a velvet glove.As an expert in calligraphy, seal cutting, drawing, philology, poetry studies and epigraphy, Mr.Xu can be called an all-rounder,but his requirements for learning were extremely demanding, which has a big influence on Fu Zhou.

In the face of today’s achievements in calligraphy, painting and seal cutting, Fu Zhou admitted that Mr.Xu’s teachings helped him lay a solid foundation in Chinese classical literature.Poetry,ranking first among poetry, calligraphy, painting and seal cutting, is an innate quality and deep knowledge.Calligraphy comes to the second place and its artistic elements, like brushwork and lines, all have strong influence on painting and seal cutting.

刀尖上的藝術

The Art on the Tip of Carving Knives

傅舟幼年習字，青年學畫，進入大學后才開始真正鉆研篆刻這一藝術形式。比起書法繪畫，他在篆刻上卻是最先有所成就。原來，在一次和徐老師的閑談中，徐老師對傅舟和張一農(nóng)說：“成渝兩地跟我學書法篆刻者有十數(shù)人，書法取得成就的不少，但篆刻尚無一人?！庇谑牵幸鉄o意間，傅舟在篆刻上下了更多功夫。

且不說夏日酷熱中的赤膊奮戰(zhàn)，也不說凜冬深夜的挑燈弄刀，單看幾方印章的邊款時間是除夕之夜，就可一瞥其心力。近年來，即使教學和行政事務增加，傅舟依舊會擠出時間，到工作室習字讀書、刀削鏨刻。

傅舟在每一方印作的選字、布局、刀法等方面都有一套熟練的技巧。然而，正如傅舟所意識到的那樣，“技進乎道”才是藝術的目的。因此，不僅在篆刻技法方面，他能融會貫通諸種技法，在各門類藝術間，他也找到了貫通之法。如將小篆書寫與朱文印打通，印證了鄧石如所實踐、魏稼孫所歸納的“印從書出”的理論。

瑤池仙子 68x68cm 2014年

Fu Zhou learned calligraphy during his infancy and learned painting when he was young.He did not really begin to dig into seal cutting until he went to college.Compared with calligraphy and painting, his seal cutting was first to give him rewards.This was because Mr.Xu once told him and Zhang Yinong that more than ten people from Chengdu and Chongqing learned calligraphy and seal cutting from Mr.Xu and many of them made achievement on calligraphy, but none on seal cutting.After this talk, Fu Zhou worked harder on seal cutting.

Some seals’ edge time being New Year’s Eve gave a glimpse of Fu Zhou’s hard work on seal cutting, let alone studying in the summer’s heat and in the late nights’ winter winds.In recent years,Fu Zhou still squeezed out extra time to practice calligraphy, read books and carve seals even though teaching and administrative affairs increased.

Fu Zhou has a proficient skill in choosing characters, layout and way of cutting of every seal.As Fu Zhou realized, however,“advanced by Tao”is the purpose of art.As a result, Fu Zhou can not only integrate many seal cutting techniques, but also has achieved mastery through a comprehensivestudy between various kinds of art.For instance, he combined small seal script and red legend seal and proved the theory “seal out of calligraphy” practiced by Deng Shiru and summed up by Wei Jiasun.

滕王閣序 紙本水墨 270x34cm 2014年長卷

立足社會的“打門錘”“Stepping Stone”in Society

尋常之人，若能在書、畫、印等技藝中略通一道，已屬不易，而傅舟卻將書、畫、印數(shù)藝兼于一身。

傅舟工作室的墻上掛滿了各式造型嚴謹、生動形象的花鳥畫，其中尤以老鷹和荷花為甚。起初學習繪畫，傅舟心里想的是有一技傍身，可以成為自己立足社會的“打門錘”。

君子懷德

陽春布德澤

大威長年

刑過不避大夫,賞善不遺匹夫

一路走來，傅舟從蘇保楨、方鳳富，乃至吳昌碩、齊白石的畫作中，吸收了海派中國畫小寫意的精髓。可他并不滿足于僅僅掌握中國花鳥畫的傳統(tǒng)技法，在多年的實踐中，傅舟將現(xiàn)代審美中的視覺效果和鮮活色彩運用到畫作中，還靈活地運用破墨法，以水、墨、色相互沖、破，從而使畫面呈現(xiàn)出鮮活的時代感。

