王分忠由裁缝到布雕艺术家
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湖北省大冶市汪仁镇的农民王分忠怎么说也算个人物。他15岁开始学裁缝，学了两年就超过了自己的父亲，后来又在大队当了几年会计。不过让王分忠声名远播、名扬海内外的，并不是他的裁缝和会计活儿，他能成名，靠的是他的绝活：布雕艺术。
中国布雕完全由民间工艺美术家王分忠发明，这个工艺被誉为“中国民间工艺一绝”，它“震动了中国乃至世界的工艺”。布雕，便是采用布和绘画技法相融合，并与改进的烙铁、刻刀等工艺相结合形成的一种绘画艺术，它集雕刻、剪纸、图画、油画、版画等古今中外美术、书法工艺之大成，被人们誉为工艺美术园地的一朵新葩。
《十美图》改变了他的一生
1960年3月，王分忠出生在大冶汪仁镇王叶村，由于爷爷和父亲都是当地有名的裁缝，子承父业理所当然，于是1977年当时只有15岁的他，便跟父亲学起了裁缝。
1981年初春，王分忠在王叶街办起了第一家个体缝纫店，第二年便盖起了二层楼房，日子越来越好，就在这时，一个老人的一幅布贴竟改变了他的一生：那是1985年的春天，一位老人远道而来走进了王分忠的裁缝店，他气喘吁吁地站定之后，便从怀里小心翼翼地取出一幅布贴画，奉若神明似地将它展开在裁缝案桌上，然后他对王分忠说：“这是清末时期的布贴图，叫做《十美图》。年代久了，如今这布画上的美女有的缺衣少裳，有的断胳膊短腿的，我想用你的一手好手艺将它修复。”王分忠一见此画，犹如忽然间遇见了数载不见面的心上人，目光怎么也舍不得移开去!他看着、想着：“布贴画怎么也能做得这么美啊！”
自从见了这幅布画，王分忠就像丢了魂似地，他日思夜想，总想用布做出一幅漂亮的画来。想着想着，顿时似乎有了灵感，他先用纸剪成画样，然后用浆糊将图案贴在布上，接着便用他最熟悉使用的剪刀等各种工具，日日夜夜地泡在制布画的工艺里……
为制布画他丢下养家糊口、发家致富的裁缝生意，村人说他“不务正业”、“低级趣味”，还说他“吃牛肉发马癫”，但他不管闲言碎语，不听人劝告，只是一味地沉在布贴画中，沉在他的《十美图》中。
以布雕《清明上河图》
登上艺术殿堂
王分忠一头扎进布画艺术使他的家境每况愈下，但他仍然潜心研究，到处拜师学艺。他从中央电视台《美术星空》中获得启迪：人家能使用各种手法让美术作品升华，我为何不用自己熟悉的各种工具和手段呢?!他后来又选用了烙铁，让烙铁通上电在布上一试，“嘿!还真是那么回事，布料上留下的坑坑洼洼以及各种图案，其艺术感顿时呈现出来。接着他又试着将布和布粘贴，欣喜若狂地在大脑中产生了“布烙”构想，他将要创作的意图用复写纸描绘在布上，然后用烙铁来烙制完成，并将此绘画手法称作“布烙画”。
1998年2月，王分忠的布烙画《孔雀》入选湖北省农民书画工艺优秀作品展，并荣获三等奖，这让他更加坚定了从事布烙画的信心，进一步调动了他的创作热情。
1999年，王分忠的布烙作品《岳阳楼记》《金陵十二钗》等在黄石市举办的“国际乒乓球节”期间参展，一下子吸引了观众，大家说这是中国民间艺术一绝，是当代画坛绽开的一朵奇葩!在观众和文化界朋友的鼓励下，王分忠再三斟酌，决定用布雕形式来制作宋代名画《清明上河图》。
王分忠的创作灵感进入亢奋期，花了一年多时间，经过多次研制，他创作的卷布雕仿画《清明上河图》终于问世，为此画他一下子瘦了5公斤!
