后來到(dao)了唐朝中葉(xie),一天一老(lao)硯(yan)工(gong)路經端溪時,看見(jian)有(you)(you)兩只仙鶴(he)飛(fei)落溪水之中,久而不(bu)起,于是(shi)心生疑竇,張網(wang)撈捕,但撈起的卻是(shi)一塊石(shi)頭(tou)(tou)!不(bu)過(guo),這(zhe)塊石(shi)頭(tou)(tou)十分(fen)奇(qi)異,上(shang)有(you)(you)裂縫,不(bu)時發出(chu)鶴(he)鳴聲(sheng)響,老(lao)硯(yan)工(gong)順著裂縫把奇(qi)石(shi)撬開,奇(qi)石(shi)竟一分(fen)為(wei)二,化作兩只硯(yan)臺(tai),硯(yan)邊各(ge)有(you)(you)一只仙鶴(he)佇(zhu)立在蒼(cang)松之上(shang)。消息(xi)傳開,硯(yan)工(gong)們紛(fen)(fen)紛(fen)(fen)仿制,或(huo)各(ge)展其(qi)藝(yi),在硯(yan)臺(tai)上(shang)雕以各(ge)種圖案花紋(wen)……這(zhe)大(da)概就是(shi)端硯(yan)從實用(yong)品變為(wei)實用(yong)工(gong)藝(yi)品之始。 工(gong)藝(yi)特(te)點
端硯以(yi)石(shi)質(zhi)堅實(shi)、潤滑、細(xi)膩(ni)、嬌嫩而馳名于(yu)世,用端硯研墨不(bu)(bu)滯,發墨快,研出(chu)之(zhi)墨汁(zhi)細(xi)滑,書寫流(liu)暢(chang)不(bu)(bu)損毫,字(zi)跡顏色(se)經久(jiu)不(bu)(bu)變,好的(de)端硯,無(wu)論是(shi)酷暑,或是(shi)嚴冬,用手按其硯心,硯心湛藍墨綠,水氣(qi)(qi)久(jiu)久(jiu)不(bu)(bu)干,古人(ren)有"哈氣(qi)(qi)研墨"之(zhi)說(shuo)。
端硯的制作(zuo)過程較為(wei)復雜,工序繁多。主要有采石、維料、制璞、雕(diao)刻、磨光、配(pei)盒等。
是制作(zuo)端(duan)硯極其(qi)重(zhong)要的(de)一(yi)環,硯石(shi)(shi)(shi)有(you)坑(keng)洞之(zhi)(zhi)別,優劣之(zhi)(zhi)分(fen)。名(ming)坑(keng)質優之(zhi)(zhi)硯石(shi)(shi)(shi),加上制硯高手制作(zuo),可以(yi)出產精品和(he)珍(zhen)品。端(duan)硯名(ming)貴與否,最基本的(de)條件在于硯石(shi)(shi)(shi),故(gu)采(cai)石(shi)(shi)(shi)這道工(gong)序(xu)極為重(zhong)要,不(bu)可本末倒置。端(duan)溪(xi)(xi)名(ming)坑(keng),自古以(yi)來都(dou)以(yi)手工(gong)開采(cai),勞動強度大,采(cai)石(shi)(shi)(shi)技術(shu)高,故(gu)有(you)"端(duan)石(shi)(shi)(shi)一(yi)斤,價值千金"之(zhi)(zhi)說。 因(yin)端(duan)溪(xi)(xi)石(shi)(shi)(shi)大多不(bu)抗(kang)震,硯石(shi)(shi)(shi)開采(cai)至今仍以(yi)手工(gong)開采(cai)為主,不(bu)能(neng)以(yi)機械(xie)代(dai)替。在開采(cai)硯石(shi)(shi)(shi)中(zhong),如看不(bu)清石(shi)(shi)(shi)壁,看不(bu)準(zhun)石(shi)(shi)(shi)脈,就(jiu)會浪費好(hao)硯材。特別是老坑(keng)、麻子坑(keng)和(he)坑(keng)仔巖(yan),有(you)時可能(neng)整(zheng)壁石(shi)(shi)(shi)都(dou)不(bu)成材(石(shi)(shi)(shi)工(gong)謂之(zhi)(zhi)斷(duan)脈,即斷(duan)層(ceng)),就(jiu)得將它一(yi)塊塊地鑿下(xia)來,再根據(ju)石(shi)(shi)(shi)脈的(de)走向尋找石(shi)(shi)(shi)源(yuan)。