周氏父女倾心营造“红楼”

周氏父女倾心营造“红楼” 更多专业、稀缺文档请访问——搜索此文档，访问上传用户主页～ 周氏父女倾心营造“红楼” 周氏父女倾心营造“红楼” 周长兴父女微雕艺术展在香港取得成功，国画大师刘海栗当年曾到现场参观并向周氏父女祝贺 After the success of their micro-sculpture exhibition in Hong Kong, Zhou Changxing and his daughter receive warm congratulations from Master Liu Haisu. 六千杰作构成“立体红楼” 微雕大师周长兴出生于上海，20年前我们相识在京华。尔后，因本人常驻南美当记者，除偶通书简之外，已多年没有直接联系。 不久前我重返故里到他家拜访时，不想他出了惊人成就:他将曹雪芹在《红楼梦》各章回中叙述的厅堂陈设和院宅点缀，以微雕的手法，精雕细刻加以立体化，形成“红楼微型系列新设”。这一系列可以归为六大文化:古陶、青铜、瓷、家具、茶、文字，他分别以6000件作品将它体现，形成洋洋大观系列。其中怡红院、潇湘馆、稻香村和拢翠庵以体积1?10的比例缩小;秋爽斋微缩比例则为1?5;天香楼以1?20缩小。他把这批宝贝统统收容在六扇博古架中，每扇仅半尺有余，只是一本杂志的大小，每架陈设有180余件石制器皿，其中有造型逼真的美人拳和玲珑剔透的玉如意，贾宝玉房内的博古架则是参照台北故宫陈列的乾隆帝漱芳斋多宝格精制。 方寸之间，别有洞天。周长兴从11岁起开始迷恋《红楼梦》，对它反复吟诵，百读不厌。他同笔者细述对红楼研究的独到 心得 信息技术培训心得 下载关于七一讲话心得体会关于国企改革心得体会关于使用希沃白板的心得体会国培计划培训心得体会 时，简直是眉飞色舞、滔滔不绝。他说他的6000件红楼“新设”，件件都有根有据。就说大观园怡红院多宝格所在之地吧，因为这里乃宝玉日常起居之所，也是贾府中待人接物的场所，所以多宝格上陈列之珍品， 更多专业、稀缺文档请访问——搜索此文档，访问上传用户主页～ 当然是其望族身价的一种显示。 周长兴创作的这些作品与宫廷收藏毫不逊色，造型或天圆地方，或葵花蕉叶、或连环求璧，全随所陈设的器皿形状而别。其陈设上至盘古时代的石器陶具、商周时期的青铜鼎爵，下及隋唐五代的官窑 工艺 钢结构制作工艺流程车尿素生产工艺流程自动玻璃钢生产工艺2工艺纪律检查制度q345焊接工艺规程 和宋元明清的云板玉器，有的铜绿斑驳，古趣横生;有的巧夺天工，栩栩如生。在取材用材方面十分讲究品种和质地，其中名贵的木材有楠木、紫檀、红木、乌木、绿木、鸡翅、黄杨、黄花梨、红花梨等;石料有田黄石、鸡血石、笑容石、青田石、寿山石、黄冻、孔雀冻、荔子冻、玻璃冻、紫砂冻、歙石和乌鸦皮等;其他名贵材料还有琥珀、珊瑚、珍珠、翡翠、玛瑙等。其中有块鸡血石其纹路呈鲜红色，简直像一挂瀑布从九天泼洒而下，另一块红珊瑚重约三两，市价1万多元，还有孔雀石和羊腊桃花冻石均属不可多得的绝品。周氏杰作所用之材非木即石，这是与《红楼梦》深刻的隐喻和寓意相吻合的，书上的贾宝玉前身原是青埂峰下的一块顽石，而林黛玉的前身则是灵河岸上三生石畔的一棵绛珠仙草。无怪贾宝玉曾一语道破“木石之盟”的天机:“都道是金玉良缘，俺只念木石前盟”，由此足见周先生构思立意和定型设计的良苦用心。 百万字“石头记”雕琢巨制 与红楼“新设”相配套的稀世之珍《石头记》，是系列归结为六大文化中的文字部分，用老到而 规范 编程规范下载gsp规范下载钢格栅规范下载警徽规范下载建设厅规范下载 的石刻微雕艺术再现《红楼梦》的全部文字，共计100万字。这项巨制宏篇，是由周长兴大师的千金周丽菊完成的。 周丽菊长得眉清目秀，性格文静娴淑，上学时亭亭玉立，出落得似一个《红楼梦》里的人儿～她本当是求学于医学院的，因受其父的熏陶也爱上了微雕艺术，始则见习家传，跟着父亲刻字把玩，谁知成了癖好欲罢不能，心有灵犀一点通的艺术天赋使她在试身微雕领域时触类旁通，很快入了门道。 自学成才的周先生的行草书法如铁划银钩，笔韵遒劲老练，颇得 更多专业、稀缺文档请访问——搜索此文档，访问上传用户主页～ 二王怀素之神韵。在父亲手把手的传授下，周丽菊小小年纪也深得真谛，她的隶书落笔有神，古朴雄浑中略带娟秀飘逸，人们从她象牙雕刻《阿房宫赋》《兰亭集序》和《滕王阁序》等早期作品中已足以见其功底。80年代她的作品赴横滨展出，日本观众的热情赞扬，深深地激励着她的上进心，她决心要让有限的生命闪烁出灿烂的火花。她在父亲的启迪和支持下，萌生了一个采用微雕艺术将《红楼梦》这部传世之作刻成一部名副其实的《石头记》的大胆设想，并决意凭自己的毅力将《红楼梦》还原到石头上，使这部可以经天纬地的古典文学名著，成为一部名副其实的《石头记》～从1989年春节开始，她便全力以赴地投入了这项巨大 工程 路基工程安全技术交底工程项目施工成本控制工程量增项单年度零星工程技术标正投影法基本原理 中去:她以《红楼梦》三家评本为蓝本，全部用繁体隶书来刻写，其中每一回目则用小篆刻写。她废寝忘食地足足花费了两年光阴，终于把整部120回《红楼梦》的100万字分别刻在了总面积不到1个平方米的280块名贵彩石上。这些彩石有的大如手掌，有的小如拇指，分别来自我国四大山系，其中有辽宁的艾叶绿、寿山的白芙蓉、青田的封门冰纹和昌化的鸡血冻。