“水墨千金”傅益瑤

張玫

傅益瑤，中國(guó)畫壇巨匠傅抱石之女，改革開放后被選派到日本學(xué)習(xí)藝術(shù)，致力于弘揚(yáng)中國(guó)水墨畫，獲獎(jiǎng)無數(shù)。障壁畫、民間祭組畫和詩意畫是她的主要?jiǎng)?chuàng)作門類。在繼承父親創(chuàng)作手法的同時(shí)，她又能把傳統(tǒng)的水墨技法與時(shí)代感有機(jī)地糅合在一起，創(chuàng)作了一系列富于變幻又充滿情感的作品，成為當(dāng)下中日兩國(guó)文化交流領(lǐng)域富有盛名的畫家。

2016年，她與金庸等文化名家入選中國(guó)第五屆“中華之光——傳播中華文化年度人物”時(shí)，獲得的頒獎(jiǎng)詞是：“傳巨匠衣缽，筆走金陵一脈;渡東海學(xué)藝，技驚扶桑畫壇。擷唐宋文采，集俳句精華。巨幅壯闊，氣貫長(zhǎng)虹，酣暢演繹中國(guó)山水;懸腕揮毫，詩意深沉，傾情貫注濃郁和風(fēng)。弘揚(yáng)水墨傳統(tǒng)，促進(jìn)民間交流，文化使者，一代佳人。”

8月東京開個(gè)展，百幅巨作盡顯中國(guó)風(fēng)

3月，東京都立川市。今年的春天仿佛來得特別晚，盡管東風(fēng)解凍，但櫻花樹的枝干還是光禿禿的。天空中飄著小雨，在通往傅益瑤畫室的路上，她問我：“需要打傘嗎？”我回答：“不，我喜歡在小雨中漫步的感覺。”她說：“我也是。”

72歲的傅益瑤笑著挽起我的手，我們就這樣穿行在立川的小巷，這讓我想起戴望舒《雨巷》里的那句詩：“撐著油紙傘，獨(dú)自彷徨在悠長(zhǎng)，悠長(zhǎng)又寂寥的雨巷，我希望逢著，一個(gè)丁香一樣地結(jié)著愁怨的姑娘。”

然而，傅益瑤并不是柔弱的丁香，也不像素雅的櫻花，喜歡畫巨幅作品的她，身上有著一種中國(guó)文人“當(dāng)勇則死”的風(fēng)骨與俠氣。她更像是雍容華貴的牡丹，盛開時(shí)便狠狠綻放，不給百花留半點(diǎn)余地。這位“畫壇泰斗”傅抱石先生的第五個(gè)孩子，有著精致美麗的外表、“紅拂”式的俠肝義膽，更在詩書繪畫上繼承了父親的文脈與衣缽。

繼去年9月在上海工藝美術(shù)博物館成功舉辦了“傅益瑤成扇紫砂壺冊(cè)頁作品特展”后，今年8月8日，匯集傅益瑤百幅巨作的個(gè)人大展，也將以最高規(guī)格的禮遇，在最負(fù)盛名的東京藝術(shù)劇場(chǎng)盛大開幕。在此之前，傅益瑤接受了筆者在東京的獨(dú)家專訪。

57年前在杭州，埋下學(xué)畫種子

出身畫家家庭，在別人看來，女承父業(yè)似乎是順理成章的事，但是傅益瑤最初的理想?yún)s是電影與戲劇。

少女時(shí)代的她常常一大清早站在陽臺(tái)上背誦臺(tái)詞，想象自己將來登上舞臺(tái)的情景。事實(shí)上，傅益瑤確實(shí)有著當(dāng)電影演員的資本——從小就是美人胚子，即便到了古稀之年，你依然會(huì)被她的美貌與氣場(chǎng)所征服。甚至，從她的眼波流轉(zhuǎn)間，你能捕捉到那種對(duì)藝術(shù)執(zhí)著的愛，那樣熱烈、單純，初心不改。

