漳州木偶雕刻家徐竹初富于人物性格特征的木偶雕刻作品，就其审美的特征，有动态和静态两重性的封立统一。这就是说，我封木偶头的观赏不只着眼于一般的雕刻艺术，还着眼于木偶角色在表演时可能经观众造成的特殊印象。我认为代观赏的木偶雕刻有有、静态与动态的差别，也有静态与动态的差别。既然木偶雕刻造型同表演相结合，它的造型特征和只供静观赏的一般雕刻不能没有区别。供观赏的木偶自身的上述两重性，占主导地位的特征却是它的动态适应演出时的动观，而不只是静态地适应着静观的需要。徐竹初雕刻的布袋木偶大不过三寸，但从正面或侧面观赏它们，不但都能区别出生、旦、净、末、丑各种角色，而且他们的神态与性格的善恶特征也很显著。即使角色性格是丑恶的，造型特征也很讲究艺术的装饰美。我从徐竹初的作品中。增加了封美妙雕刻艺术的理解，我相信作品在美、英、日、法、（前）苏等国所获盛誉并非偶然。

1938年出生于木雕世家的徐竹初，童年时酷爱着木雕艺术，也深得他父亲徐年松的严格教诲。他自己不只从小就在课余努力学艺，还懂得观察实际生活封艺术创新的重要作用，实践中作出了引人赞美的作品。称为“白阔”的木偶头由三段合成，可以由演员操纵，角色的面站自身也是活动的。这样的“白阔”造型和动作，可能引起观众一种精神抖擞的感觉。这不只因为他那白眉、白须白发封老头儿的年龄起着符号性注释性，带根本性的是他那瘦削的脸型与精神焕发的神气雕刻得比较生动。这种丑中见美的造型，不只得力于木雕艺术的师承，也得力于徐竹初从小封现实中老头儿的反复观察这些必要的创作准备。

为什么我说“白阔”是“丑中见美”呢？这不只因为“白阔”所扮演是性格善良，为人正直的观众喜爱的角色，更因为我反复观赏过这一作品那种可以活动眼部以下的脸和下巴，在演出而动起来时，不再嫌他那在静态中的眼与眉骨靠得太近的缺点，以及被夸大了的两支眼球之间有超现实的距离，静态时好像显得眼神有点傻气。而且当我把木偶头套在指上，使他动起来再观赏时，他的傻气外型似乎转化为一种忠厚和坚毅的性格，使静观时的缺点在动观时变成了优点。可见同表演相联系的木偶雕刻须顾到动观时的审美效应。

徐竹初木偶雕刻有许多花脸脸谱，它们的特点不能一一加以描述，单就《群英会》里黄盖的造型特征来说，木偶脸谱和戏曲脸谱既有联系又有差别。他那白须白发与红脸的对比和京剧脸谱似有共性。但是，戏曲演员受了生理条件的限制，没有可能这样夸大黄盖那英气勃勃的眼睛。这一木偶不仅在静观时也很耐看，但当演员把他套在手上配合着锣鼓用音乐语言进行的动作动态表演，更显示出木雕艺术的优越性。徐竹初的木雕《鼠丑》即《十五贯》中的娄阿鼠在木偶造型方面，显然比戏曲演员的化装和脸谱夸张得多。《鼠丑》那一支大得露白的眼珠，倒挂着的“八”字胡，两支突出的白门牙，尖下巴，太阳穴上有一红点。另一种服饰华丽的丑角《文丑》，那样反常而向上弯曲的双眉，也是一种造型的定型化，这样的造型特征，和演出的要表现不同情绪的需要相矛盾吗？有矛盾。而且，当观赏者在静观时所得来的印象，远比活演员的脸谱显得更丑，显示出徐竹初封艺术完美性的理解和追求。我相信，一经让它动作起来时，能使木偶头比静观时更能引起“相反相成”的审美效应，这样夸张方式的艺术美强烈地显示出生活中的丑。

