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圓喜藝術中心-電子報

書墨與蘇繡的完美結合

• 發表於 2012年06月號

蘇繡書法 

蘇繡書法最大的難度是如何惟妙惟肖地表現出書法作品濃淡幹濕的韻味和細微的筆觸,因為這恰恰是書法最精妙也是最難於表現的方面。

書法不同於其他藝術,它沒有五彩的顏色,只有黑與灰的深淺變化,表現形式跟花鳥,山水,人物比起來較單一,所以它更注重的是書法的精神氣質。這也是蘇繡書法作品要抓住的最主要的東西。每一個字都是一幅畫,要表現出線條的濃淡,幹濕,剛柔,動靜,方圓等,達到“重若崩雲”,“輕如蟬翼”的效果,令人有種時隱時現的變化感和沉浮感。

一幅好的書法作品,通常是書家通過筆墨線條的變化組合,把自己真摯強烈的感情貫注到書法作品的境界中去,使觀賞者感動,產生共鳴的。蘇繡藝術家則是通過手中的針線,運用線條的粗細,排針的疏密,線色的深淺,絲理的轉折,以及針腳的長短來表現書家的情感,在一針一線中和觀賞者產生共鳴的書法藝術是心靈的交流,蘇繡藝術同樣也是。

 

以繡代墨

濃墨沉穩莊重,淡墨秀逸清韻,再配以靈空虛渺的字體,使其書彌漫著一派潛在的韻味與生氣。正所謂“字之巧處在用筆,尤在用墨”。”一般來說,第一筆墨色總是較濃也教滋潤的。所以繡時要選最深的顏色開始繡,排針也可以較密一點,到整個字收筆的時候稍微要薄一點,虛一點。必要時,顏色也要更換得淡一點。因為,這時書者的筆也稍稍會提起一點,外加墨色也沒有一開始那麼重了。有些字是從第一個字連筆到第二個字,那麼就接著上一個字的淡顏色做下去,到轉折的地方又要更換深一點的顏色,切不可一個字一種顏色做到底。字的邊緣也不可像做花鳥那樣出邊出的太整齊,要有一點毛毛燥燥的感覺。因為毛筆和宣紙的摩擦不可能是整齊的要不然就會顯得太呆扳,沒有墨韻。有些地方要中間實兩邊略虛。另外形也很重要,如果沒有精准的造型,那神就無從談起,這一點必須從勾繃的時候就注意好,每個字的筆劃都要勾進一線,筆劃和筆劃之間也要貫氣。


潑墨仙人,繡者:張蓓


潑墨寫意貓,余福臻


隨著國民收入水準的提高,人們對文化藝術層面有更多需求,作為中國國粹的書法,有著廣闊的群眾基礎,懸掛名家字畫以漸成時尚。

而蘇繡書法以其獨特的技藝將書法以不同以往的形式展現,這種立體的、具有繡品質感、體現書法特色又不失蘇繡特點的藝術形式一亮相,便使人產生耳目一新、驚歎不已的感覺,給人以嶄新的藝術享受。

蘇繡書法應用範圍很廣,非常適合高檔酒店飯店、各種公眾場所、辦公室、會議室、家庭等進行懸掛,它最大的特點是檔次高、樣式新,具有極強的收藏性、裝飾性和藝術性。

    

 

 

(參考資料名城新聞網/蘇州日報/中國書法城)

 

 

 

 


 

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