出生南京，傅益瑤卻與杭州緣分不淺。“父親特別喜歡蓋叫天的武戲，經(jīng)常在家里自己扮上。他還帶我們?nèi)タ凑憬F(tuán)的《十五貫》，哇，周傳瑛先生扮演的況鐘，那叫一個(gè)英氣，我和姐姐都迷得不行。”

而傅益瑤學(xué)畫的種子，是57年前在杭州被周恩來總理悄悄種下。

1963年，高中二年級(jí)的傅益瑤跟隨父親來杭州休養(yǎng)。一天，全家去看浙昆的《西園記》。進(jìn)了小禮堂，才知道是招待外賓的演出，周恩來總理正陪同錫蘭（現(xiàn)斯里蘭卡）總統(tǒng)班達(dá)拉奈克夫人到訪杭州。“在見到周總理時(shí)，總理問我和姐姐是不是也畫畫，爸爸說姐姐正在音樂學(xué)院學(xué)鋼琴，又指著我說：‘我這個(gè)女兒呢，就喜歡演戲，不喜歡畫畫。”

傅益瑤至今依然清晰地記得，當(dāng)時(shí)周總理摸著她的頭問：“多大了？”“十五。”這是她唯一一次見到總理。周總理說：“為什么不學(xué)畫畫呢？音樂、戲劇固然好，但你學(xué)畫更有利。如果你是別人的女兒，我就不說了，可是你看你爸爸，走的地方比我還多，筆下出來的都是好東西。像你爸爸一樣畫祖國(guó)山河，多有意義！”

那次經(jīng)歷給她留下了非常深刻的印象，但之后，父親傅抱石并沒有特意提起叫她再學(xué)畫的事。不過，傅益瑤還是聽從父親意見，考進(jìn)南京師范學(xué)院中文系古典文學(xué)專業(yè)。“父親說要打好一個(gè)中文底子，才能畫好畫。現(xiàn)在是給你一把種子和一把鏟子，打下一個(gè)中文基礎(chǔ)，將來做什么都行。只要你肚子里裝著書，畫畫才是最好的。”那時(shí)，傅益瑤突然想到，父親可能還是希望她可以畫畫，他和周總理的叮嚀不謀而合。

繼承父親衣缽，赴日學(xué)習(xí)藝術(shù)

1965年夏天，傅益瑤順利考入南京師范學(xué)院中文系沒多久后，父親傅抱石就因?yàn)閯诶圻^度腦溢血去世。之后，傅益瑤下鄉(xiāng)到江蘇睢寧。正是這段在鄉(xiāng)下的經(jīng)歷，讓她感受到了泥土為何物，天空為何物。“現(xiàn)在毛筆一落下去，泥土的感覺就出來了。是山上結(jié)實(shí)的泥土，還是田里松軟的泥土，都能區(qū)別出。”

也是在下鄉(xiāng)的日子里，傅益瑤真正拿起了畫筆。在孤獨(dú)的油燈下，她拿出偷偷帶在身邊的父親畫作印刷品，呆呆地端詳，父親那睿智儒雅的笑容總是從畫里浮現(xiàn)。“我清楚地記得父親作畫時(shí)的情景。父親的手和筆，動(dòng)起來似有一種韻律，像舞蹈一樣，洋溢著愉悅的情緒。父親說要學(xué)一個(gè)人，不能學(xué)他的果，要學(xué)他的因。即使你臨摹一個(gè)人的畫可以亂真，那都不行。繪畫一定要發(fā)展，要有生命跟著它。”

1977年，接手父親衣缽的傅益瑤被調(diào)往江蘇省國(guó)畫院從事專業(yè)繪畫。但工作了一段時(shí)間之后，她發(fā)現(xiàn)自己并不適應(yīng)。此時(shí)，她大哥又病倒了，讓她中斷了跟著大哥學(xué)畫的念頭。就在這時(shí)，她在報(bào)紙上看到了關(guān)于自費(fèi)留學(xué)的介紹，萌生了去日本留學(xué)的念頭。其實(shí)，傅抱石先生生前也曾提過讓孩子留學(xué)的事。“父親曾說，中國(guó)有的文化在日本保存得很好，去日本，就要把中國(guó)文化徹底搞通，而不是把中國(guó)文化丟掉。”

