Newsletter No. 527

10 # 5 2 7 | 1 9 . 1 1 . 2 0 1 8 口 谈 实 录 / V iva V oce 怎样开始接触裱画? 我念历史,公认是没有明确事业路向的科目。得悉中大招聘 裱画学徒,好奇下上网搜寻,知道这行业极缺新血,文物馆 则新聘了一位书画修复大师。心想竞争相对小,发展也许比 较稳妥吧。 几年下来感觉如何? 文物馆没有商业考虑,学徒只我一人,可以学得比较全面,不 像装裱店的学徒,有些单做画裱,有些单做上浆。师傅说,以 前的学徒,未满三年,休想碰一幅真画。我非常幸运,一年多 便开始处理真画。 三年便能把手艺学全了吗? 三年只是学习装裱新画的基本技术,包括挂轴、对联,至于 修复技术就是终身钻研也不可能学全的。 裱画工序繁复,如何铭记? 最初我尝试做笔记,但师傅说不急。「画要真湿了水,难道还 要翻笔记才知道怎样处理吗?墨早已化开了。」他要求熟记所 有工序,了然于胸,审视作品,计划清楚每一个步骤才着手。 师傅的手势清晰利落,仔细观察,必有所得。例如涂浆糊用 中指,因为最顺手,力度最适中。明白了,便不用死记。 哪个工序最难? 由画芯到画轴约有三十个工序,最难是托底,既讲技巧也讲 经验。浆糊扫得不均匀,会出现气泡。还要凭经验辨识画上 的颜料,才决定如何施工。因为涉及水分,容易导致脱色或 晕化。 裱画需要心静闲定,你的性格可适合? 医生穿上手术袍进入手术室,必然会高度专注。脱下袍子,他 可以谈笑风生。裱画也一样,只要我一走近工作桌,便会兴 起尊重之意,心无旁骛,平日是个怎样的性格,没有影响。 会影响处事方式吗? 我学晓心平气和,从不同途径解难,或者交予时间,因为经 验告诉我急躁行不通。例如托底时,水喷得不均匀,纸张纤 维的伸展便会不一致,出现皱纹。但如果喷水后给予时间让 纤维慢慢平均伸展,问题便迎刃而解。 与谢师傅的关系如何? 师傅觉得是亦师亦友,我倒觉得他像个父亲多一点。他不像 老派师傅见到学徒做不好便骂,「将心比心,我当学徒时也 不是一学就懂的。」除了无保留的传授知识,他也着重教我做 人处事。他常说,没有人会愿意把自己心爱的名作交给一位 品格欠佳的裱画师的。 何时开始觉得可以发展下去? 打从第一天上班开始,我便告诉自己要有以此为长远职业的 心态。学习途上,疏忽细节,掌握不好技术,总不免有失败 感,可我没想过放弃。在文物馆学习机会良多,又有师傅的 指导和支持,我有信心逐步改善。 想到外面看看吗? 裱画流派众多,南北苏京,各有千秋。师傅是苏裱传人,也曾 四出观摩,采纳别派技法,精益求精。我固然希望到外见识, 但先须锻炼好手艺,充实对裱画的认识,否则看不出优劣,如 何借镜,又谈什么心得? 梁启轩 Mike Leung 文物馆书画修复学员 Junior Conservator, Art Museum 大学毕业后,调过咖啡,二十四岁的梁启轩选择走上一条少人踏足的路, 至今三年,在 谢光寒 师傅循循善诱下,立定了事业志向。 History graduate Mike Leung had worked as a barista. At the age of 24, he chose a road less trodden. After three years under the tutelage of Master Xie Guanghan , he is affirmed of what he wants to become. How did you come to know about mounting of Chinese paintings and calligraphy? Learning that CUHK was recruiting an apprentice, I googled and found that the Art Museum had newly recruited a great master in conservation, and that the profession was in dire need of new blood. It might imply less competition and a steadier career path. How did it turn out? Being the only apprentice at the Art Museum, I have been exposed to a comprehensive array of skills. If I worked in a business setting with meticulous division of labour, probably I’d learn much slower. Master Xie told me in the old days a junior can work on a real painting only after apprenticing for at least three years. I’m very lucky here. It took me only a year or so. Does it take only three years to learn the full set of skills? One can learn the fundamentals of mounting new hanging scrolls and couplets. As for the skills of conservation, it will take more than a whole life. How can you remember all the complicated procedures? At first I tried to jot down notes but Master Xie said, ‘Wait! Are you going to flip through the notes when you need to save a wetted painting? It will be too late to stop the ink from blurring.’ He asked me to learn every step well by heart, and plan all the procedures before laying my hand on an item. I benefit a lot by observing in detail his clean and sharp movements. If you understand the reason behind you will remember it effortlessly, like using the middle finger to spread the adhesive paste because it moves most smoothly and exerts just the right amount of weight. Which step is the most tricky? It takes about 30 steps to mount a raw painting onto a scroll. Preparing the back paper requires both skills and experience. To avoid creating air bubbles the adhesive must be spread evenly. As water is involved, we also need to identify the pigments on the painting to prevent discolouration or blurring. Your job needs to be done with a peaceful mind. Are you fit for it? A surgeon will shut himself off from distractions once he puts on his gown and enters the operating theatre. After work, he can be playful and light-hearted. Similarly, I will pay my highest respect and sole attention to the artwork once I am at the worktable. Does it change the way you deal with other matters? Yes, I learn to stay calm and be resourceful, or simply leave it to time. I know from experience that I can’t rush anything up. Water sprayed unevenly on the backing sheet will lead to uneven expansion of the paper tissues, causing creases on its surface. Give it some time, the tissues will gradually extend evenly and the problem will be solved. How is your relationship with Master Xie? Master Xie says he’s my teacher and friend. I feel he’s more like a father. He never gave me harsh words on my mistakes as an old-school master would, but put himself into my shoes. ‘I didn’t learn everything with the snap of a finger either when I was an apprentice.’ He imparts his knowledge and skills to me without reservation, and shows great concern for my conduct. As he always says, nobody will entrust his valuable artwork to somebody of bad morals. When did you start thinking that this could be your long-term career? I treated my job like a permanent one since the first day I was here. There have been moments of defeat when I failed to follow the steps or master the skills. But I will not give up. I’m confident that with the ample learning opportunities at the Art Museum, and the coaching and support from Master Xie, I will keep improving and become a qualified mounting master. Do you want to see the world outside? Of course I do. There are different schools of mounting and framing, each unique in its own way. Master Xie inherits the Suchow school. He has also travelled extensively to incorporate the best practice of other schools. In order to do that, I need to hone my skills and deepen my knowledge of this art. Otherwise, I won’t be able to tell the good from the bad, or to learn from others’ experience, not to mention to gain any insight. S. Lo Photo by ISO Staff 谢光寒师傅(右) Master Xie Guanghan (right)

RkJQdWJsaXNoZXIy NDE2NjYz