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（田家祥天高云淡雙耳瓶）

器道三千，根藝只是其一。但亦不可小覷。

The art of root is only one of them. But it should not be underestimated.

(資料圖片僅供參考)

這些中華珠寶，如一顆顆璀璨明珠，點(diǎn)亮了東方藝術(shù)。它的古拙，它的放蕩不羈，它的洪荒之態(tài)，讓我們?cè)谝?jiàn)過(guò)了一幅幅詩(shī)情畫(huà)意之后，又回到了太初天地。沒(méi)有絢麗色彩，沒(méi)有明暗對(duì)比，沒(méi)有花鳥(niǎo)草蟲(chóng)，沒(méi)有山水風(fēng)光，有的只是一個(gè)個(gè)恢宏的造型，一個(gè)個(gè)蒼涼的古意。

These Chinese jewelry, like bright pearls, light up Oriental Art. Its ancient simplicity, its bohemian, its state of the wilderness, let us see a piece of poetic, and then return to the primitive world. There are no gorgeous colors, no contrast between light and shade, no flowers, birds, grass and insects, no landscape scenery. There are only magnificent shapes one by one and desolate ancient meaning one by one.

在根藝的世界里，你看到的是剝離了皮相后的真相，是舍棄了色彩后的拙感，是回歸自然后的厚重與磅礴。

In the world of root art, what you see is the truth after peeling off the skin appearance, the feeling of awkwardness after abandoning the color, and the massiness and grandeur after returning to nature.

樹(shù)根，長(zhǎng)成了耳朵狀，彎曲成耳，一左一右，在田家祥的回顧訪談上，他說(shuō)，“這一對(duì)雙耳，聽(tīng)八方風(fēng)嘯，我自充耳不聞。談不上大寓意，談不上大哲理，只是當(dāng)時(shí)的一個(gè)想法，現(xiàn)在的世道，誘惑太多，聲音嘈雜，大耳，不是一概接收，相反空心的圓圈，讓閑事更容易一嘯而過(guò)隨風(fēng)而去。”

The roots grow into ears and bend into ears, one left and one right. In a retrospective interview with Tian Jiaxiang, he said, "this pair of ears, listening to the wind from all directions, turns a deaf ear to me. It"s just an idea at that time. In today"s world, there are too many temptations, noisy voices and big ears. On the contrary, the hollow circle makes it easier for idle things to roar and go with the wind. "

器身也非光滑一片，斑駁的樹(shù)紋爬了上去，器身兩翼的樹(shù)枝節(jié)眼，讓光亮如鏡的建水陶少了一份稚嫩，多了一重厚重。正面的樹(shù)皮邊緣內(nèi)凹進(jìn)去，看上去仿佛要脫落似的，這種吹毛求疵的工藝營(yíng)造，往往會(huì)觸摸到出其不意的逼真之境。

The body is not smooth. The mottled tree patterns climb up, and the branches and eyes on the two wings of the body make the bright Jianshui pottery less tender and more heavy. The edge of the front bark is concave inside, and it looks like it is going to fall off. This kind of picky craft construction often touches the unexpected reality.

我們經(jīng)常會(huì)在山巒的一起一伏之間，感嘆平原的一馬平川，也會(huì)在一望無(wú)垠的平地之上，驚嘆高山的巍峨雄奇。同樣，根藝也是如此。它并非光滑一片，也并非一身斑駁，兩者之間彼此的交融默契，會(huì)讓根藝如山巒一般此起彼伏雄偉險(xiǎn)峻，讓平滑之地如平川一般平平整整。

We often in the mountains between the ups and downs, lament the plain plain plain, also in the boundless plain, marvel at the towering majestic mountains. The same is true of root art. It is not smooth, nor mottled. The tacit understanding between the two will make the root art rise and fall like mountains, majestic and precipitous, and make the smooth land as flat as a river.

這種相互之間的角色扮演，各盡其美，就像鮮花與綠葉，嬌艷者愈嬌艷，默默無(wú)聞?wù)哂粍?dòng)聲色。難能可貴的是，在手藝人的腦海里，這些不著痕跡的構(gòu)想，在日積月累后，常常一筆揮就。

This kind of role-playing between each other, each makes its own beauty, just like flowers and green leaves, the more delicate the charming, the more silent the unknown. It is commendable that, in the minds of craftsmen, these unobtrusive ideas are often used with one stroke after accumulating over time.

一睹實(shí)物勝萬(wàn)言，根藝能夠在萬(wàn)千陶器中占有一席之位，它的斑駁、浩瀚、渾拙無(wú)疑是有著這樣的底氣。

Seeing that the real object is more than ten thousand words, root art can occupy a seat among the thousands of potteries. Its mottled, vast and clumsy undoubtedly has such foundation.