木雕的《鼠丑》和另一个丑角严世潘的造型，在定型化方面的共性，和闺门旦或文生有相似之处，都是面带笑容，不能否认定型化的造型和演出需要的各种表情有矛盾。不论是奸滑的小人还是无恶不作的花花公子，他们在戏剧冲突中并不也会出现与笑容相反的表情，例如：恐慌或愤怒？那么，木偶这样夸张了丑角的笑容，这种笑容的定型化启不和上述角色需要的原则难以吻合吗？是的，这样的矛盾不可避免。但是，近似《三十六计》的“抛砖引玉”，当木偶那定型化的造型与观赏者的审美感受相结合时，近似出奇制腾的用兵。木偶雕刻的缺点在表演中转化为它的优点。

不消说：艺术创造与艺术观赏的关系，不同于军事上的保护自己与消灭敌人的敌我矛盾。而是后者可能接受前者的启迪，从而形成一种皆大欢喜的合作。

譬如说：娄阿鼠这些坏蛋在戏剧中的笑有多种形态，既有得意的笑也有奸笑、狞笑、苦笑或以笑来掩饰他内心秘密。因此，木偶头面部表情的定型化，从表演的要求来说是一种缺点，但是这一丑角不变的笑容可能在演出时使观众觉得这是各种性质不同的笑，这就是说，木偶头那定型化的笑容，通过表演而引起非定型的幻觉效应。木偶的表演对木偶头那笑的定型化，可能在观众的审美感受中被充实和被修正，也就是在观众的感受上丰富了木偶笑的多义性。观众的这种成功的反应对不得不定型化的木偶雕刻启不近于作战者从被动向主动转化？不消说，这种定型化的笑容和表现角色悲伤、生气或发狠的表情是不相容的。但是，观众并不苛求木雕刻艺术像真演员那么便于随时变脸。只要表演可能显示出笑的多样性和复杂性，观众也会感激木雕艺术家的创造，感谢他创造了区别于一般雕塑而是提供表演的特殊要求的审美对象。不论人物性格忠、奸、善、恶、美、丑都显得眼目传神。就这样的意义来说，徐竹初的木偶头有非演出时也有相对的造型完美性，这也就是这些作品在陈列室也有观众所爱好的重要原因。

五十年代，我在广东湛江，看过一种超过活演员所做不到的表演能力。木偶戏里的那个调皮小丑《水漫金山》里的小沙弥，他转动头部时能把头旋转360度的圆圈，从生理解剖学来看，这显然是既荒诞又可笑的，从对角色的情绪特征的夸张表现看来，这都是合乎逻辑也是更有趣、更动人的。基于这样的观赏经验，我更觉得徐竹初木偶雕刻的夸张手法，不只是可以容许的，而且是很必要的。徐竹初木雕的夸张手法，最突出的是《封神榜》里杨任那支眼睛的双动和虚构。从角色的左右眼腔分别伸出一支手掌，两支手掌里各有一支眼睛。对不戴面具只有脸上画脸谱的戏曲演员来说，这样的形体显然是不可能的。它在木偶艺术里，却获得了难能可贵的创作自由。
如果说徐竹初雕刻的文小生钟景琪（《雷万春打虎》或闺门旦卢瑶琴（《抢亲》）在造型方面的夸张程度较小，而他雕刻的其他角色例如小沙弥，竟然把脸型用葫芦型来处理岂不也有矛盾？不消说在静观状态里这么大胆的设计很难引起美感。然而包括左右脸夹上的笑颜（在表演时对笑的夸张却产生积极影响。当操纵它的演员让这个角色在戏剧情节中活动起来时，引起我在别的场合所为见到的小沙弥调皮和活泼的美感。
重复地说，静观中的木雕木偶和动态中的木偶表现力不同，木雕同表演相结合是怎样对待木雕造型的前提。徐竹初雕出的“太白金星”和上述的“白阔”一样都以白眉、白须和白发为特征的。但这一形象的制作方式与“白阔”那种眼睛和下巴都能动的制作方式不同。“太白金星”双眼下视的定型，可能是为了适应这位神仙那种动作稳定的神气特征的。这种和戏曲里的关云长眯着双眼的表情那样，无损于他那仙气的显示，而且可能因此构成一种特殊的审美效应；既供动观又供观赏这两重性的对立统一。