石(shi)(shi)(shi)脈(石(shi)(shi)(shi)層(ceng))的(de)走向一(yi)般是斜向下(xia)方,有(you)時也會曲(qu)折蛇行(xing),甚至要挖到深(shen)層(ceng)才(cai)能(neng)找到。因(yin)此采(cai)石(shi)(shi)(shi)工(gong)必須掌(zhang)握硯石(shi)(shi)(shi)生(sheng)長(chang)的(de)規律,順其(qi)自然(ran),按(an)部就(jiu)班,從接縫處下(xia)鑿,盡量(liang)保住硯材的(de)完(wan)整(zheng)。
采(cai)石工(gong)(gong)人所(suo)使用的工(gong)(gong)具(ju)要因地制宜,以鑿為主(zhu)。這些刀具(ju)長短有(you)異,大小不一,粗(cu)細(xi)不同,但每個石工(gong)(gong)必(bi)備三四十把,每天工(gong)(gong)作后都(dou)要修理或磨礪,所(suo)謂"工(gong)(gong)欲善其(qi)事,必(bi)先(xian)利其(qi)器"是也。
制(zhi)(zhi)璞維(wei)料(liao)又稱選料(liao)制(zhi)(zhi)璞。開(kai)采(cai)出來的(de)(de)硯(yan)(yan)石(shi)(shi)(shi)(shi)(shi)(shi)(shi)并不(bu)是(shi)全部都(dou)可(ke)(ke)以作硯(yan)(yan)材,須經(jing)過篩選后,再(zai)將(jiang)(jiang)其分別等級(ji)。特別好的(de)(de),純(chun)凈無瑕者(zhe)為(wei)特級(ji),稍次者(zhe)為(wei)甲級(ji),再(zai)次者(zhe)為(wei)乙級(ji)。將(jiang)(jiang)有(you)瑕疵的(de)(de),有(you)裂痕的(de)(de),或(huo)(huo)(huo)爛石(shi)(shi)(shi)(shi)(shi)(shi)(shi)、石(shi)(shi)(shi)(shi)(shi)(shi)(shi)皮(pi)、頂板底板……統(tong)統(tong)去掉,剩(sheng)下"石(shi)(shi)(shi)(shi)(shi)(shi)(shi)肉"。這個過程首(shou)先要懂(dong)得看石(shi)(shi)(shi)(shi)(shi)(shi)(shi)。憑(ping)實踐經(jing)驗,內行的(de)(de)維(wei)料(liao)石(shi)(shi)(shi)(shi)(shi)(shi)(shi)工能(neng)夠"看穿石(shi)(shi)(shi)(shi)(shi)(shi)(shi)",可(ke)(ke)以預測(ce)到表層看不(bu)到的(de)(de)石(shi)(shi)(shi)(shi)(shi)(shi)(shi)品(pin)花紋(wen),如硯(yan)(yan)石(shi)(shi)(shi)(shi)(shi)(shi)(shi)的(de)(de)側(ce)面發(fa)現有(you)石(shi)(shi)(shi)(shi)(shi)(shi)(shi)眼(yan)般的(de)(de)綠(lv)點(dian),或(huo)(huo)(huo)綠(lv)色的(de)(de)翡翠帶,那么鑿下去可(ke)(ke)能(neng)有(you)石(shi)(shi)(shi)(shi)(shi)(shi)(shi)眼(yan)出現;硯(yan)(yan)石(shi)(shi)(shi)(shi)(shi)(shi)(shi)的(de)(de)兩側(ce)如果(guo)微呈(cheng)白色,或(huo)(huo)(huo)白色的(de)(de)外(wai)圍(wei)有(you)火捺包著,則(ze)可(ke)(ke)能(neng)隱藏魚腦凍或(huo)(huo)(huo)蕉葉白。