王分忠声名鹊起，作品开始走向世界，东南亚、美国、日本等国都有人收藏他的布烙画，中国作协副主席蒋子龙看到他的布雕作品后，欣然题词：“大道无术”。
《汉宫春晓图》让布雕走向世界
2003年王分忠的布雕作品《汉宫春晓图》在“湖北省民间艺术之乡农民画展”中获创作金奖，另一幅布雕《白梅图》获铜奖；2004年王分忠的布雕《五百罗汉图》在“湖北省民间艺术之乡成果展”中获创作金奖，布雕《大江东去》四条屏获铜奖。王分忠创作的《五百罗汉图》长22米，宽0.35米，系根据清代许从龙所绘的《五百罗汉图》仿制，画中每个罗汉个性鲜明，神态生动，或慈眉善目妙相庄严，或端坐树下闭目凝思，或徜徉岩畔窃窃私语，或驭兽跨禽怡然自得，或乘风踏浪拄杖出游，整个画面构图严谨，虚实得当，人物形象生动自然，匠心独运，体现出王分忠深厚的布雕艺术功力。这幅画卷的雕制，王分忠费时两年零三个月。
2005年4月，王分忠应韩国亚洲文化艺术研究会的邀请，携带他精心制作的《五百罗汉图》《白梅图》等参加亚细亚美术展，作品得到韩国、马来西亚等国艺术家的赞赏。他的作品《梅兰竹菊》，还作为国礼，由中方赠送给日本。韩国世界文化研究会会长姜信雄观赏了《五百罗汉图》长卷和《白梅图》赞叹不已，热情邀请王分忠和他一起在《白梅图》前合影留念；美国友人路祈先生看到王分忠的布雕艺术后，亲自来到湖北上王分忠家拜访，他称赞这是一门难得的艺术，提出与他合作开发，以使这门神奇的布雕艺术走向国际市场。
A Tailor Cuts Wonders on Fabrics
By Ke Xiaojie
No one would dispute the reputation farmer Wang Fenzhong enjoyed at his rural home village in Central China's Hubei Province. He began learning the family's tailoring trade in 1977 when he was 15. Two years later, the teenager became a tailor better than his father. Later he worked as an accountant at the village production unit for a few years, which was viewed by many older villagers as something really wizardly. Today, Wang's reputation has gone international. However, the fame is neither about his masterful needlework nor about his skillfulness in accounting. His international repute yields from his peerless art: fabric sculpture.
Wang's art is one of its kind. He paints on fabrics, and polishes the painting with tools such as renovated searing iron and cutting knives. His unique art embodies the essences of carving, paper-cutting, drawing, oil-painting, printing and calligraphy, to name just a few important elements.
In the early spring of 1981, the experienced Wang set up his own tailor shop in the village and his business flourished. One year later, he had made enough money to build a house of his own. Wang would have remained a good tailor if an old man had not walked into his life one day in the spring of 1985.
The stranger had come all the way to Wang's shop. With utmost care, he unfolded a collage painting on the cutting table. He said piously that it was a collage masterpiece created in the Qing Dynasty (1644-1911) and that its name was Ten Beauties. Due to the wear and tear of the long decades, many important details in the painting had been lost. The old man asked the young master to restore the piece with his craft. Wang fell in love with the antique artwork at the first sight. He just could not tear himself away from it.
Charmed by the fabric masterpiece, the young tailor kept wondering if he could create something as beautiful as the Ten Beauties with fabric. In experiments, he cut fabrics and glued the parts together to create his own collages.
As Wang devoted himself to the new art, his business went sour.Villagers commented that he did not attend his business properly. But he persisted.
One day he got an inspiration while watching a CCTV program. Why not use some special tools and new approaches to create a collage? He asked himself this ground-breaking question. He used an electric iron to sear the fabric and the results were very encouraging and exciting. He knew he was on the right track to something totally new. He groped and developed new skills.
In February 1998, his artwork won a third award at the province's arts and crafts competition for farmers.
In 1999, he exhibited his masterpieces at an international table tennis festival in the province. His fabric sculptures caused a huge stir. Thrilled viewers confirmed that they had never seen anything like this before. Encouraged, Wang decided to recreate an ancient masterpiece on a piece of cloth in the form of his new art.
He was hugely inspired. The following year saw him totally submerged in his work. By the time he finally transplanted his original ideas and the ancient painting to a fantasy on a piece of fabric, he had had weight loss of 5 kilograms.
Wang's reputation as a unique artist has grown. Overseas collectors now go after his masterpieces. Since 2003, his large-scale fabric sculptures have won gold awards in the province's art competitions. In April 2005, he attended the
Asia Arts Show in South Korea and displayed two of his works: the 22-meter-long 500 Arhats which took him two years and three months to complete, and White Plum Flowers. His marvels won warm applause from artists of other countries. One of his works has been presented to Japan as a state gift by the Chinese government.
(Translated by David)