最是人间四月天，恰逢她心花怒放——“花间万象”卢雪镂绘主题艺术展观摩简评 / The Most Beautiful April Day, a Blossoming Heart — Brief Review of “All Worlds in Flowers: Lu Xue Hollow-Carving Themed Art Exhibition”

最是人间四月天，恰逢她心花怒放

——“花间万象”卢雪镂绘主题艺术展观摩简评

文/刘远江

自然本身处处流转着不息的哲思，当香山居士以辩证之笔将一己见闻熔铸成“人间四月芳菲尽，山寺桃花始盛开”的千古佳句时，那抹诗意的亮光，就一代又一代的时常隐现在世人心间。那粒值得玩味的人文火种，直到千年后的今岁四月天，仍然伴随着岁月亲手酿制的灵性花香引来阵阵惊叹与思索。只是此番诗情更承载深浓之画意，从北京瓦美术馆满溢而出，并经由海内外络绎不绝的访客播散四方。位处北京怀柔渤海镇北沟村的瓦美术馆，以及该村底蕴深厚的相关非遗酒店，连同其间星罗棋布的各色文艺奇思妙想，提示人们该地绝对是个不可多得的独特精神栖息地，它正以一种令人意想不到的方式巍然崛起。可以想见，在特殊的历史节点，北沟村不计成本的大手笔投入，尤能彰显对当地村民和到访游客绵密不竭的人文关怀，及其对祖国传统文化艺术深入骨髓的疼爱与钟情。

而在最美人间四月天，独自芬芳的“花间万象”卢雪镂绘艺术展，其实是卢雪女士的一次大爱之旅，她积极响应国家关于振兴乡村文旅和非遗传承的时代召唤，以独具人格魅力的艺术创作形式深情致敬中华传统人文，期待通过这次展览及相关推介活动，为北沟村的文化建设和旅游发展做出力所能及的贡献。

正是在瓦美术馆，卢雪以独创的镂绘艺术，恣意怒放和吟唱着她数十年来匠心缔造的“心灵花语”。当笔者懵懂地走进瓦美术馆之后，看到一幅幅既传统又现代，且能从容地在中西画境碰撞中奔涌向前的镂绘佳作时，我才真正醒悟过来：原来，往昔习惯于平铺直叙的单一剪纸艺术已经走进了纷繁瑰丽的世界；原本那些深埋记忆中的传统剪纸技艺居然发展到了如此精妙而卓绝的境地。这是我始料不及之处。其艺术走向，亦与瓦美术馆开辟的“北沟记忆”“北沟现在”和“北沟未来”的时空布局不谋而合。具而言之，卢雪镂绘艺术既是对传统民间艺术的创造性发展，也是在独辟蹊径语境下对古今技艺融会贯通的当下呈现，还是对未来人文艺术流变的突围与探索……如此重重叠叠的历练和洗礼，同样不断逆向塑造着卢雪的心性与人格，使她得以和她钟爱的艺术一道，在中和之境下，于技道合一之中，虔心迎接“花间万象”卢雪镂绘艺术展所能带给人们的启示与希望。

一、花开有自装四时

应该说，正在瓦美术馆展出的“花间万象”卢雪镂绘艺术作品，其深敛而又怒放着的鲜妍之姿，确实要远胜山野触目即是的无限春光。但自然之花可贵之处却在于，它是应天顺时的产物，岁岁装扮着流转的四季。正如白居易在《大林寺桃花》一诗中感怀的那样：“长恨春归无觅处，不知转入此中来。”此一时节，适逢暮春的北沟村正因应彼时的大林寺，当你来此度假观展，入住乡村非遗瓦厂酒店，不仅足不出户即可“臥游”遍布视域的如画风光，而且近在咫尺蜿蜒逶迤于燕山山脉的慕田峪长城——明代长城中的优质段落——更是肉眼可见，尚可切实体验当地气温较之七八十公里外的北京市区要低上三五度的清凉之感。滞缓的时温，促成当下的北沟村正处山花浪漫之时，予人生发无尽憧想。反观卢雪镂绘艺术之宝贵，全然胜在独有的创见，她洞悉了自然的妙理，参悟了天地万物之规律，且以道法自然之思，辅以写实再现的方式，将自然之花最美的瞬间鲜活有魂地定格在她的镂绘技艺之中，此为卢雪以独特技艺如实表现大自然造化之功的第一重境界，亦即“看花是花”之境。它的功用在于，任凭四季消长无垠，皆无碍观者在超时空情境下沉浸式鉴赏人间美景的极致体悟。

