薛濤設計的箋(jian)紙,是一種(zhong)便于(yu)寫詩(shi),長寬適度的箋(jian)。此(ci)箋(jian)原用作(zuo)寫詩(shi)作(zuo)為(wei)詩(shi)箋(jian),后來逐漸(jian)用作(zuo)寫信(xin),甚至官(guan)方(fang)國(guo)札也用此(ci)箋(jian),流傳。
薛(xue)(xue)(xue)(xue)濤(tao)(tao)(tao)箋(jian)(jian)(jian)(jian)(jian)產生于(yu)唐代(dai)。唐代(dai)名(ming)(ming)(ming)箋(jian)(jian)(jian)(jian)(jian)紙,又名(ming)(ming)(ming)“浣(huan)花(hua)(hua)(hua)箋(jian)(jian)(jian)(jian)(jian)”。亦(yi)名(ming)(ming)(ming)“松花(hua)(hua)(hua)箋(jian)(jian)(jian)(jian)(jian)”、“減樣箋(jian)(jian)(jian)(jian)(jian)”、“紅(hong)(hong)箋(jian)(jian)(jian)(jian)(jian)”。唐代(dai)詩(shi)(shi)人李商(shang)隱《送崔玨(jue)往西川》云(yun):“浣(huan)花(hua)(hua)(hua)箋(jian)(jian)(jian)(jian)(jian)紙桃花(hua)(hua)(hua)色(se)(se)(se),好(hao)好(hao)題詩(shi)(shi)詠玉鉤。”北宋(song)蘇(su)易(yi)(yi)簡《文房四譜(pu)》云(yun):“元和之(zhi)(zhi)(zhi)初(九世(shi)紀初葉(xie)),薛(xue)(xue)(xue)(xue)濤(tao)(tao)(tao)尚斯色(se)(se)(se),而(er)好(hao)制小(xiao)詩(shi)(shi),惜其幅大,不欲(yu)長,乃(nai)命匠人狹小(xiao)為(wei)之(zhi)(zhi)(zhi)。蜀中才子既以(yi)(yi)(yi)為(wei)便,后裁諸箋(jian)(jian)(jian)(jian)(jian)亦(yi)如是(shi),特名(ming)(ming)(ming)曰薛(xue)(xue)(xue)(xue)濤(tao)(tao)(tao)焉。”又說:“府城(cheng)(指成(cheng)(cheng)都(dou))之(zhi)(zhi)(zhi)南五里有(you)百花(hua)(hua)(hua)潭(tan),支(zhi)流為(wei)一,皆(jie)有(you)橋焉。其一王溪(xi),其一薛(xue)(xue)(xue)(xue)濤(tao)(tao)(tao),以(yi)(yi)(yi)紙為(wei)業者(zhe)家其旁。……以(yi)(yi)(yi)浣(huan)花(hua)(hua)(hua)潭(tan)水造紙故佳(jia),其亦(yi)水之(zhi)(zhi)(zhi)宜也。”從(cong)這些記載(zai)中可知,“薛(xue)(xue)(xue)(xue)濤(tao)(tao)(tao)箋(jian)(jian)(jian)(jian)(jian)”的形制是(shi)紅(hong)(hong)色(se)(se)(se)小(xiao)幅詩(shi)(shi)箋(jian)(jian)(jian)(jian)(jian),九世(shi)紀初造于(yu)成(cheng)(cheng)都(dou)郊外(wai)浣(huan)花(hua)(hua)(hua)溪(xi)的百花(hua)(hua)(hua)潭(tan)。這種紅(hong)(hong)色(se)(se)(se)小(xiao)箋(jian)(jian)(jian)(jian)(jian)曾(ceng)被薛(xue)(xue)(xue)(xue)濤(tao)(tao)(tao)用以(yi)(yi)(yi)寫(xie)詩(shi)(shi)與(yu)元稹、白居易(yi)(yi)、杜牧、劉禹錫等人相唱(chang)和,因而(er)名(ming)(ming)(ming)著于(yu)文壇(tan),乃(nai)濤(tao)(tao)(tao)設(she)計“命匠人狹小(xiao)為(wei)之(zhi)(zhi)(zhi)”。