徐竹初说：“布袋木偶表演时，演员用手操纵，木偶高过演员头部，观众在台下都将仰视，所以雕刻要照顾到观众的视线而获得逼真感。”这一说明使我联想到庙宇中那些只可能仰视的神像，为什么要夸大头的比例，而且侧面看时那身躯倾斜朝下的造型，同样是为了适应观众的视觉感受，同样是为了征服观众，必须首先适应观众的一种有利的设计。

还说：“因为布袋木偶比较小，为了照顾观众仰视时看得比较清楚，比较容易感到各种角色的特性，所以对眼睛、嘴巴等各部位的造型要作出大胆的夸张。但也要注意到木偶近看时显得优美，所以在制作中要粗中有细。例如花脸的脸谱，色彩具有强烈的对比，同样讲究色调的浓淡之分，这叫做粗纹中有细纹。”

徐竹初的作品和福建及各地其他的一些民间艺术虽有差加，但我相信它的出版可能普遍引起华夏子孙的自豪感。如果说民间性、民族性和地方性的共同特征，是历史悠久、形态丰富的中华民族文化的可贵传统，那么，它们那种雅俗共赏的审美价值，今后定将越来越能受到本民族或他民族的有识之士或一般观赏者们的长期重视。甚至可能从木偶雕刻的特点着眼发现从前尚未发现过却很有价值的新而美的因素。因此，徐竹初木偶雕刻艺术的展示或出版，定能赢得许多观众或者读者的常识。如果说我这篇简介可能引起学者们理解中华民间艺术（特别是与表演联系着的木偶、皮影等美术）的兴趣，觉得这些视觉对象与中华传统美学思想互相联系和互相补充，不只别人和我都可能感到高兴，而且有助于克服对民族文化妄自菲薄的自卑感。

1990年8月1日 北京 1991年3月16日 重订

From the aesthetic judgement point of view,the pupet sculptures of XuZhuchu,a Zhangzhou puppet sculptor whose works are full of human nature,conform to unity of opposites of dynamic and static state.In other words,when I enjoy watching puppet head,I pay close attention to not only the common sculptural art,but the audience's probable particular impression of the puppets during the play.I believe that the puppet sculptures for performance have difference between dynamic and
static state.Since the mouldmaking of puppet sculptures is combined with performance,there must be difference in traits of mouldmaking between puppet sculptures and common sculptures which are appreciated in static state.For the above duality of puppet for performance,the leading trait is that its dynamic state is suitable for watching during the puppet play,while its static state suitable for watching during everyday life.The size of glove puppet heads of Xu Zhu-chu is not more
than three inches.However,appreciated from front or flank,not only the puppet heads show the difference in types of role such as the male character,the female character,painted face and clown etc, put their expression and characters are also outstanding.Even for a negative character,Xu also stresses the beauty of decoration in mould-making.I assume if I watch the live puppet play with the common audience,I shall feel it more interesting than what I felt when I watched the plays in my childhood such as "Wang Xiao-er beating tiger." Born at an old and well-known sculpture family

in 1938,Xu Zhu-chu loved wood sculpture ardently in his childhood.Instructed by his father Xu Nian-song strictly,he made great efforts to study carving after class.He knew it important the function of observation of everyday life in artistic creation,so that he made the praiseworthy works in practice.The puppet head with movable face called"Bai kuo"is composed
of three parts,maninpulated by the actors.The mould-making and action of "Bai kuo"may move the audience to enthusiasm,whiceh is due not only its white eyebrow,white beard and white hair palying the symbol and annotation role,but its lively haggard face and expression of high-spirited.Such mould-making distinguishing beauty from ugliness benefits from some necessary creation standard,for instance,Xu's observation of the old in reality from his childhood,carrying forward the wood sculpture tradition as well.