硯(yan)(yan)工還要根(gen)據(ju)硯(yan)(yan)石(shi)(shi)(shi)(shi)(shi)(shi)(shi)的(de)(de)天然形(xing)(xing)狀(zhuang)用錘或(huo)(huo)(huo)鑿制(zhi)(zhi)成天然形(xing)(xing)、蛋形(xing)(xing)、長(chang)方形(xing)(xing)、方形(xing)(xing)、圓形(xing)(xing)、金鐘形(xing)(xing)、蘭亭式(shi)、太(tai)史式(shi)……等硯(yan)(yan)形(xing)(xing)硯(yan)(yan)式(shi)的(de)(de)硯(yan)(yan)璞。制(zhi)(zhi)璞者(zhe)同(tong)樣必須懂(dong)得看石(shi)(shi)(shi)(shi)(shi)(shi)(shi),因(yin)為(wei)要將(jiang)(jiang)硯(yan)(yan)石(shi)(shi)(shi)(shi)(shi)(shi)(shi)最(zui)好的(de)(de)地方留作墨堂。一(yi)方端(duan)硯(yan)(yan)石(shi)(shi)(shi)(shi)(shi)(shi)(shi)質的(de)(de)優劣(lie)都(dou)以墨堂之硯(yan)(yan)石(shi)(shi)(shi)(shi)(shi)(shi)(shi)作評價,鑒賞石(shi)(shi)(shi)(shi)(shi)(shi)(shi)品(pin)花紋(wen)亦放在墨堂之部分(石(shi)(shi)(shi)(shi)(shi)(shi)(shi)眼(yan)除外(wai))。
設計(ji)的(de)(de)目的(de)(de)是將硯(yan)(yan)石(shi)(shi)中的(de)(de)瑕疵變成無瑕,以達(da)到錦上添花的(de)(de)目的(de)(de),增加其(qi)藝術價值(zhi),硯(yan)(yan)的(de)(de)設計(ji)要求(qiu)"因(yin)石(shi)(shi)構圖,因(yin)材施藝",除了傳(chuan)統硯(yan)(yan)形硯(yan)(yan)式外,還要充(chong)分利用天然石(shi)(shi)皮(pi),匯(hui)集(ji)文學、歷史、繪(hui)畫、書法、金石(shi)(shi)于一體,可以說(shuo)是將硯(yan)(yan)升華為一種綜合性藝術品(pin)的(de)(de)重要環節。2、開璞:硯(yan)(yan)石(shi)(shi)在礦坑開采后,去掉"石(shi)(shi)皮(pi)",保留"石(shi)(shi)肉(rou)",然后按質分組的(de)(de)一道重要的(de)(de)工序。
端(duan)硯(yan)(yan)(yan)的(de)(de)雕(diao)(diao)(diao)刻是端(duan)硯(yan)(yan)(yan)制作過程(cheng)中(zhong)極其重(zhong)要(yao)(yao)(yao)的(de)(de)工(gong)序。要(yao)(yao)(yao)使一塊天然樸實的(de)(de)硯(yan)(yan)(yan)石(shi),成(cheng)為一件精美的(de)(de)工(gong)藝(yi)(yi)品,就需要(yao)(yao)(yao)創作設計和雕(diao)(diao)(diao)刻的(de)(de)過程(cheng)。這個過程(cheng)處理(li)得(de)當是錦上添(tian)花,處理(li)不當就會畫蛇添(tian)足甚至(zhi)弄巧成(cheng)拙。故雕(diao)(diao)(diao)刻藝(yi)(yi)人要(yao)(yao)(yao)對硯(yan)(yan)(yan)璞(pu)因材(cai)施藝(yi)(yi),因石(shi)構(gou)(gou)圖,還要(yao)(yao)(yao)根據硯(yan)(yan)(yan)璞(pu)的(de)(de)石(shi)質,去粗存精,認真(zhen)構(gou)(gou)思(si),并考慮(lv)題(ti)材(cai)、立意、構(gou)(gou)圖、形(xing)制以及雕(diao)(diao)(diao)刻技(ji)法(fa)如(ru)刀(dao)法(fa)、刀(dao)路。