她在雕刻过程并未借助放大镜，全凭肉眼直视操作，聚精会神，精雕细刻。最小的字仅为0.25平方毫米，相当于一粒大米的1,65，如第105回的全文5000字，便是刻在一块拇指大小的一方寸彩石上，第一回5400字刻在一块手掌般大小的红色昌化石上，正文左侧还刻有《石头记》的阳文印章，而回目则另刻于一块绿色青田石上。红绿对应，相映成趣，不失为“怡红快绿”之含义。 创作过程既复杂又艰辛，每块彩石在动工之前她都经过精心选材、划线、定型、构思，进入创作之后，又得屏息凝神，全身心地投入，并且必须保持绝对安宁的环境。有一个星期天，周丽菊正在埋头操作，恰巧有位朋友来访，在楼下高声喊叫，这一喊便搅乱了她的注意力，于是在微刻中留下败笔，只好忍痛将已刻成的2500字统统磨掉，重新再刻。 自学成才的“雕痴” 更多专业、稀缺文档请访问——搜索此文档，访问上传用户主页～ 周长兴原是上海汽车拖拉机研究所的金属造型技师，祖籍浙江嵊州。这个山明水秀、茂林修竹的越剧故乡能工巧匠辈出，环境的熏陶使他从小便忘情于山水，对艺术情有独钟，尤其在竹木雕刻上有股子痴劲。少年时他父母双亡，举目无亲，8岁便外出学艺，闯荡江湖，只身来到十里洋场上海进了一家工厂当学徒。他从勤杂、钳工一直干到钣金工，雕、镂、切、刻、锉、创、锻，百般手艺样样都会，这为日后的微雕绝技打下了坚实基础。业余时间他凭着自己的天赋和钻研精神，一边默习名家印谱，一边临摹诸家字帖，博采众家之长，经过天长日久的探索和磨砺，渐渐领悟艺中三昧，逐步掌握了微雕艺技的要领和规律。有时为捕捉一个稍纵即逝的艺术灵感，他常常夜不成寐，甚至在睡梦中寻觅或遨游理想的艺术境界，一旦有了新的灵感，即使在数九寒夜他也会立即披衣下床劳作起来。他在艺术上的用心追求几乎达到了如痴如醉的地步，难怪人们赐他一个雅号叫“雕痴”。一个出身清寒，既无家学渊源，也没进过课堂深造的人能终成大器，全凭天资聪颖，好学深思，勤奋刻苦。 这位微雕大师用不无感慨的诗句袒露心声曰:“无情岁月石磨人，遍体鳞伤五内损，虽已红楼梦成真，奈何残灯油耗尽。”是的，长年累月呕心沥血的创作和操劳，严重耗蚀了老周的健康，早年他的大部分胃被切除，如今身体日益消瘦。亲友们为他担忧，都劝他见好就收，保命要紧，而他却认为真正珍惜生命，就是要在有生之年为世上留下有意义的痕迹。因此，他发誓要在奔向缥缈之乡以前，多为人民创造些精神财富，为振兴中华努力。 Father and Daughter Carve Dreams By Sun Guowei I first met miniature sculpture master Zhou Changxing twenty years ago in Beijing. Then I worked as a journalist in South America for a long while and we exchanged a few letters occasionally. I was surprised to see his extraordinary 更多专业、稀缺文档请访问——搜索此文档，访问上传用户主页～ masterpieces when I visited him at his home in Shanghai recently. He translated all the literary descriptions of houses and furnishings in A Dream of the Red Mansions (also known as The Story of the Stone), a famous Chinese classic novel by Cao Xueqin (1715-1763) of the Qing Dynasty (1644-1911), into miniature sculptures. The complete series contains 6,000 pieces, which are categorized into six groups: ancient pottery, bronze, porcelain, furniture, tea and writing. Six separate houses in the novel are reduced in size and they can be all displayed on six antique shelves, as large as a magazine, with over 180 stone pieces on each shelf. Zhou Changxing became an aficionado of the novel long before he became a sculptor. Since he was a boy of 11, he has read the story numerous times. It is obvious that the fiction inspired him as a sculptor. He can easily tell you where and how one of the 6,000 pieces in his master creation series is mentioned in