Why should I say "Bai kuo" distinguishing beauty from ugliness? Because "Bai kuo"acts kindhearted,upright and lovable characters in the play,furthermore,I appreciate its movable face below the eyes and chin once again and again.During the performance,I am not disgusted at defect that its eyes are too close to eyebrows while in still any more. Unreal length between two exaggerated eyeballs seems to make it a little silly.When I put the puppet head on my finger and make it move, its silly appearance seems to change to honest and firm characteristic of this kind,transforming the defects in static state into the advantages in static state.It is obvious that the puppet carving for performance must give consideration to aesthetic effect in dynamic state.

Many of Xu Zhu-chu's works are facial makeups.Their traits are not able to be described one by one,however,merely from the trait of mould-making of Wang Gai in "Gathering of Heros",we can find the relation between facial makeup of puppet play and those of traditional opera,and their difference as well.The striking contrast between his white hair,white forehead and red face seems to have general feature with facial makeup of Beijing opera.Subject to physiology condition, actors of traditional opera cannot by any possibility exaggerate such a pair of spirited eyes as Wang Gai's.This puppet head is also worth watching in static state.Furthermore when the actors put the puppet on their hands and begin to play them rhythmically in accordance with the sound of gong and drumr,it particularly shows the superiority of wood sculptures. In respect of puppet modlling,the carving called "Shu Chou",namely,Lou A-shu in "Fifteen strings of cash"is obviously exaggerated more than the facial makeup of traditional opera actors."Shu Chou"has a pair of big eyes showing the white ,moustache like Chinese character“八”upside down,two projecting white incisors,a pointed chin and a red point on its temple.The mould-making of another king of"Shu Chou"called "Wen Chou"which is gorgeously dressed and richly ornamented,also falls into a pattern-such unusual eyebrows bending upwards. Is this mould-making in contradiction with the need of different feeling displayed in the performance?Yes.Even in static state the audience also get the impression that it is much uglier than the facial makeup of the actor.I believe that all these indicate Xu Zhu-chu's comprehension and pursuit of perfect art.Compared with it while in stil,the puppet head in action can give you more aesthetic effect which is both opposite and complementary to each other .The beauty of artistic exaggeration extremely displays the ugliness in everyday life.

The wood carving "Shu Chou"and another clown Yian Shi-fan have general character in respect of mould-making pattern,as well as Cui Men Dan or Wen Sheng.They are all smiling.I do not want to deny that the mould-making pattern contradicts the need of displaying different feelings in the play.Cannot either crafty villain or evil coxcomb express his feeling contrary to smilling expression in dramatic conflicts such as fright or anger?In this case,the exaggerated smile of clown in wood carvings falls into a pattern that is inevitably unsiutable for the dramatic principle stated above.However,like applying "Cast a brick to attract jade",one of the thirty-six stratagems,while the mould-making pattern of puppet combining with audience's feeling,the shortcoming of wood sculptures transforms to advantage of its own in the performance,like resorting to arms by a surprising move.

Needless to say,the relation between artistic creation and artistic appreciation is different from the relation between protecting ourselves and destroying enemies in the military conflict.But the latter may accept the inspiration of the former,and it comes into a kind of satisfactory ooperation at last.

For instance,such villains as Lou A-shu has various forms of smile in the play:triumphant laugh,sinister smile,hideous，grin,wry smile or concealing his secret with smile.Therefore fixed facial expression of puppet head is a defect according to the demand of play,however,the audience may perceive various smiles of different characteristics through clown's fixed smiling face of puppet can cause unfixed hallucination effect through the performance. The smile may be enriched and amended in artistic impression of audience,that is to say,the diversity of the fixed is enriched.Isn't the success reaction of audience to the puppet carving pattern similar to the frighter moving from passive position to active position?Needless to say,this kind of fixed smile is incompatible with different expression of the character such as sadness or anger.In fact the audience are not yet overcritical that the puppet changes its facial expression at any time as the actors do.Provided the play shows the possible diversity and complexity of smile,the audience are also deeply grateful to wood sculptor for his
creation --the artistic model for special demand of the play ,which is different from common carvings.All the dispositions of the character, honesty,wickedness,kind,evil,beauty and ugliness,can be seen in the eyes.From the point of view,the puppet head of Xu Zhu-chu reaches the relative perfection in the mould-making,which is the important reason that these carvings in the showroom are also appreciated in the everyday life.