當(dāng)時(shí)，傅益瑤的母親給中央寫了一封信，希望能夠送傅益瑤去傅抱石當(dāng)年就讀的日本武藏野美術(shù)學(xué)校自費(fèi)留學(xué)。沒想到，這封懇切的求學(xué)信立刻得到了回復(fù)。于是，改革開放后傅益瑤被選派到日本學(xué)習(xí)藝術(shù)。

長(zhǎng)年伏地創(chuàng)作，回歸中國(guó)水墨

就這樣，傅益瑤坐上了飛往東京的飛機(jī)。初到日本，語言不過關(guān)，有限的生活費(fèi)更讓她不敢亂花一分錢。還有一個(gè)需要攻克的難關(guān)是坐——日式房間是沒有椅子的，只有坐墊，哪怕在自己家里，也只能伏在地上畫畫。

“初到日本，每天坐得渾身疼痛，站也不是，坐也不是。”為了練就“云動(dòng)山不動(dòng)，紙動(dòng)人不動(dòng)”的坐功，傅益瑤把脊梁挺直了，胸也挺了，心也靜了。“現(xiàn)在我能正坐很久，一旦把人生的艱難轉(zhuǎn)化成一種動(dòng)力來做，就會(huì)有另外一種結(jié)果。”

時(shí)至今日，傅益瑤依然保持著樸素的創(chuàng)作——在她租來的三十平方米的畫室里，除了書架上滿滿的書，就只剩下一塊很局促的空間。沒有桌子，她就跪著，用一種虔誠的姿勢(shì)創(chuàng)作，“有人為了省力把宣紙掛在墻上畫，但那樣運(yùn)筆，手腕的力量是不一樣的，所以我還是堅(jiān)持我的笨辦法。”

在父親當(dāng)年就讀的日本武藏野美術(shù)學(xué)校，傅益瑤學(xué)的是日本畫專業(yè)。“日本畫很難畫，一幅靜物圖，往往要刷十一二遍顏色，很有磨洋工的味道。與水墨畫落墨到紙上的迅速反應(yīng)完全不同。”這樣的創(chuàng)作方式，天性自由浪漫的傅益瑤骨子里并不接受。于是，她學(xué)習(xí)父親的“兩條腿走路”——一邊學(xué)習(xí)日本畫，一邊抓住中國(guó)畫不放。

在上世紀(jì)80年代的日本，水墨畫并不受寵。有一次，苦悶的傅益瑤在學(xué)校圖書館看到一本叫《中國(guó)水墨畫的精髓》的書，作者是一個(gè)叫吉村貞司的大學(xué)教授，里面的幾句話一下子震動(dòng)了她——“宋代山水畫是中國(guó)繪畫的黃金時(shí)代”，因?yàn)槊恳还P都見精神。書中還說，大家不理解中國(guó)畫的原因，是因?yàn)橹袊?guó)畫是懂的人畫給懂的人看的。很多人說中國(guó)畫沒有理論，實(shí)際上不對(duì)。中國(guó)畫的理論只是沒有一個(gè)跟外界交流的方式，就像是自己心情的記錄，不是外國(guó)人能懂的。

這種對(duì)中國(guó)水墨的見解，讓傅益瑤更加堅(jiān)定了要回歸水墨畫的決心。

開拓障壁畫和民間祭，感動(dòng)日本民眾

上世紀(jì)80年代的日本，泡沫經(jīng)濟(jì)下的繪畫就像股票一樣。傅益瑤親眼見證了畫家朋友原來40萬日元一張的畫，在兩年時(shí)間變成400萬日元。也有很多畫商找到她，高價(jià)要她模仿她父親的畫，都被她拒絕了。“清貧是一個(gè)非常有效的屏障，在日本多年，我從來沒通過畫商賣過一次畫。”

