萬象羅胸一心獨造——童衍方

萬象羅胸一心獨造

——唐雲先生的鑑藏與創作童衍方

今年是當代國畫大師、著名書畫文物鑑賞家、收藏家，唐雲先生誕辰一百周年。他的書畫作品貴能窮古人之蹟，通古人之法、萬象羅胸，一心獨造。其花烏晝，用筆瀟灑，設色秀妍，形神兼備，姿致如生。山水畫秀勁蒼潤，意境深邃，收奇境於胸中，吐煙雲於筆底，書法則骨秀神清，縱橫如意，如玉潔金粹，均不襲前人面目而自闢畦逕。

凡有大成之畫家，在一生歷練中，除隨師長輩，汲取筆墨技法外，探頤鈎深，賞觀古今名品鉅蹟，涵養陶溶，至為重要。唐雲先生曾為魏仰之銘天然硯，文曰： “其德乾乾，其腹便便，獨具隻眼，為天下先。”雖銘付摯友，實可謂唐雲先生本人的真實寫照。其鍾情一生的鑑賞收藏生涯，滋養和提升了他的藝術創作，博觀而約取，厚積而薄發，唐雲先生的藝術成就與其鑑藏是密不可分的。

黃山谷曰： “尤物之歸也，以其嗜之誠，嗜之真，嗜之深，庶幾所得。”唐雲先生每得佳蹟，必書齋展懸，閑觀靜玩，而非誇揚珍異，競炫收藏。其收藏觀與前賢之論契契相合也，唐雲先生一生嗜書畫，其藏品菁華，一九八四年在重點介紹古代書畫藝術的大型雜誌《藝苑掇英》（第二十四期），《大石齋珍藏書畫專輯》中面世。由唐雲先生親自選定自宋代馬麟至現代齊白石的書畫精品六十五件，是多年來首次刊登著名書畫家個人藏品的專輯，影響頗大。

《大石齋珍藏書畫專輯》共收入馬麟、柯九思、聶大年、文徵明、王寵、董其昌、鄒之麟、倪元璐、鄭、朱耷、王暈、憚壽平、王原祁、石濤、華吕、金農、黃慎、方士庶、鄭燮、楊法、羅聘、鄧石如、黃易、伊秉綬、何紹基、陳鴻壽、錢松、趙之謙，蒲華、吳昌碩、齊白石，三十一位名家的書畫精品。其中金農十三件，朱耷六件，齊白石六件，石濤、華昌各四件，王原祁、吳昌碩各三件，伊秉綬、何紹基各二件，其餘均為一件。經梳理可見，唐老對金農、朱耷、石濤、華凸、王原祁、齊白石關注尤多。

唐雲先生天資穎絕，用志不分，其花烏畫取法華喦頗多，所作構圖新穎、造型生動，鬆秀明麗，得空靈駱蕩之致。直至上世紀八十年代，唐老還意臨家藏華岳《秋樹嗚禽圖》贈人。晚年曾作《花烏蟲草》冊十二開，題曰： “曾見甌香館主小幅，秀逸俊拔，始知華秋岳得力於此而能自化也，”唐雲先生取法之追本溯源，融會貫通，由此可見‘前人論藝曰： “規矩在手，法度因心‘”唐老花烏畫善不拘一格地取法前賢，八大山人畫筆凝煉、簡括、冷峭，造型變幻多端，所倉意境，別具靈奇。其妙筆高格，唐老最為欣賞並終生取法，時見其畫端。唐老還曾作《紫綬金章》一圖，紫藤一片，金魚三尾，極具動勢，題曰： “略擬缶老，虛谷兩家筆意於大石齋。”此兩大家之筆墨甚難融合，唐老晚年之探索精神令人感動。

此外，齊白石的筆墨縱橫雄健，造型簡練質樸，色彩鮮明強烈，及潤筆寫意與微毫畢現之草蟲的巧妙結合，均為唐雲先生欣賞和取法，並在晚年還書錄“齊白石自序” 、 “白石年譜” 、“齊白石詩集”，可謂“同音相聞，同志相從” 。