In the 1950s I saw a kind of performing ability inaccessible to the actors in Zhanjiang,Guangdong provience.The tricky clown in the puppet play,a little monk,in"Shui Man Jinshan",could turn his head in a circle of 360 degrees.It is obviously ridiculous and incredible in anatomy. However,for the exaggeration of feeling of the character,it is logical,more interesing and moving.On the basis of such experience I find the exaggeration of Xu's wood sculpures are not only permissible but necessary.Among Xu's exaggerations the most outstanding is the change and brication of Yang Ren's eyes in "Feng Shen Bang",two hands stretching from the eye sockets separately,and one eye in each palm.The opera actors cannot do it but paint facial makeup.So the wood sculptor get the commendable freedom of creation.Compared with Wen Xiao Sheng Zhong Jing-qi of "lei Wan-chun beating tiger"or Cui Men Dan Lu Yao-qin of "Qiang Qin"carved by Xu Zhu-chu,which are not exaggerated to a great extent in mouldmaking,other characters such as the little monk is treated to have a calabashlike face unexpectedly.Isn't there a contradiction?Such a bold design evidently has difficulty in arousing aesthetic feeling in the static state.However,during the play,including two dimples (two small holes in the cheek），the exaggeration of smile may exert positive influence. While the actors are manipulating the puppet to make it act in the play,I have the aesthetic feeling for lively little monk which I have not experienced in other place ever before. In fact the expression of pupper in static state is different from that in dynamic state.The prerequisite for how to treat mould-making of puppet is to combine puppet with performance.The puppet"Taibai Ji-nxing"carved by Xu Zhu-hu has the same trait of white eyebrow,white hair and white beard as that of "Baikuo"stated above,however,the form of creation is different from that of "Baikuo",which is designed to have movable eyes and chin.The fixed pattern of "Taibai Jinxing"--always looking down,may be used to suit the characteristic of this celestial being moving stably.As Guan Gong always narrows his eyes in the traditional opera,the kind of Taibai design could not impair the show of his graceful being.What is more,it may constitute a special aesthetic effect--unity of opposites of dynamic and static state. "When the actors are manipulating the glove puppet with their own hands,the audience have to look up at the puppet which are above the actors in the theater.So I must take the audience's vision into account to make these carvings true to life."

Xu Zhu-chu explains.This illustration makes me think of those statuse of Buddha in the temple, which also had to be looked up to.Why should the scale of head be exaggerated? Why should the statues be designed to bend forward while watching in the flank? Like the puppet,it is a favorable design to adapt to the audience's vision on the basis of the principle of "adapting then dominating the audience."

Xu also said "Because the glove puppet is very small,in order to make the audience see more the audience see more clearly and understand the characteristic of the character morde more easily,I make bold exaggeration of some mould-making such as eyes and outh.However,for the sake of making the puppet beautiful at close range,I also make delicate details in the exaggeration.For instance the striking contrast of color and difference between warm tone and cold tone are stressed on the facial makeup of the painted-face."Xu emphasized "It is called the minute detail of rough sketch."

There is obvious difference between Xu's works and other folk art of Fujian or other provinces,however,I believe the publication of Xu's works may arouse the sense of pride of being a Chinese extensively.If the folklism,nationalism and regionalism are valuable Chinese cultural tradition with history and plentiful forms,their aesthetic value complying with both refined and popular tastes will be paid more and more attention to by means of insignt of our various nationalities in the future.Even the valuable factor of aesthetics undiscovered before will be discovered from traits of puppet carvings.So the show and publiction of Xu Zhu-chu's puppet sculptures will be thought of highly by many audience and readers.I shall be pleased if my brief introduction can make the scholars know more about Chinese folk art,especially the art combining with performance such as puppet and shadow play.I think these figures could supplement Chinese traditional aesthetic thought,and it will help to overcome inferiority complex of national culture.