傅舟傳統(tǒng)中國畫色彩運用自如，文人式的雅致中多少有些市井氣，不避艷俗，反而顯得新鮮、生動、活脫，其桃紅、嫩綠、鵝黃，甚至湖藍的新鮮感，充滿了青春朝氣。

至于傅舟畫作中那些率性而為的東西，則反映出他灑脫的一面，有時是一連串排過去的線條，有時是幾抹任意涂鴉的墨痕，有時則是彩墨互滲、交錯參差的肌理。

有評論家說，傅舟書法諸體兼擅，尤以篆書、行草、隸書為最，其篆書高古典雅、筆力遒勁，行草氣勢跌宕、剛健潤澤，隸書勁挺肆虐、氣韻雋逸。他的花鳥畫，無論是雛荷清露、碧潭皓月，還是晨鷹秋菊、竹石天池，都顯露出一派色墨相融、詩意盎然的境象。傅舟治印，典雅蘊藉，自然溫和中見險峻，典雅清麗中透老辣，既能根植傳統(tǒng)，又能自出新意。

It is already difficult for common people to master one skill of the calligraphy, painting and seal cutting, however, Fu Zhou masters them all.

There are different bird and flower paintings with rigorousmodelling and vividness hanging in the wall in Fu Zhou’s workshop, among which eagle and lotus paintings are the best.At the first of learning painting, Fu Zhou just wants to master the skill and finds a job for himself.

Fu Zhou absorbed essence of Shanghaipainting style in Chinese traditional painting and impressionistic painting from Su Baozhen, Fang Fengfu and even Wu Changshuo and Qi Baishi.However, he is not satisfied with mastering traditional techniques of Chinese bird and flower paintings.In years of practice, Fu Zhou applies modern aesthetic visual effects and fresh colors to paintings and also “po mo” to make paintings to present a fresh sense of times.

Fu Zhou handles colors in traditional Chinese paintings very skillfully.He uses peach, pale green, light yellow, and even lake blue colors in his paintings to make them more fresh and full of youthful vitality.

Free-wheeling contents in Fu Zhou’s paintings, which sometimes are lines of a series of rows，sometimes arbitrary graffiti ink mark and sometimes texture of color and ink interpenetrating with each other, reflected his big-hearted character.

Critics said that Fu Zhou is good at calligraphy,especially seal character, cursive script and official script.His flower-and-bird paintings, whether it is louts with clear dew on it, green pools and bright moon, or it is eagles in the morning and chrysanthemum in the autumn and bamboo, stones and lakes, they are all giving a poetic image.Seals craved by Fu Zhou are elegant and vigorous as he learns from tradition and also develops something new.

Fu Zhou: Life Shaped by Carving Knives and Painting Brushes

Article | Chen Kelong Zhu Jiangyi Pictures | Liu Yizhou Interviewee

鄧石如題碧山書屋聯(lián)175x109 2009年

傅舟 Fu Zhou 傅舟，又名漆建，字仁甫，號老篆。1959年生于重慶，1983年畢業(yè)于西南大學，現(xiàn)任四川美術學院教授、重慶市書法家協(xié)會副主席、中國書法家協(xié)會篆刻專業(yè)委員會委員、中國美術家協(xié)會議員、西泠印社社員、中華全國美學學會議員。

Fu Zhou, “Qijian”,styled himself as“Ren Fu” and “Lao Zhuan”.He was born in Chongqing in 1959, and graduated from South west University in 1983.He is professor of Sichuan Fine Arts Institute, vice president of Chongqing Calligrapher’s Association, member of Seal Cutting Professional Committee of Chinese Calligrapher’s Association, China Artists Association, and Xiling Seal Club.