二、女人如花绽姿彩

囿于展馆空间，卢雪仅精心挑选了六七十幅镂绘精品及多尊雕塑力作呈于世人面前。但数量的精减，并不妨碍她将心中的“花间万象”精准传达给广大受众。顾名思义，在卢雪眼中，每幅作品恰如一位或一众美人，聚而陈之，放眼望去，一厅之内依序“盛开”着牡丹、玉兰、海棠、玫瑰、桃花、水仙、芍药、山茶花、木芙蓉等镂绘花卉艺术和十数幅镂绘人物作品，而在跃层的另一场域，摆放着《光芒万丈》《破与生》《万物生长》系列等诸多极具灵魂穿透力的雕塑作品，这些可视作卢雪参透生命本质后创作的一批高峰之作，与平层作品参差对望，无论所涉题材、材质，还是表现手法，不一而足，应有尽有，目之所及犹如幻化成的无数花间仙子，不经意间，摇曳出万千姿彩，令人目不暇接。远观，确如一位位迎风招展的典雅丽人，艳而不俗，为而不争，同构满园春色；近察，精巧的剪裁和镂刻之下，是应物赋形随类赋彩的国画底子，加之悄然融合了西画的构图和光影，画面尽显丰盈而立体之美，亦得中西合璧之韵，可谓妙手偶得满庭芳，遂将女人如花之譬喻和兰心蕙质之内美，展现得淋漓尽致。这是卢雪借镂绘艺术手段开展表情达意的第二重境界，也就是“看花非花”之境。反映意象对物象的超越与深化，乃物象走向典型化和经典化的必由之路。

三、岁月之花永不凋

如果说卢雪刀笔之下的镂绘佳作尽情赋予人们满目芳华的话，那么，她的终极审美诉求，则是仿效无痕之岁月，试图让有形之花渐次叠映出年年如是、永不凋零的恒久如斯之花神，那是纤尘不染的性灵之花，镜照自出机杼的灵魂花语，是她敏锐地借岁月之神力妙造的巧夺天工之“心花”系列，足可翻涌出岁月无言心花无迹之美。譬如她耗时41载久久为功打造的逾千幅《山海经》心血之作，就是她数十年如一日忘我投身艺术征途的最佳明证。此次个展，卢雪特意遴选其中数幅和大众见面，使得人们终获机缘一堵她最为神秘也最具真知的恢宏力作之真颜。当然，卢雪另外还挑战了诸如《清明上河图》等极尽繁复的广大精微之作，以此向史上经典之作致敬，体现当代画者敬畏传统、推陈出新的忠贞品性与不懈追求。至此，卢雪成功完成了她艺术求索路上的第三重境界，确切说，她进一步抵达了“看花还是花”之境。此为寓意返璞归真之终极至理，进而曲尽“复归平正”的大道至简之要义，终与天地精神相往来，实现形而上的超拔和度化。

由艺及人，因人观艺，一切的新创便觅得了价值传播的根由。卢雪是位诞生于齐鲁大地的奇女子，自小酷爱绘事及民间绝活儿。不承想，一干就是近半个世纪的辛勤耕耘。于是千锤百炼反复砥砺过后，她的性情相较江南女子，更显温婉豁达，故有北人南相之谓，其心性之纯良，在她的作品中得以忠实贯彻。这是她的艺品当可冠以灵魂之作的基石。谈及为人从艺之道，卢雪坦言，生活中的她更愿意信奉“吃亏是福”的人生信条，无论是谁，只要有求于她，她都会尽己所能地给予而不妄加揣测。如是，天长日久，她的心性修得波平如镜，此为用心若镜之觉醒，与她温顺的貌相互为佐证。这正应了那句俗世警语：如果一个人毫没来由地一味敬重你，不是你有多优秀，而是对方足够优秀。卢雪正是一位不设前提敬重人的人。这就是我们笃信的相由心生之心法，抑或是人格决定艺格的“艺以人传”的内在运行铁律，这些内外相谐的高标品质，毫不含糊地一同熔铸在她的作品之中，成为或能抵御岁月风霜的坚实靠山。

The Most Beautiful April Day, a Blossoming Heart

—Brief Review of “All Worlds in Flowers” Lu Xue Hollow-Carving Themed Art Exhibition

By Liu Yuanjiang

Nature embodies endless philosophy. When Bai Juyi, the poet of the Xiangshan era, forged his observations into the eternal line “All flowers in late spring have faded far away, while peach blossoms in mountain temples just begin to bloom,” that poetic glow has echoed in human hearts generation after generation. This precious cultural spark still inspires admiration and reflection even today, in this April day a thousand years later, accompanied by the spiritual fragrance brewed by time itself.

This time, the poetic sentiment carries profound pictorial beauty, overflowing from the Wa Art Museum in Beijing and spreading widely among visitors from home and abroad. Located in Beigou Village, Bohai Town, Huairou District, Beijing, the Wa Art Museum, together with the village’s intangible cultural heritage hotels and various artistic creations, forms a rare and unique spiritual habitat rising in an unexpected way. At this special historical moment, Beigou Village’s generous investment demonstrates its profound care for villagers and visitors, as well as its deep-rooted love for traditional Chinese culture and art.

In this most beautiful April, the “All Worlds in Flowers” Lu Xue Hollow-Carving Art Exhibition is more than an artistic event — it is a journey of benevolence. Responding to the national call for rural cultural tourism revitalization and intangible cultural heritage inheritance, Lu Xue pays sincere tribute to Chinese traditional culture through her distinctive artistic creations. She hopes to contribute to the cultural construction and tourism development of Beigou Village through this exhibition and related promotion activities.