the novel. Some critics believe Zhou’s creation is as valuable as those in ancient imperial collections of treasures. He chose both precious gems such as jades, ambers, corals, pearls, emeralds, agates and woods such as rosewood, mahogany, ebony, boxwood, etc, for his carvings. It is no coincidence that the materials are of stone and wood. They correspond to the metaphors in the novel: in their previous lives, the hero of the romance is a remaining stone rejected from a sky-mending project and the heroine is an immortal flower on the bank of a magic river. Zhou Changxing’s daughter transferred the 1 million words of the complete novel onto 280 stones, whose total area is less 更多专业、稀缺文档请访问——搜索此文档，访问上传用户主页～ than 1 square meter. She learned the micro-sculpting techniques and calligraphy from his father and she is a sculptor in her own right. In the 1980s her ivory sculptures of Chinese literary masterpieces such as Ode to the Epang Palace and The Preface to the Orchid Pavilion Collection were exhibited in Japan. Inspired and supported by her father, she determined to create a real story of stone of her own by carving the story on precious stones. She started the work during the Spring Festival of 1989. She spent a good two years carving the whole 120 chapters on colored stones, whose sizes are either as large as a palm or as small as a thumb. She did not use a magnifying glass to help her work. She used only her naked eyes. The smallest word is 0.25 square millimeter, equal to the one sixty-fifth of a grain of rice. All the text was done in the style of the seal script with the exception of chapter titles which were in the style of the official script. All the gems were carefully chosen. Before she put the knife to a gem, she would study the target stone most carefully to decide where to put all the words of a chapter onto the stone surface. Carving required most painstaking attention and deep concentration. She remembers vividly an accident one Sunday, when a visiting friend called her aloud downstairs and she was jolted out of focus for a twinkling of the eye. This distraction led to an imperfect stroke. She had to grind off all of the 2,500 characters already carved and start from scratch again. (Translated by David)