我認識的沈宣仁教授
詠懷沈宣仁博士
神學先哲早揚名,摺紙宗師創作精。
桃李滿門人景仰,恢宏氣節德尊榮。

自從1991年香港摺紙學會創立以來,沈宣仁博士便擔任本會的榮譽顧問。十多年前,回想我當初認識沈博士時,他剛巧榮升香港中文大學崇基學院的院長。本會尚未成立,我便冒昧造訪沈院長於崇基學院的會議室。沈院長為人豁達、平易近人。他無論在學術界或摺紙藝術界的地位,也是超然的;但他卻肯花上三、四個小時約見一個藉藉無名的小夥子,確是難得!在他悉心戮力地教導下,我不知不覺間便學會了十多個精釆的摺紙作品。他一面傳授我摺紙的技法,一面和我暢談摺紙藝術界的人事和發展,使我茅塞頓開、增廣見聞,大有「聽君一席話,勝讀十年書」之感。及後,本會的創立亦有賴於沈院長的鼓勵和協助,才能順利發展。此外,本會的會徽亦是取材自沈院長的一個摺紙作品——梅花。
在這十多年來,沈博士都與我們有很多的交往。本會的副會長周銓蔭先生、委員黃寶山先生和我也從他身上領受了不少的教益。我們更從他的摺紙作品上得到很多靈感,大大擴闊了我們的創作領域。沈博士對摺紙理念的見解精闢獨到、一矢中的,常常使我們有醍醐灌頂之感。雖然他是我們的老前輩,但在言談之間,總覺得他與我們亦師亦友。
2003年10月26日,沈宣仁博士賢伉儷再次到訪本會。沈博士教了我們幾件他新近創作的花盆和盛器的摺法。我們除了即時努力用心學習外,更把整個過程攝製了,以便日後可以重溫。當時,一眾會員把我們尺方的會址塞得水泄不通、座無虛席。會後,我們全體委員邀請沈博士賢伉儷到附近酒樓晚宴。席間,我乘便為沈博士攝錄了一個訪問,詳談了好些摺紙藝術上的問題。晚宴歡聚後,我便送沈博士賢伉儷到就近的牛頭角地鐵站乘搭列車。我依依不捨地和沈博士握手道別,看著他的背影漸漸消失在扶手電梯上,才慢慢轉身離去。八天後的晚上十時許,我和周銓蔭先生為了送贈一些我們受沈博士所教授的作品感染而新創的摺紙作品及圖解而到中文大學探訪他。沈博士每次回港都是忙得不可開交,行程緊密;一連串飲宴和會議接踵而至。他為人樂觀、不拘小節;我們每次相聚,皆暢所欲言、無所不談,歡聲笑語,不絕於耳。無論他的行藏舉止,抑或言導身教,時刻都自然散發出哲學家和教育家的風儀。快樂的時光最是短暫的!兩小時的光陰,匆促飛逝;一番辭別,竟成永訣,亦是我萬難想得到的。
今年7月尾,我從友人口中得知身在美國的沈博士身罹骨癌之症,已病入膏肓,恐不久於人世;我惟有趕緊致電慰問。接聽長途電話的是沈博士夫人,她對我細訴了沈博士的病況,說他多睡少吃,正臥病在床;我心中便暗忖不妙。經過一番慰問後,沈夫人更答允了讓我與沈博士對話的懇請。我從電話筒聽見彼岸傳來的已不是往日沈博士雄渾沉厚的話音,而是氣若柔絲的語調。他對我說他已經準備好如何走完人生最後的一程,叫我不要為他擔心;並再三吩咐我幾件摺紙上的事項。雖說:「男兒有淚不輕彈」,但我實在禁不住淚向心中流。我更不能料到這竟是沈博士和我最後一次的談話!
幾天後的晚上,噩耗傳來,沈博士在這塵世遊歷了七十三年,便蒙主寵召、息勞歸主。對於頓時痛失支柱,我是怎麼樣也控制不了淚下潸潸、長吁短嘆!但是在心情平伏過來後,惟有欣然接受上帝的安排。沈博士終能與主同在、共得永生,亦屬可幸!