雕(diao)(diao)(diao)刻端(duan)硯(yan)(yan)(yan)要(yao)(yao)(yao)線(xian)條清晰,玲瓏浮凸,一目(mu)了然。端(duan)硯(yan)(yan)(yan)雕(diao)(diao)(diao)刻主(zhu)要(yao)(yao)(yao)有深刀(dao)(高深雕(diao)(diao)(diao))與淺刀(dao)(低浮雕(diao)(diao)(diao))雕(diao)(diao)(diao)刻,還有細刻、線(xian)刻,適當的(de)(de)通雕(diao)(diao)(diao)(鏤(lou)空)。
采用什么雕(diao)(diao)刻(ke)(ke)(ke)技法和(he)(he)(he)刀(dao)法,要(yao)視題材(cai)和(he)(he)(he)硯(yan)形(xing)、硯(yan)式而定。如要(yao)表(biao)現剛健豪放的多采取以(yi)深刀(dao)雕(diao)(diao)刻(ke)(ke)(ke)為主(zhu),適當(dang)穿(chuan)插淺刀(dao)雕(diao)(diao)刻(ke)(ke)(ke)和(he)(he)(he)細刻(ke)(ke)(ke);要(yao)表(biao)現精致古樸、細膩含蓄的,則(ze)以(yi)淺刀(dao)雕(diao)(diao)刻(ke)(ke)(ke)、線(xian)刻(ke)(ke)(ke)、細刻(ke)(ke)(ke)為主(zhu)。總之,細刻(ke)(ke)(ke)和(he)(he)(he)線(xian)刻(ke)(ke)(ke)均屬"工精藝巧"之"工精"部分。細刻(ke)(ke)(ke)要(yao)求(qiu)雕(diao)(diao)刻(ke)(ke)(ke)精細,準確,生動;線(xian)刻(ke)(ke)(ke)則(ze)要(yao)線(xian)條細膩、流(liu)暢(chang),繁(fan)而不亂,繁(fan)簡得當(dang)。
端硯(yan)(yan)(yan)雕(diao)刻完畢,必須配上名(ming)貴的(de)(de)木盒(he)(he)(he)(he)。硯(yan)(yan)(yan)盒(he)(he)(he)(he)起(qi)著防(fang)塵(chen)和保護(hu)硯(yan)(yan)(yan)石(shi)(shi)的(de)(de)作用(yong),同時(shi)(shi),硯(yan)(yan)(yan)盒(he)(he)(he)(he)本(ben)身(shen)也是一件藝術品、裝飾品。硯(yan)(yan)(yan)盒(he)(he)(he)(he)的(de)(de)用(yong)料很(hen)講究,名(ming)貴的(de)(de)用(yong)紫(zi)檀、酸枝、楠木等硬(ying)木。硯(yan)(yan)(yan)盒(he)(he)(he)(he)的(de)(de)造型一般(ban)按硯(yan)(yan)(yan)石(shi)(shi)形(xing)(xing)狀而定。自端硯(yan)(yan)(yan)問世以(yi)來,其盒(he)(he)(he)(he)底部都有"四腳(jiao)(jiao)",雜形(xing)(xing)和天然硯(yan)(yan)(yan)盒(he)(he)(he)(he)的(de)(de)"腳(jiao)(jiao)"稱"豹腳(jiao)(jiao)",長方形(xing)(xing)硯(yan)(yan)(yan)盒(he)(he)(he)(he)的(de)(de)"四腳(jiao)(jiao)"則要與(yu)盒(he)(he)(he)(he)形(xing)(xing)的(de)(de)四角線條相吻合,成為直角形(xing)(xing)的(de)(de)"腳(jiao)(jiao)"。硯(yan)(yan)(yan)盒(he)(he)(he)(he)之(zhi)腳(jiao)(jiao)除(chu)了起(qi)裝飾作用(yong)外,更(geng)重(zhong)要是從(cong)實用(yong)去(qu)考慮(lv),使(shi)移動端硯(yan)(yan)(yan)或(huo)洗滌時(shi)(shi)方便。