“海女”:大海骄傲的女儿
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如诗如画的小城，山也秀丽水也有情
只要你停下脚步，小城就表示欢迎
永不寂寞的小城，许多故事在这里发生
也许还没有发现，你已在故事里
这是歌曲《惠安之春》的一段歌词。画面中小城的春天，干净、平和、悠然、秀美的山水让人向往，无数的故事引人走读。
而那里的女子，更以吃苦耐劳、服饰独特著称，她们身上，充满了当地特有的温婉、娴静、淳朴。她们的笑容，如春风一般，打动了每个游人的心。
让我们惊喜的是，如今，这股来自小城惠安的春风，悄悄吹到了浙江：4月9日到13日，在中国美术学院举行了为期5天的“海女”惠安专题写生画展。
画展上，人们一睹浙江省的4位著名画家梁平波、张华胜、张谷良、张卫民用画笔诠释的“惠安女”风采。记者在中国美术学院美术馆展厅内看到，这里处处弥漫着海风的气息，处处是“惠安女”的多姿身影。
惠安女，从狭义上来说其实是惠东女，主要分布在福建惠安东部崇武、山霞、净峰和小4个镇，是地地道道的汉族。当地人说，几百年前，她们由中原移居于此，因在海边生活为防风而佩戴花色头巾和橙黄色的斗笠，花巾上还有编织的小花和五颜六色的小巧饰物；上身穿着紧窄短小的衣服，露出肚脐；下身穿着特别宽松肥大的裤子，腰带是扎在肚脐下面。这种服饰文化源远流长，其形成、发展过程一直是中外人类学、民俗学专家关注的课题。
那么，浙江艺术家们为什么选择“惠安女”作为艺术描摹的对象？
一切还得从头说起。
2010年6月，当时，应“中国美协惠安创作基地”邀请，梁平波、张华胜、张卫民、张谷良4位画家走出画室，走进福建泉州市惠安崇武镇；他们深入体察“惠安女”文化，用他们的画笔再现“惠安女”的生活习俗和劳动场景。
4位艺术家采风期间，正巧遇到当地度“端午”的风情节俗，聚居在惠安半岛的“惠安女”们盛装出行，她们奇异的着装、常人难以企及的刚毅深深打动了艺术家们。因此艺术家们捕捉到了更多的写生素材和人文景象，潜心创作了大量写生作品。
回杭后，4位画家在写生稿的基础上，加工创作了一大批表现惠安风情的作品,诠释了一代又一代惠安女的柔情和刚强。这些作品被汇编成一本沉甸甸的画集《海女――梁平波、张华胜、张谷良、张卫民作品集》。
参展画家之一、浙江省美术家协会名誉主席梁平波在这次创作活动中融入了对福建家乡的深深情感之中。
他说，惠安的男人们常年出海，男人的安危是女人们苦涩的心结。勤劳善良的惠安女是男人温暖的港湾,也是大海骄傲的女儿。从人文视角来看，“惠安女”是一群“嫁给了大海的女子”，她们是一个个不可复制的传奇。带着这样的感动，采风结束后，他只用了短短一个半月的时间，就完成了十几幅描绘“惠安女”生活情景的不同画面，生动地展现了“海女”的文化风情。
国家一级美术师、浙江画院艺术委员会主任张华胜笔下的“惠安女”，则有着趣味性的图式和内容。他的画中，有穿着时髦短裙的惠安小女孩,也有纯为表现惠安女头饰的背影特写……问及原由，他说，惠安女是艺术创作中的一个热点选题，很多艺术创作都与之有关。他的这次创作更侧重从人文角度去观照。“你去看我的画时，一定别忘了读一下画上的跋文。”他叮嘱道。
中国美术家协会会员、杭州市美术家协会艺术顾问张卫民则擅长人物水墨画，在他的笔下，水墨人物画体现了他一贯的那种自然朴实之风。在她们的身上既蕴含着惠安女的原生态，又构成了画家一以贯之的写实的人物形象系列。因而他这次采风作品中的“海女”形象显得格外生动可爱，亲切近人。
在四位画家的作品中，原嘉兴画院院长、嘉兴市美术家协会主席张谷良突出表现了“惠安女”勤劳善良的一面。在他的笔下，“海女”们不但操持家务、耕作农田，更将扛石头、拉板车、织渔网等粗重活一肩担起。
Artworks Showcase Charms of Women of Hui’an
By Qi Yongye, our special reporter
Women in Hui’an, Fujian Province are a phenomenon in China. They are known for their hard work and their looks. They dress in a way you don’t see anywhere else in China. For this reason, they have been a favorite subject for artists all over China. And their images are quite familiar to those who appreciate art.
Strictly speaking, women of Hui’an refer to the women in four small towns in the east of Hui’an. Their ancestors moved to this part of the coast of Fujian Province in eastern China from central China a few hundred years ago. Their typical wear is unique: a flowered scarf wraps their hair up, topped with a bamboo hat, the dress is tight and short enough to reveal the navel, and the trousers are loose and voluminous, fastened with a sash way below the navel. The curious dress code has long since been a subject of studies for anthropologists and folklore specialists at home and abroad.
In June 2010, a creativity center in Hui’an invited Liang Pingbo, Zhang Huasheng, Zhang Weimin, and Zhang Guliang, artists based in Zhejiang, to the Chongwu Township to see the way the women there work and live.
The four Zhejiang-based artists were glad to visit Hui’an. During their stay there, they saw local women coming out at the Dragon Boat Festival, all dressed in their typical fashion. It was a spectacular scene. The artists sketched busily. After their return to Zhejiang, they each created quite a few paintings. From April 9 to 13, 2010, they jointly held an exhibition of these artworks based on their field study in Hui’an at an exhibition center of China Academy of Art on the West Lake. The five-day exhibition displayed the artists’ impressions and understanding of these women.
Liang Pingbo, one of the four artists and honorary president of Zhejiang Artists Association, commented that as men in Hui’an go fishing on the sea all the year round, women in Hui’an are highly concerned with the safety of their men. In a sense these women are married to the sea. Each of them is a legend that can’t be repeated. Within 45 days after his visit to Hui’an, Liang created ten plus paintings. His paintings focus on the Hui’an women in everyday life.
Zhang Huasheng, a national grade-one artist and director of art committee of Zhejiang Academy of Fine Arts, created paintings that highlight the interesting aspects of the women. In his paintings, you see little girls wearing miniskirts or close-up images of the backside of the headgear of the women. The artist pointed out the importance of the inscriptions he wrote on his paintings. He said they were a must for visitors.
Zhang Weimin, a member of China Artists Association and art advisor to Hangzhou Artists Association, applied his art of ink-wash painting to the images of women of Hui’an. His style is realist aimed to bring out the original beauty of these women. The women in his presentation look lovely.
Zhang Guliang, now retired from the position of directorship of Jiaxing Academy of Fine Arts and the directorship of Jiaxing Artists Association, highlights the capability of the women of Hui’an. His paintings show how the women work and what they do: in addition to house chores, they also work in farmlands, pull carts, move rocks, and weave fishing nets.