陳超穎
香港摺紙學會會長
公元2004年9月12日


我印象中的沈宣仁教授

近日來,當我整理本會榮譽顧問 沈教授的作品圖解時,不禁想起他生前的種種事情。沈教授是一位和藹可親、充滿熱誠、極有儒家風範的長者。回想十多年前,本會尚未成立時,現任會長陳超穎先生和我到沈教授家中學習他的作品時,沈教授從陳舊的紙箱中拿出一件件發黃的作品時,宛如小說般的情節:智者從百寶箱中取出珍貴的寶貝來;但是它們都是造形特別的作品,因為沈教授忙於中文大學的教務,所以,他的主要作品大都是在二三十年前完成的。
往後的幾年間,我們都會相聚討論近期的創作或學習他的作品,相信我們多位資深的會員都會記得曾經到沈教授家中拜會的情況,每當我們介紹新會員給沈教授認識時,他總是很雀躍的。我們的聚會總是很匆忙的,因為,我們實在有太多的東西需要分享。記得有一次,我們相談到凌晨時份,沈教授親自駛車送我們到荃灣地鐵站,當時,我們途經大帽山郊野公園時遇到大霧,想到要一位老人家為我們如此奔波,就深感汗顏和難過!
沈教授的摺紙風格和理念對我的創作有很大的啟發和深遠的影響,使我找到自己發展的路向,就是由中國傳統器皿出發。在這範疇中,相信有極大的發展空間,因為西方人還未能摺出中國傳統器皿的神髓。
幾十年來,沈教授對摺紙的熱誠絲毫未減,每當有海外的摺紙家到訪時,他都會替我們引見。移民後,他在每次回港時,不論行程如何緊密,總會安排時間與我們相敘。
沈教授很會尊重別人的看法,我從來沒有見過他動氣。沈教授亦是一個節儉的人,他主張用廢紙來摺紙,在他的作品中,每每發現很多中文大學的單張、食品包裝紙、甚而過時的股票。他也是一個慷慨的人,他會毫不保留與人分享他的作品和他珍藏的海外名家作品和資料。在沈教授退休前,他已經有計劃地安排了他的藏書如何分配,在移民美國南加州前,他就送了很多珍貴的摺紙書籍和資料給本會,又將部份的書籍送給香港中央參考圖書館。
我對沈教授的離逝感到非常難過和惋惜,因為,我們失去了一位慈祥的長者、一位德高望重的前輩。但是,沈教授終可息勞歸主,重投主的懷抱堙A亦使我們十分欣慰!