硯(yan)(yan)(yan)與(yu)盒(he)(he)(he)(he)必須吻合,同時(shi)(shi)要考慮(lv)到木盒(he)(he)(he)(he)的(de)(de)干濕度(du),可能(neng)(neng)會整(zheng)體收縮,硯(yan)(yan)(yan)盒(he)(he)(he)(he)本(ben)身(shen)要稍比硯(yan)(yan)(yan)石(shi)(shi)四周寬些,以(yi)便于硯(yan)(yan)(yan)石(shi)(shi)取出洗滌。總之(zhi)配上盒(he)(he)(he)(he)子,能(neng)(neng)使(shi)端硯(yan)(yan)(yan)顯得更(geng)加古樸(pu)凝重(zhong),更(geng)加名(ming)貴。
硯石(shi)(shi)(shi)磨(mo)(mo)(mo)光的(de)(de)(de)工序一(yi)般放(fang)在(zai)配盒之后(hou)。首先用(yong)油石(shi)(shi)(shi)加幼河砂粗磨(mo)(mo)(mo),目的(de)(de)(de)磨(mo)(mo)(mo)去鑿口、刀路,然后(hou)再用(yong)滑(hua)石(shi)(shi)(shi)、幼砂紙,最好是一(yi)千目的(de)(de)(de)水磨(mo)(mo)(mo)砂紙反(fan)復磨(mo)(mo)(mo)滑(hua),使硯臺手感(gan)光滑(hua)為止。最后(hou)是"浸墨潤(run)石(shi)(shi)(shi)",過一(yi)兩天后(hou)褪墨處理。硯石(shi)(shi)(shi)磨(mo)(mo)(mo)光的(de)(de)(de)好壞(huai),直接(jie)(jie)影響硯石(shi)(shi)(shi)的(de)(de)(de)品(pin)質及(ji)使用(yong)的(de)(de)(de)效果。人們在(zai)選擇端硯的(de)(de)(de)時候(hou),除(chu)了(le)以(yi)水濕石(shi)(shi)(shi)察(cha)看(kan)石(shi)(shi)(shi)色,鑒賞石(shi)(shi)(shi)質和石(shi)(shi)(shi)品(pin)花紋外(wai),還(huan)常用(yong)手按(an)摸硯堂(tang)(所謂手感(gan)),看(kan)是否細膩(ni),潤(run)滑(hua),這一(yi)切都與硯石(shi)(shi)(shi)的(de)(de)(de)磨(mo)(mo)(mo)光有(you)直接(jie)(jie)關系。
廣(guang)東肇慶市生產(chan)的(de)端(duan)(duan)硯,既(ji)保持了傳統工藝的(de)傳統文(wen)化特色和(he)地(di)方特色,同時在造(zao)型(xing)、構圖(tu)、題(ti)材、立意上又(you)有新的(de)突(tu)破,創造(zao)了端(duan)(duan)硯實用之外(wai)的(de)新藝術意境,如端(duan)(duan)州古(gu)邵圖(tu)大端(duan)(duan)硯,巧妙地(di)將古(gu)端(duan)(duan)州縮龍(long)成(cheng)(cheng)寸,又(you)如仙(xian)境立體雕刻大端(duan)(duan)硯,把(ba)端(duan)(duan)硯雕刻成(cheng)(cheng)立體的(de)一條(tiao)鱷魚、一只鳴蟬、一堆(dui)瓜果、一群仙(xian)人,并巧妙地(di)將硯池收藏其中,看似雕塑、古(gu)董,但又(you)可(ke)磨墨揮毫,令人嘆為觀止。
端硯具(ju)有很(hen)高的(de)藝術價值、收(shou)藏價值和人(ren)文價值,在新的(de)歷(li)史(shi)條件下,機(ji)械生產(chan)沖擊著手工(gong)端硯制作,傳統(tong)記憶的(de)傳承方式導致工(gong)匠后繼乏人(ren),只有認真解(jie)決了(le)這些(xie)問題,才能切實保(bao)護(hu)和延續傳統(tong)端硯制作技藝。