她最大的生活來源就是做文化事業(yè)，其中一項(xiàng)就是創(chuàng)作障壁畫。

今年8月舉行的東京大展，將主要展現(xiàn)傅益瑤在障壁畫、民間祭組畫和詩意畫上的成就。

障壁畫，其實(shí)就是中國(guó)的壁畫。日本寺廟眾多，她先是受日本鄰居的邀請(qǐng)，為其家廟畫了一張《戶隱大昌寺山景》，正是這幅她刻意用水墨表現(xiàn)的畫，讓她開啟障壁畫的事業(yè)。這個(gè)外表看起來并不能吃苦修行的漂亮女畫家，就此誕生了眾多代表作，如《佛教?hào)|漸圖》《比叡山延歷寺圖》《天臺(tái)山國(guó)清寺圖》等等。

“世間最怕認(rèn)真二字。有時(shí)候，我在寺廟里閉門畫畫，僧人忘了給我送飯，我就餓著，堅(jiān)持投入地畫下去。后來，他們看到畫都很感動(dòng)，成為我最堅(jiān)實(shí)的后援。”

比叡山延歷寺是天臺(tái)宗的總本山，為日本佛教圣地。當(dāng)傅益瑤完成那幅巨幅鎮(zhèn)館之寶《佛教?hào)|漸圖》后，比叡山滋賀院門遺跡大方丈小林隆彰表示：“比起必須束之高閣的寶物，我更希望殿內(nèi)有能讓人安心欣賞之物——那就是傅老師的《佛教?hào)|漸圖》。因?yàn)楦道蠋煹漠嫞菚?huì)說話的。對(duì)延歷寺來說，那幅畫作比什么都重要。”

8月舉行的這次東京展覽的另一大主題，便是民間祭。這是傅益瑤在日本“撿”到的一個(gè)主題，并逐漸形成自己一個(gè)獨(dú)特的繪畫門類——“那些數(shù)百上千年的歷史，如此鮮活地留存在這些民間祭中”。

2015年，她受原中國(guó)文化部的邀請(qǐng)，赴屈原故里湖北秭歸采風(fēng)，完成長(zhǎng)達(dá)14米的大型國(guó)畫長(zhǎng)卷《非物質(zhì)文化遺產(chǎn)·端午》。這是中國(guó)首次以長(zhǎng)卷形式再現(xiàn)聯(lián)合國(guó)教科文組織“人類非遺代表作名錄”項(xiàng)目的活態(tài)傳承現(xiàn)狀。

采風(fēng)中，傅益瑤一直苦惱于如何將眾多民俗場(chǎng)景在一幅卷軸中呈現(xiàn)。終于，她想到了用民歌式的串聯(lián)——給孩子洗澡以求“百病皆除”、包粽子、掛艾草、點(diǎn)雄黃、屈原詩會(huì)……“我畫民間祭有一個(gè)原則，就是把自己的審美感受和筆墨與當(dāng)?shù)鼐用袂楦腥谠谝黄稹！倍@次，這幅收藏于中國(guó)藝術(shù)研究院的巨作也將亮相于8月的東京大展。

Fu Yiyao to Hold Solo Art Exhibition in Tokyo

By Zhang Mei

Fu Yiyao， at the age of 72， is a daughter of Fu Baoshi， a master of traditional Chinese painting in the 20th century. She was the first Chinese student sent to study art in Japan after the reform and opening up to the world drive started in China. Over years， she has promoted Chinese ink painting in Japan. Her solo art exhibition is scheduled to start on August 8， 2019 in Tokyo.

This past March， I visited her in Tachikawa， a city located in the western portion of Tokyo Metropolis， Japan. We had a long talk about her life and career.