周銓蔭
香港摺紙學會副會長
公元2004年9月12日


哀悼摺紙藝術家沈宣仁博士


沈宣仁博士是資深的摺紙創作家,海外蜚聲,藝苑馳名。
筆者有幸與沈博士結緣,始於大約十年前。筆者自九十年代初,即對摺紙藝術產生濃厚興趣。一九九四年,聞沈博士開辦摺紙學習班,筆者欣然報名。沈博士講學,一方面對基礎理論深入剖析,一方面把精彩作品的摺法,詳為解說,可謂深入淺出,理論與實踐並重。沈博士本身是摺紙創作家,作品數量繁多,但他在課堂上介紹的,多是他人的作品。他的目的是要把不同類型的上乘作品向學員推介,讓大家對摺紙藝術有更廣泛、更全面的認識,足見他胸懷磊落,大度無私。其後筆者加入香港摺紙學會,沈博士適為該會榮譽顧問,筆者遂得以多聆教益。每次沈博士與摺紙學會會員相敘,必本其一貫宗旨,把他認為最獨特的作品向大家介紹。曾與沈博士見面的摺紙學會會員,想必對他留下深刻的印象。
沈博士自幼學習摺紙,累積數十年經驗;他的創作,大多是立體幾何造型、器皿或裝飾品等,以動物為主題的創作極少。
現代摺紙藝術的發展非常蓬勃,作品風格與創作題材,多種多樣,動物摺紙可算是最受歡迎的其中一種。動物摺紙具有極強的模仿性質,簡單而言,就是以摺紙的方法,把動物的外在特徵準確地呈現,這當然具有一定的難度。許多摺紙創作人都以能摺出栩栩如生的動物為目標,而能令觀賞者大為讚嘆的,也往往是那些爪牙鋒利的摺紙恐龍,或是那些神態生動的摺紙動物。沈博士卻有另一種見解,他認為摺紙藝術與其他類型的藝術一樣,都以追求美感為最大目標。摺紙藝術本身自有其內在的價值,摺紙作品之所以受人欣賞,並不因為它像甚麼,而是因為作品本身的造型就很有美感。好比抽象的藝術雕塑,即使跟具體事物毫不相像,其輪廓、線條,也足以感動人心。他不太熱衷於動物摺紙的創作,就是基於這一種認識。這一觀點,實在很值得所有摺紙創作人深入思考。
沈博士的摺紙創作,獨具匠心。如果你動手摺他的作品,或許你會發現,即使經過了很多步驟,你還不知道成品是怎麼個模樣。直到最後幾步,作品才逐漸成形。這時候,你準會因他的構思巧妙而大為驚嘆。他的作品,單就是摺疊的過程,便已經滿有樂趣。
沈博士的作品,表面看來平平無奇,其實內媕蘉繻萓屆A結構極為嚴整。曾有人用手工紙摺出他的一個鼎形作品,然後用一隻茶樓品茗用的杯子盛滿開水,再放在作品上面。他的作品,竟能承托一杯水的重量,其中結構的緊密,亦可見一斑。所以,他的作品在摺好以後,即使不糊不黏,也不會鬆散。就藝術風格而言,沈博士的作品造型簡單,線條優美流暢,有一種自然純樸的味道,特具簡約之美,這是筆者最為欣賞的。
摺紙藝術於本地日見普及,但在數十年前,許多人只把摺紙藝術視為兒童玩意;多年以來,沈博士對摺紙藝術的發展付出過不少。他孜孜不倦,努力從事摺紙創作,獨領風騷數十年,可算得上是摺紙藝術界的先驅。
沈博士歷年作品的數量相當可觀;部分作品早年曾於海外刊行,但他還有相當多的作品未有公開,筆者和很多摺紙愛好者,都感到十分可惜,但願不久將來,會有人把他的作品加以整理,結集出版。
沈博士為人溫良寬厚,對後輩多作指導與鼓勵。筆者每次與沈博士相聚,話題總離不開摺紙,所以筆者只知有摺紙藝術家的沈博士,而不太熟識神學家的沈博士、教育家的沈博士,筆者深以為憾。
哲人其萎!沈博士已於二零零四年八月息勞歸主。謹以此文介紹沈博士的摺紙藝術,期望愛好摺紙的各界人士都對沈博士和他的作品有更多的認識;並以此文深切悼念敬愛的沈宣仁博士。