薛(xue)(xue)(xue)(xue)濤(tao)(tao)(tao)箋(jian)(jian)(jian)(jian)(jian)雖(sui)只深(shen)紅(hong)(hong)一色(se)(se)(se),但(dan)顏色(se)(se)(se)、花(hua)(hua)(hua)紋甚(shen)精巧鮮麗(li)。薛(xue)(xue)(xue)(xue)濤(tao)(tao)(tao)箋(jian)(jian)(jian)(jian)(jian)在我國制箋(jian)(jian)(jian)(jian)(jian)發(fa)展史(shi)上(shang),占(zhan)有(you)重要地位,后歷代(dai)均(jun)有(you)仿制。宋(song)代(dai)發(fa)展了胭(yan)脂(zhi)版紙箋(jian)(jian)(jian)(jian)(jian)也稱薛(xue)(xue)(xue)(xue)濤(tao)(tao)(tao)箋(jian)(jian)(jian)(jian)(jian),用產于(yu)嘉(jia)州(今四川樂山縣)的胭(yan)脂(zhi)樹(shu)花(hua)(hua)(hua)染色(se)(se)(se)。宋(song)人詩(shi)(shi)曰:“名(ming)(ming)(ming)得只從(cong)嘉(jia)郡樹(shu),樣傳仍(reng)自薛(xue)(xue)(xue)(xue)濤(tao)(tao)(tao)時(shi)。”明(ming)宋(song)應星(xing)《天工開物》認為(wei):“其美在色(se)(se)(se)”。
相傳薛濤(tao)箋(jian)是由“浣花溪的水,木(mu)芙蓉的皮,芙蓉花的汁”制作而成。
薛濤,唐(tang)朝(chao)女(nv)詩(shi)人。其父(fu)(fu)薛鄖為(wei)(wei)官(guan),仕宦(huan)入蜀,定居(ju)成都(dou)(dou)(dou)。薛濤父(fu)(fu)早逝(shi),母(mu)孀,生活困頓無依,后(hou)為(wei)(wei)歌(ge)(ge)妓。薛濤和當時著名詩(shi)人白(bai)居(ju)易、劉(liu)禹錫(xi)、杜(du)牧等(deng)人都(dou)(dou)(dou)有(you)(you)唱酬交(jiao)往。居(ju)浣花(hua)(hua)溪上,自(zi)造桃紅(hong)色(se)的(de)(de)小(xiao)(xiao)彩(cai)箋(jian)(jian)(jian)(jian),用以寫詩(shi)。早年居(ju)成都(dou)(dou)(dou)浣花(hua)(hua)溪,善(shan)制詩(shi)箋(jian)(jian)(jian)(jian)。蜀中產紙(zhi)(zhi)甚佳,制以為(wei)(wei)箋(jian)(jian)(jian)(jian),早有(you)(you)盛名,杜(du)甫已有(you)(you)“蜀箋(jian)(jian)(jian)(jian)染翰光”詩(shi)句,這(zhe)句詩(shi)是(shi)為(wei)(wei)高適(shi)而(er)言,高適(shi)時在蜀西為(wei)(wei)官(guan)。成都(dou)(dou)(dou)浣花(hua)(hua)溪自(zi)古(gu)以來(lai)就(jiu)(jiu)(jiu)是(shi)產箋(jian)(jian)(jian)(jian)之地,屢見(jian)于記(ji)載,唐(tang)末韋(wei)莊有(you)(you)《乞彩(cai)箋(jian)(jian)(jian)(jian)歌(ge)(ge)》也說(shuo):“浣花(hua)(hua)溪上如(ru)花(hua)(hua)客,綠閣深(shen)藏人不(bu)(bu)識。留得溪頭瑟瑟波(bo),潑成紙(zhi)(zhi)上猩猩色(se)。”就(jiu)(jiu)(jiu)是(shi)指薛濤在浣花(hua)(hua)溪制箋(jian)(jian)(jian)(jian)。