“海女”:大海驕傲的女兒

如詩如畫的小城，山也秀麗水也有情

只要你停下腳步，小城就表示歡迎

永不寂寞的小城，許多故事在這里發生

也許還沒有發現，你已在故事里

這是歌曲《惠安之春》的一段歌詞。畫面中小城的春天，干凈、平和、悠然、秀美的山水讓人向往，無數的故事引人走讀。

而那里的女子，更以吃苦耐勞、服飾獨特著稱，她們身上，充滿了當地特有的溫婉、嫻靜、淳樸。她們的笑容，如春風一般，打動了每個游人的心。

讓我們驚喜的是，如今，這股來自小城惠安的春風，悄悄吹到了浙江：4月9日到13日，在中國美術學院舉行了為期5天的“海女”惠安專題寫生畫展。

畫展上，人們一睹浙江省的4位著名畫家梁平波、張華勝、張谷良、張衛民用畫筆詮釋的“惠安女”風采。記者在中國美術學院美術館展廳內看到，這里處處彌漫著海風的氣息，處處是“惠安女”的多姿身影。

惠安女，從狹義上來說其實是惠東女，主要分布在福建惠安東部崇武、山霞、凈峰和小岞4個鎮，是地地道道的漢族。當地人說，幾百年前，她們由中原移居于此，因在海邊生活為防風而佩戴花色頭巾和橙黃色的斗笠，花巾上還有編織的小花和五顏六色的小巧飾物；上身穿著緊窄短小的衣服，露出肚臍；下身穿著特別寬松肥大的褲子，腰帶是扎在肚臍下面。這種服飾文化源遠流長，其形成、發展過程一直是中外人類學、民俗學專家關注的課題。

那么，浙江藝術家們為什么選擇“惠安女”作為藝術描摹的對象？

一切還得從頭說起。

2010年6月，當時，應“中國美協惠安創作基地”邀請，梁平波、張華勝、張衛民、張谷良4位畫家走出畫室，走進福建泉州市惠安崇武鎮；他們深入體察“惠安女”文化，用他們的畫筆再現“惠安女”的生活習俗和勞動場景。

4位藝術家采風期間，正巧遇到當地度“端午”的風情節俗，聚居在惠安半島的“惠安女”們盛裝出行，她們奇異的著裝、常人難以企及的剛毅深深打動了藝術家們。因此藝術家們捕捉到了更多的寫生素材和人文景象，潛心創作了大量寫生作品。

回杭后，4位畫家在寫生稿的基礎上，加工創作了一大批表現惠安風情的作品，詮釋了一代又一代惠安女的柔情和剛強。這些作品被匯編成一本沉甸甸的畫集《海女——梁平波、張華勝、張谷良、張衛民作品集》。

參展畫家之一、浙江省美術家協會名譽主席梁平波在這次創作活動中融入了對福建家鄉的深深情感之中。

他說，惠安的男人們常年出海，男人的安危是女人們苦澀的心結。勤勞善良的惠安女是男人溫暖的港灣，也是大海驕傲的女兒。從人文視角來看，“惠安女”是一群“嫁給了大海的女子”，她們是一個個不可復制的傳奇。帶著這樣的感動，采風結束后，他只用了短短一個半月的時間，就完成了十幾幅描繪“惠安女”生活情景的不同畫面，生動地展現了“海女”的文化風情。

國家一級美術師、浙江畫院藝術委員會主任張華勝筆下的“惠安女”，則有著趣味性的圖式和內容。他的畫中，有穿著時髦短裙的惠安小女孩，也有純為表現惠安女頭飾的背影特寫……問及原由，他說，惠安女是藝術創作中的一個熱點選題，很多藝術創作都與之有關。他的這次創作更側重從人文角度去觀照。“你去看我的畫時，一定別忘了讀一下畫上的跋文。”他叮囑道。

中國美術家協會會員、杭州市美術家協會藝術顧問張衛民則擅長人物水墨畫，在他的筆下，水墨人物畫體現了他一貫的那種自然樸實之風。在她們的身上既蘊含著惠安女的原生態，又構成了畫家一以貫之的寫實的人物形象系列。因而他這次采風作品中的“海女”形象顯得格外生動可愛，親切近人。

在四位畫家的作品中，原嘉興畫院院長、嘉興市美術家協會主席張谷良突出表現了“惠安女”勤勞善良的一面。在他的筆下，“海女”們不但操持家務、耕作農田，更將扛石頭、拉板車、織漁網等粗重活一肩擔起。□

Artworks Showcase Charms of Women of Hui’an

By Qi Yongye， our special reporter

Women in Hui’an， Fujian Province are a phenomenon in China. They are known for their hard work and their looks. They dress in a way you don’t see anywhere else in China. For this reason， they have been a favorite subject for artists all over China. And their images are quite familiar to those who appreciate art.

Strictly speaking， women of Hui’an refer to the women in four small towns in the east of Hui’an. Their ancestors moved to this part of the coast of Fujian Province in eastern China from central China a few hundred years ago. Their typical wear is unique: a flowered scarf wraps their hair up， topped with a bamboo hat， the dress is tight and short enough to reveal the navel， and the trousers are loose and voluminous， fastened with a sash way below the navel. The curious dress code has long since been a subject of studies for anthropologists and folklore specialists at home and abroad.

In June 2010， a creativity center in Hui’an invited Liang Pingbo， Zhang Huasheng， Zhang Weimin， and Zhang Guliang， artists based in Zhejiang， to the Chongwu Township to see the way the women there work and live.

The four Zhejiang-based artists were glad to visit Hui’an. During their stay there， they saw local women coming out at the Dragon Boat Festival， all dressed in their typical fashion. It was a spectacular scene. The artists sketched busily. After their return to Zhejiang， they each created quite a few paintings. From April 9 to 13， 2010， they jointly held an exhibition of these artworks based on their field study in Hui’an at an exhibition center of China Academy of Art on the West Lake. The five-day exhibition displayed the artists’ impressions and understanding of these women.

Liang Pingbo， one of the four artists and honorary president of Zhejiang Artists Association， commented that as men in Hui’an go fishing on the sea all the year round， women in Hui’an are highly concerned with the safety of their men. In a sense these women are married to the sea. Each of them is a legend that can’t be repeated. Within 45 days after his visit to Hui’an， Liang created ten plus paintings. His paintings focus on the Hui’an women in everyday life.

Zhang Huasheng， a national grade-one artist and director of art committee of Zhejiang Academy of Fine Arts， created paintings that highlight the interesting aspects of the women. In his paintings， you see little girls wearing miniskirts or close-up images of the backside of the headgear of the women. The artist pointed out the importance of the inscriptions he wrote on his paintings. He said they were a must for visitors.

Zhang Weimin， a member of China Artists Association and art advisor to Hangzhou Artists Association， applied his art of ink-wash painting to the images of women of Hui’an. His style is realist aimed to bring out the original beauty of these women. The women in his presentation look lovely.

Zhang Guliang， now retired from the position of directorship of Jiaxing Academy of Fine Arts and the directorship of Jiaxing Artists Association， highlights the capability of the women of Hui’an. His paintings show how the women work and what they do: in addition to house chores， they also work in farmlands， pull carts， move rocks， and weave fishing nets. □