黃寶山
香港摺紙學會委員
二零零四年九月十五日


PROFILE - Dr. Philip Shen

Dr. Philip Shen was born in 1931 in Manila, the Philippines and graduated from Philippine Christian College in 1953. He received his Master of Arts degree from Oberlin in 1955 and proceeded to the University of Chicago, where he became a Bachelor of Divinity in 1958. He had fulfilled with distinction the requirements for the Doctorate which was concurred upon him in 1963.
In January 1962, Dr. Shen flew from Chicago to Hong Kong to marry Miss Sylvia Lo and assume his duties as acting chairman of the Department of Religious Knowledge and Philosophy at Chung Chi College, Chinese University of Hong Kong. He then acted as the chairman of the Department for many years. The Shens have two sons, Kish, born in 1963, and Kairos, a year younger. He published a lot of articles in education and religion. He was the founding chairman of many Philosophy Societies and Christian Institutes. Dr. Shen was also elected the dean of the Faculty of Arts from 1986 to 1989. Dr. Shen was the head of Chung Chi College from 1st August 1990 to 1994 until his resignation.
Dr. Shen was invited as the honorable consultant of The Chinese (H.K.) Origami Society soon after its founding in 1991. In 1994, the Shens migrated to South California, USA. They have come to Hong Kong several times for visits and meetings till November 2003. In USA, Dr. Shen received treatments of heart disease and lung cancer. Finally, the cancer spread into his bone. At 7:45p.m., 5th August 2004, Dr. Philip Shen was passed away at his home at the age of 73
.
The Origami Voyage
When Dr. Shen was a child, there was no money for toys in the household of his family, so he could only learnt from his parents how to fold toys out of bits of paper. The water-bomb was a favorite, but he was annoyed that it frequently came apart when inflated too vigorously. The lock-fold he invented to forestall such explosions was his first original fold. He had been fascinated with glider, Chinese boat and junk until his father got four or five colorful illustrated little manuals on paper folding published in Shanghai in the thirties that he lost during the Pacific War. Later, he recollected the books, especially complemented with “The art of Chinese paper folding” by Maying Soong.
Origami had merely been for childhood games until Dr. Shen went to Chicago as a divinity student. He found that origami could be a valuable medium of intercultural understanding and creative expression when he was working in church camps and conferences. Therefore, he began to collect origami books and models, and to make his own creations. At that time, he made friend with Mr. Jack Skillman and got inspiration from Jack. Mr. Skillman introduced Dr. Shen to the Origami Centre of USA where Dr. Shen spread the Chinese paper folding tradition. Dr. Shen began to write articles on folding and teach people origami. His presentation stressed paper folding as pure art. He was interested in three dimensional figures, furniture, utensils, and manmade objects of all sort, as well as abstract geometric models.
Dr. Shen continued to spread the charm of origami in Hong Kong in 1960’s. An article in the Chinese edition of the Reader’s Digest introduced both him and the magic of the art appeared in November issue of 1970. He was creating hundreds of distinctive origami models, including a series of snowflake that he was always proud of. In 1982, British Origami Society published a special booklet about him and his creation. Many splendid models were collected in this only personal origami book of Dr. Shen. Over the years, his works have been exhibited or published in the UK, USA, Japan, Germany, France, Italy, Spain, Singapore and Hong Kong. His friends helped Dr. Shen to make origami diagrams and instructions, as he merely liked teaching his creations in person.
In 1991, Dr. Shen was invited as the honorable consultant of The Chinese Origami Society. He introduced his own locking method, Shen’s Move, to us which was well known and named after him. He frequently taught us a lot of his elegant and distinctive models. His designs are according the principle of simplicity and economy. Curved surfaces are often found in his 3-D models.

Shen’s Origami Concept
Dr. Shen formed his own concept of origami during the folding journey of over half a century. He tried his best to use the minimum points, lines and surfaces to achieve the optimal effect in creating any origami models. His works are simple and aesthetically beautiful, marked by a distinctive style. He wanted to discover both solid and abstract forms of origami that had already existed in the universe. He found the art is closely related to topology in some ways. Moreover, Dr. Shen always tried to apply Plato’s thinking to his work, and he claimed that every good model should be a perfect exemplification of a Platonic idea.
The followings are some ways Dr. Shen found to advance origami:
1. Approach the models systematically, classifying them according to their structural, step by step relations, logically, i.e., by their basic folds and branch out in different directions at crucial points.
2. Search for new basic folds. This can be done by trying different or opposite steps that have not been explored before. Combining two or more techniques or basic folds will also help.
3. Break out into the third dimension. A complete origami model should be a 3-D sculpture that cannot be flattened.
4. Try more abstract forms or geometric shapes. They are logical basis for further creative development.
Dr. Shen believed that the art of paper folding must have originated in China for the simple reason that paper was first made in that country. Although the art is learnt and developed in childhood, the perpetuation of it clearly requires adult devotion all over the world.
David C.W. Chan
The Chairman
The Chinese (H.K.) Origami Society
11th September 2004