明朝(chao)何宇度《益部談資》說(shuo)“蜀箋(jian)(jian)(jian)(jian)古(gu)已有(you)(you)名,至唐(tang)而(er)后(hou)盛,至薛濤而(er)后(hou)精。”明曹學佺《蜀中名勝記(ji)》及萬(wan)歷(li)刻本“薛濤小(xiao)(xiao)傳”都(dou)(dou)(dou)說(shuo)薛濤僑居(ju)百花(hua)(hua)潭,躬制深(shen)紅(hong)小(xiao)(xiao)彩(cai)箋(jian)(jian)(jian)(jian)。詩(shi)歌(ge)(ge)唱和,多是(shi)一(yi)張紙(zhi)(zhi)上寫一(yi)首律詩(shi)或(huo)絕句,但(dan)當時的(de)(de)紙(zhi)(zhi)張尺寸較大,以大紙(zhi)(zhi)寫小(xiao)(xiao)詩(shi),浪費倒不(bu)(bu)要緊,要緊的(de)(de)是(shi)不(bu)(bu)和諧、不(bu)(bu)好(hao)看。薛濤便讓造紙(zhi)(zhi)工匠特地改(gai)小(xiao)(xiao)尺寸,做成小(xiao)(xiao)箋(jian)(jian)(jian)(jian),自(zi)己又發明了新奇的(de)(de)染色(se)技法,能染出深(shen)紅(hong)、粉紅(hong)、明黃等(deng)十種(zhong)顏色(se),這(zhe)就(jiu)(jiu)(jiu)是(shi)所謂的(de)(de)“十樣變箋(jian)(jian)(jian)(jian)”,這(zhe)不(bu)(bu)是(shi)普通的(de)(de)信箋(jian)(jian)(jian)(jian),而(er)是(shi)專門的(de)(de)詩(shi)箋(jian)(jian)(jian)(jian)。
據(ju)《唐(tang)音癸簽》載(zai):詩(shi)箋(jian)始(shi)薛濤(tao),濤(tao)好(hao)制(zhi)小(xiao)(xiao)詩(shi),惜紙長(chang)剩(sheng),命匠狹小(xiao)(xiao)之(zhi),時謂便,因行用(yong)。其箋(jian)染演作十(shi)色,故詩(shi)家有十(shi)樣變箋(jian)之(zhi)語(yu)。《牧豎閑談》載(zai):澆花人多造十(shi)色彩箋(jian),于是(shi)薛濤(tao)另模新樣,小(xiao)(xiao)幅松花紙,多用(yong)題詩(shi)。《益部談資(zi)》載(zai):花箋(jian)古(gu)已(yi)有名(ming),至(zhi)唐(tang)而(er)后(hou)盛,至(zhi)薛詩(shi)而(er)后(hou)精。
薛濤一生酷愛紅色,她(ta)常(chang)常(chang)穿著紅色的衣裳(shang)在成都浣(huan)花溪邊流連(lian),隨(sui)處(chu)可尋的紅色芙(fu)蓉花常(chang)常(chang)映入(ru)她(ta)的眼簾(lian),于(yu)是(shi)制作紅色箋紙(zhi)(zhi)的創(chuang)意(yi)進(jin)入(ru)她(ta)的腦海。薛濤最愛寫(xie)四言絕句,律(lv)詩也常(chang)常(chang)只寫(xie)八(ba)句,她(ta)嫌常(chang)用的紙(zhi)(zhi)張尺(chi)幅太(tai)大,一直有制作適于(yu)寫(xie)詩的小巧紙(zhi)(zhi)箋的想法。薛濤所居住盼浣(huan)花溪畔,是(shi)當時四川造紙(zhi)(zhi)業的中(zhong)(zhong)心之(zhi)一,于(yu)是(shi),薛濤指(zhi)點工匠制成了這種既便于(yu)攜帶又(you)便于(yu)交流且帶有個人色彩(cai)的“薛濤箋”,這大概是(shi)中(zhong)(zhong)國最早(zao)的“個人定(ding)制”產品。