At the Wa Art Museum, Lu Xue’s original hollow-carving art freely blooms and expresses the “language of the heart” she has nurtured with decades of craftsmanship. When I entered the museum and viewed her works — both traditional and modern, dynamically merging Chinese and Western artistic conceptions — I truly realized: the once simple, flat paper-cutting art has evolved into a splendid, diverse world. Traditional paper-cutting techniques buried in memory have reached an extraordinarily exquisite and outstanding realm, far beyond my expectation.

Her artistic direction coincides perfectly with the museum’s spatial-temporal layout: Beigou Memory, Beigou Present, Beigou Future. Lu Xue’s hollow-carving art represents a creative transformation of traditional folk art, an innovative integration of ancient and modern techniques, and a breakthrough in exploring the future of cultural art. Such persistent refinement has shaped her mind and character, allowing her and her beloved art to reach a state of harmony, uniting skill and spirit, and sincerely embracing the enlightenment and hope brought by “All Worlds in Flowers”.

I. Flowers Blossom in Their Time, Adorning All Seasons

The works in “All Worlds in Flowers” possess a reserved yet vibrant beauty that surpasses the spring scenery of mountains and fields. Natural flowers are precious because they follow the rhythm of seasons, decorating time year after year. As Bai Juyi wrote in Peach Blossoms in the Dalin Temple:“I’ve long grieved that spring is gone without a trace; I never knew it had blossomed here instead.”

In this late spring, Beigou Village resembles the mountain temple in the poem. Visitors staying at the rural ICH Wa Hotel can enjoy picturesque scenery indoors and view the magnificent Mutianyu Great Wall — a well-preserved section of the Ming Great Wall — winding through the Yan Mountains. The temperature here is 3–5 degrees cooler than central Beijing, about 70–80 kilometers away, allowing mountain flowers to bloom later and inspire endless imagination.

The value of Lu Xue’s art lies in unique creativity. She comprehends the laws of nature and captures the most beautiful moments of flowers vividly and spiritually through hollow-carving, based on the philosophy of following nature. This is her first artistic realm: seeing flowers as flowers. It enables viewers to appreciate earthly beauty beyond the limits of seasons.

II. Women Are Like Flowers, Blooming in Grace

Limited by exhibition space, Lu Xue selected only about sixty to seventy fine hollow-carving works and several outstanding sculptures. Yet the small quantity does not weaken her expression of “All Worlds in Flowers”.

In her eyes, each work is like a graceful lady. Peony, magnolia, crabapple, rose, peach blossom, narcissus, peony, camellia, cotton rose and other floral works, together with more than a dozen figure pieces, “bloom” throughout the hall. Upstairs, sculptures such as Radiant Glory, Breaking and Rebirth, Growth of All Things represent her peak creations reflecting the essence of life.

Viewed from afar, they resemble elegant ladies dancing gently — beautiful but not vulgar, noble yet modest. Viewed closely, one can see exquisite cutting and carving rooted in traditional Chinese painting principles: shaping according to form, coloring according to nature. She subtly integrates Western composition and light and shadow, achieving rich, three-dimensional beauty and a perfect blend of Chinese and Western styles. This fully embodies the metaphor “women are like flowers” and reveals inner elegance.

This is her second artistic realm: seeing flowers not as flowers — the transcendence of imagery over physical form, the path toward artistic typification and classicism.

III. Flowers of Time Never Fade

If Lu Xue’s hollow-carving works present immediate beauty, her ultimate aesthetic pursuit is to create eternal, undying flowers of spirit that mirror the timelessness of years. These are pure, soulful “flowers of the heart,” expressing unique inner language.

Her most representative achievement is the more than 1,000 Classic of Mountains and Seas works created over 41 years — a testament to her lifelong devotion. In this exhibition, she specially presented several pieces, allowing the public to appreciate her most mysterious and monumental creations. She has also created extremely complex masterpieces such as Along the River During the Qingming Festival to pay tribute to classics, showing respect for tradition and commitment to innovation.

Here, Lu Xue reaches her third artistic realm: seeing flowers as flowers again. This signifies returning to simplicity, the supreme truth of ultimate harmony, unity with the spirit of heaven and earth, and metaphysical transcendence.

From Art to Character, From Character to Art

Lu Xue is a talented artist from Qilu, deeply fond of painting and folk arts since childhood. After nearly half a century of diligent practice, she combines the gentleness of southern women with the openness of northern temperament. Her pure kindness is faithfully reflected in her works, forming the foundation of her soulful art.

Regarding life and art, Lu Xue believes in “suffering loss is blessing”. She helps others wholeheartedly without suspicion. Over time, her mind has become calm and clear like a mirror.

As the saying goes:“If someone respects you unconditionally, it is not because you are excellent, but because they are.”

Lu Xue is such a person. This is the law of “character determines artistic style” — art is transmitted through the artist. Her noble inner qualities are cast into every piece, becoming an enduring strength that withstands the test of time.