She didnt want to study art when she was a young girl even though her father was one of the most prominent landscape artists of China back then. She dreamed of becoming a theater actor. In these teenage years， she tried very hard. Her father often brought her to theaters to watch best Peking Opera plays and Kunqu Opera plays. In 1962， her father brought the family to Hangzhou for a vocation. One day， they went to watch a Kunqu Opera play. At the theater the family met Premier Zhou Enlai and had a chat. The premier asked the master about his two daughters. The father talked about his two daughters ambitions. Then the premier urged the 15-year-old Fu Yiyao to study art， saying “Why not give art a try？ Music and theater are good， but you have an edge. If you were other peoples daughter， I wouldnt say a word. But you see your father has traveled and seen the world better than I have and has turned what he saw into beautiful paintings. It would be meaningful if you could create paintings like those of your fathers！”

Her father never talked with her about this meeting with the premier. Nor did he ever urge her to study art. But she followed her fathers advice and picked ancient Chinese literature as her college major. “My father said a solid knowledge of Chinese helps painting a great deal and helps a great deal no matter what career one chooses to pursue later. He said knowledge makes best artists，” Fu Yiyao recalls. It dawned upon her that her father really hoped that she would study art.

In September 1965， Fu Baoshi died of cerebral hemorrhage at the age of 61， shortly after she was admitted to Nanjing Normal College.

Her college study was soon interrupted by the political tumult and she was exiled to a remote rural county in northern Jiangsu. It was there that she began to learn how to paint by studying her fathers paintings in printed albums. In 1977 she was transferred to work as an artist at Jiangsu Academy of Traditional Chinese Painting. Pretty soon she found the job did not suit her very well. Then her elder brother fell ill and her wish to study art under his guidance went nowhere. It was then that she learned about studying art in Japan and remembered what her father once said about studying in Japan. “My father once commented that Chinese culture was well preserved in Japan. Studying in Japan helps understand Chinese culture thoroughly. It doesnt mean to get rid of Chinese culture，” she remembers.

Her mother wrote a letter to the central government in the hope that Fu Yiyao could be allowed to study art at her own expenses at Musashino Art University， a private university in Kodaira， western Tokyo， founded in 1962 and having roots going back to 1929. Fu Baoshi had studied art there. Deng Xiaoping personally approved the application and instructed the government to provide financial aids for her study.

In 1979， Fu Yiyao arrived in Japan and began her study. She spent time learning Japanese and adjusting herself to the Japanese life. The typical Japanese house doesnt have chairs. She had to sit on a cushion on the floor and lean forward to paint. Eventually she accustomed to sitting on the floor and painting. Nowadays， she still paints by kneeling on the floor. Her studio is full of bookshelves. She never likes painting on paper perpendicularly adhered to the wall because that inconveniences her wrist and gives the wrist wrong movements.

She majored Japanese painting at MAU， but she didnt like the style and the procedure. It takes too much time to finish just one detail whereas Chinese ink painting requires instant decision and receives instant feedback from brushstrokes on paper and gets fast gratification. So she practiced Chinese ink painting in her spare time.

In the 1980s， ink painting was not particularly appreciated in Japan. It was not until she read a book by Professor Yoshimura on the essence of Chinese painting that she came to understand why ink painting wasnt duly appreciated. The professor stated that landscape painting of the Song presented the gold age of Chinese painting. The professor went on to say that most people didnt understand Chinese painting essentially because Chinese paintings were created for the eyes of those who understood and that it was wrong to assume Chinese painting was never underpinned by theory. In his opinion， Chinese painting didnt care to build communication with outsiders. The professors insight made Fu Yiyao more determined to go back to ink painting.

Art market boomed in Japan in the 1980s as the island countrys economy flourished. Some gallery owners were willing to pay her a fortune for her to imitate her fathers paintings. She said no. “Poverty is an effective self-protection shield. I have never sold a painting through the hands of a gallery owner even though I have been in Japan for so many years，” she says.

She makes a living by engaging in cultural undertakings. Creating murals for religious temples accounts for a big part of her income. Her ink painting for a family shrine at the invitation of a neighbor opened up a huge market for her. She was invited to paint for temples. Many of her temple murals are considered masterpieces. The solo exhibition in upcoming August will display some of her best murals in huge sizes.

Another theme at the solo exhibition will be folk sacrificial ceremonies. She stumbled into this theme in Japan and has developed it into a unique subgenre of art. “These sacrificial ceremonies at grassroots level keep history and tradition of hundred years or even thousand years alive，” she observes.