不僅(jin)如此(ci),后世更(geng)有人認為(wei),薛濤從此(ci)以(yi)技術專利入行(xing),進入了造紙業。南宋記錄各地(di)地(di)理(li)風物的(de)專著(zhu)《方輿勝(sheng)覽》中,就(jiu)說(shuo)薛濤濤”蜀(shu)妓(ji)也,以(yi)造紙為(wei)業”,《蜀(shu)箋譜》甚至把薛濤與(yu)當時(shi)的(de)造紙名家“謝公”謝師厚相提并(bing)論(lun)。
蘊(yun)含女(nv)性特有的美妙才思,紅色的“薛(xue)濤(tao)(tao)箋”配上以薛(xue)濤(tao)(tao)俊逸的行書書寫的清雅脫俗的薛(xue)濤(tao)(tao)詩,一時間(jian)廣為風行,成了文人雅士(shi)收藏的珍品。后(hou)來,甚至官方的國札也(ye)用此箋,流傳(chuan)。
據載:薛(xue)濤用(yong)(yong)(yong)毛筆或(huo)毛刷把小(xiao)紙(zhi)(zhi)涂(tu)上紅色的(de)(de)雞冠花(hua)(hua)、荷花(hua)(hua)及不(bu)知名(ming)的(de)(de)紅花(hua)(hua),將(jiang)花(hua)(hua)瓣(ban)搗(dao)成(cheng)泥(ni)再(zai)加(jia)清水,經反復(fu)實(shi)驗(yan),從紅花(hua)(hua)中(zhong)得到染料(liao),并加(jia)進一(yi)(yi)些膠質調勻,涂(tu)在紙(zhi)(zhi)上,一(yi)(yi)遍一(yi)(yi)遍地使顏色均勻涂(tu)抹。再(zai)以書夾(jia)濕紙(zhi)(zhi),用(yong)(yong)(yong)吸水麻紙(zhi)(zhi)附貼色紙(zhi)(zhi),再(zai)一(yi)(yi)張(zhang)(zhang)張(zhang)(zhang)疊壓成(cheng)摞,壓平(ping)陰干。由此(ci)解決(jue)了外觀不(bu)勻和一(yi)(yi)次(ci)制作多(duo)張(zhang)(zhang)色紙(zhi)(zhi)的(de)(de)問題。薛(xue)濤用(yong)(yong)(yong)自己設(she)計的(de)(de)涂(tu)刷法(fa),做(zuo)出(chu)了小(xiao)彩箋。為了變花(hua)(hua)樣,還將(jiang)小(xiao)花(hua)(hua)瓣(ban)灑在小(xiao)箋上,制成(cheng)了紅色的(de)(de)彩箋。薛(xue)濤使用(yong)(yong)(yong)的(de)(de)涂(tu)刷加(jia)工(gong)制作色紙(zhi)(zhi)的(de)(de)方(fang)法(fa),與傳(chuan)統的(de)(de)浸漬方(fang)法(fa)相比,有省(sheng)料(liao)、加(jia)工(gong)方(fang)便、生產成(cheng)本低之特點(dian),類(lei)似現代的(de)(de)涂(tu)布加(jia)工(gong)工(gong)藝。
薛濤(tao)名箋有十種(zhong)顏色:深紅(hong)(hong)、粉紅(hong)(hong)、杏紅(hong)(hong)、明黃、深青(qing)、淺(qian)青(qing)、深綠(lv)、淺(qian)綠(lv)、銅綠(lv)、殘云。何以(yi)特(te)喜紅(hong)(hong)色,一般認(ren)為紅(hong)(hong)是快樂的顏色,它使(shi)人喜悅(yue)興奮,也象征了她對正常生活的渴望和對愛(ai)(ai)情的渴望。這可能(neng)就是薛濤(tao)喜愛(ai)(ai)紅(hong)(hong)色的原因所在。另一方面,薛濤(tao)可能(neng)有意打破當(dang)時(shi)一味黃色的沉悶枯(ku)燥的色調。
薛濤(約768~832年)唐代女詩(shi)人,歌(ge)妓,字(zi)洪度。長安(an)(今陜西西安(an))人。父薛鄖,仕(shi)宦入蜀,死后,妻女流(liu)寓(yu)蜀中(zhong)。薛濤姿容美艷,性敏慧,8歲能詩(shi),洞曉音(yin)律,多才藝,聲名傾(qing)動一時。第二批四川歷史(shi)名人。創薛濤箋。在唐代女詩(shi)人中(zhong),薛濤和李冶、魚玄機最為著名。流(liu)傳詩(shi)作90余(yu)首,收(shou)于《錦江(jiang)集》。