Newsletter No. 527

10 # 5 2 7 | 1 9 . 1 1 . 2 0 1 8 口 談 實 錄 / V iva V oce 怎樣開始接觸裱畫？ 我唸歷史，公認是沒有明確事業路向的科目。得悉中大招聘 裱畫學徒，好奇下上網搜尋，知道這行業極缺新血，文物館 則新聘了一位書畫修復大師。心想競爭相對小，發展也許比 較穩妥吧。 幾年下來感覺如何？ 文物館沒有商業考慮，學徒只我一人，可以學得比較全面，不 像裝裱店的學徒，有些單做畫裱，有些單做上漿。師傅說，以 前的學徒，未滿三年，休想碰一幅真畫。我非常幸運，一年多 便開始處理真畫。 三年便能把手藝學全了嗎？ 三年只是學習裝裱新畫的基本技術，包括掛軸、對聯，至於 修復技術就是終身鑽研也不可能學全的。 裱畫工序繁複，如何銘記？ 最初我嘗試做筆記，但師傅說不急。「畫要真濕了水，難道還 要翻筆記才知道怎樣處理嗎？墨早已化開了。」他要求熟記所 有工序，了然於胸，審視作品，計劃清楚每一個步驟才着手。 師傅的手勢清晰利落，仔細觀察，必有所得。例如塗漿糊用 中指，因為最順手，力度最適中。明白了，便不用死記。 哪個工序最難？ 由畫芯到畫軸約有三十個工序，最難是托底，既講技巧也講 經驗。漿糊掃得不均勻，會出現氣泡。還要憑經驗辨識畫上 的顏料，才決定如何施工。因為涉及水分，容易導致脫色或 暈化。 裱畫需要心靜閒定，你的性格可適合？ 醫生穿上手術袍進入手術室，必然會高度專注。脫下袍子，他 可以談笑風生。裱畫也一樣，只要我一走近工作桌，便會興 起尊重之意，心無旁騖，平日是個怎樣的性格，沒有影響。 會影響處事方式嗎？ 我學曉心平氣和，從不同途徑解難，或者交予時間，因為經 驗告訴我急躁行不通。例如托底時，水噴得不均勻，紙張纖 維的伸展便會不一致，出現皺紋。但如果噴水後給予時間讓 纖維慢慢平均伸展，問題便迎刃而解。 與謝師傅的關係如何？ 師傅覺得是亦師亦友，我倒覺得他像個父親多一點。他不像 老派師傅見到學徒做不好便罵，「將心比心，我當學徒時也 不是一學就懂的。」除了無保留的傳授知識，他也着重教我做 人處事。他常說，沒有人會願意把自己心愛的名作交給一位 品格欠佳的裱畫師的。 何時開始覺得可以發展下去？ 打從第一天上班開始，我便告訴自己要有以此為長遠職業的 心態。學習途上，疏忽細節，掌握不好技術，總不免有失敗 感，可我沒想過放棄。在文物館學習機會良多，又有師傅的 指導和支持，我有信心逐步改善。 想到外面看看嗎？ 裱畫流派眾多，南北蘇京，各有千秋。師傅是蘇裱傳人，也曾 四出觀摩，採納別派技法，精益求精。我固然希望到外見識， 但先須鍛煉好手藝，充實對裱畫的認識，否則看不出優劣，如 何借鏡，又談甚麼心得？ 梁啟軒 Mike Leung 文物館書畫修復學員 Junior Conservator, Art Museum 大學畢業後，調過咖啡，二十四歲的梁啟軒選擇走上一條少人踏足的路， 至今三年，在 謝光寒 師傅循循善誘下，立定了事業志向。 History graduate Mike Leung had worked as a barista. At the age of 24, he chose a road less trodden. After three years under the tutelage of Master Xie Guanghan , he is affirmed of what he wants to become. How did you come to know about mounting of Chinese paintings and calligraphy? Learning that CUHK was recruiting an apprentice, I googled and found that the Art Museum had newly recruited a great master in conservation, and that the profession was in dire need of new blood. It might imply less competition and a steadier career path. How did it turn out? Being the only apprentice at the Art Museum, I have been exposed to a comprehensive array of skills. If I worked in a business setting with meticulous division of labour, probably I’d learn much slower. Master Xie told me in the old days a junior can work on a real painting only after apprenticing for at least three years. I’m very lucky here. It took me only a year or so. Does it take only three years to learn the full set of skills? One can learn the fundamentals of mounting new hanging scrolls and couplets. As for the skills of conservation, it will take more than a whole life. How can you remember all the complicated procedures? At first I tried to jot down notes but Master Xie said, ‘Wait! Are you going to flip through the notes when you need to save a wetted painting? It will be too late to stop the ink from blurring.’ He asked me to learn every step well by heart, and plan all the procedures before laying my hand on an item. I benefit a lot by observing in detail his clean and sharp movements. If you understand the reason behind you will remember it effortlessly, like using the middle finger to spread the adhesive paste because it moves most smoothly and exerts just the right amount of weight. Which step is the most tricky? It takes about 30 steps to mount a raw painting onto a scroll. Preparing the back paper requires both skills and experience. To avoid creating air bubbles the adhesive must be spread evenly. As water is involved, we also need to identify the pigments on the painting to prevent discolouration or blurring. Your job needs to be done with a peaceful mind. Are you fit for it? A surgeon will shut himself off from distractions once he puts on his gown and enters the operating theatre. After work, he can be playful and light-hearted. Similarly, I will pay my highest respect and sole attention to the artwork once I am at the worktable. Does it change the way you deal with other matters? Yes, I learn to stay calm and be resourceful, or simply leave it to time. I know from experience that I can’t rush anything up. Water sprayed unevenly on the backing sheet will lead to uneven expansion of the paper tissues, causing creases on its surface. Give it some time, the tissues will gradually extend evenly and the problem will be solved. How is your relationship with Master Xie? Master Xie says he’s my teacher and friend. I feel he’s more like a father. He never gave me harsh words on my mistakes as an old-school master would, but put himself into my shoes. ‘I didn’t learn everything with the snap of a finger either when I was an apprentice.’ He imparts his knowledge and skills to me without reservation, and shows great concern for my conduct. As he always says, nobody will entrust his valuable artwork to somebody of bad morals. When did you start thinking that this could be your long-term career? I treated my job like a permanent one since the first day I was here. There have been moments of defeat when I failed to follow the steps or master the skills. But I will not give up. I’m confident that with the ample learning opportunities at the Art Museum, and the coaching and support from Master Xie, I will keep improving and become a qualified mounting master. Do you want to see the world outside? Of course I do. There are different schools of mounting and framing, each unique in its own way. Master Xie inherits the Suchow school. He has also travelled extensively to incorporate the best practice of other schools. In order to do that, I need to hone my skills and deepen my knowledge of this art. Otherwise, I won’t be able to tell the good from the bad, or to learn from others’ experience, not to mention to gain any insight. S. Lo Photo by ISO Staff 謝光寒師傅（右） Master Xie Guanghan (right)