唐雲先生山水畫醉心石濤，石濤山水畫構圖新奇，筆墨雄健，於豪放中寓靜穆之氣，匠心獨運，面目強烈。唐老諦視索玩，擷其精嘩。唐老所藏《苦瓜妙諦》花卉山水四段錦卷，為大石齋長物，尤其是山水段中的濃淡、繁簡，濕燥等皴擦之法和山石奇趣，唐老得之尤多，唐先生在八十四歲時還作，《倣石濤長林遠秋圖》欵曰： “一帶長林送遠秋，坡頭想見讀書樓。行來不覺衣衫濕，翠滴陰濃日午收，苦瓜和尚長林遠秋圖，余舊藏真跡，今歸故宮博物院矣，八十四翁唐雲記。”唐雲於石濤今古相接，研求至深，他在上世紀七十年代所作的山水精品，《杜甫詩意》冊、《太白詩意》冊、《放翁詩意》冊、《清湘流風》冊等，均有其苦心孤詣，上追古人之跡，而又能規矩在手，法度同心。正如陸儼少先生所評： “藥翁山水出於石濤，而一種尘生重秀為其獨得，因非石濤之所能盡也。轉益多師，遂然凌駕前賢，駸駸欲度驊騮前矣。”陸老所評極是，唐雲先生山水取法，除石濤外，“四王吳憚”、戴本孝、方士庶等均能擇善而從，取之、用之。

唐雲先生書法賞者眾多，而論者最少，原因是其書不以一法而落筆，不以一長而取妙，神龍見首不見尾，難尋其軌跡。其實，唐老學書頗早，用功最勤，酷嗜金石碑版。所藏《毛公鼎》，《散氏盤》、《曶鼎》及簠齋所集金文小品，均為傳世精拓，並有名家題記，秦漢碑刻石闕亦多舊拓佳本，如延熹七年的《封龍山碑》等曾多次出版。唐老還多方收集六朝墓誌佳拓，對此深有研究。一九八二年，著名碑帖專家王壯弘出版《六朝墓誌檢要》一書，請唐老作序，其文曰： “古代書法除原跡外，石刻居多。故書畫大家都留心金石刻辭，遠古不論，近如趙之謙、吳昌碩、齊白石等即以金石書法熔於繪畫之中，而獨樹一幟。余酷嗜古物，凡造像、刀布、壺銘、硯石、磚瓦、碑拓得一佳品即置案頭，而尤好墨拓，先後得銘心絕品數十餘種，創作之暇時時把玩，於繪事似有所獲……”唐老於書，取法之深廣，由此可見。

唐雲先生行書取法倪瓚，上世紀五十年代左右之書，往往起筆爽利快捷，然後兔起鶻落迅筆上翻轉鋒，起訖頓挫極具動勢。其特色是橫筆轉折較粗，過筆處瘦勁清挺，極具對比‘題之畫面，互相映發，韻味無窮‘觀其書，既具倪書清勁蕭疏之格，又能食古而化，成一家之法，顯其骨蒼神腴，醇古雅逸之書風。至六十年代，唐雲先生又常作大幅屏書，縱橫瀟灑，意態奇肆，行筆如快馬斫陣，點畫凝煉飽滿，貴能姿態宕逸而無矜能虛矯之氣，縱橫飛動而具靜穆之姿，深得藝壇好評。

由此可見，唐雲先生之書，乃貫通篆隸以求其質，融會百家以求其形‘學魯公之雄厚而能得淡古之韻，學倪瓚之簡逸而能具渾論之趣，可謂不襲不蹈，是一位菩學善化的傑出藝術家。前人曰： “作畫以理、氣、趣兼到為重，非是三者，不入精妙神逸之品。”此三要中之“趣”，可從繪畫名作中得，可以從詩文名篇中得，也可從江山美景中得，更可在點滴生活中得。在諸多書畫名家中，唐雲先生是最具生活情趣者。有謂 “茶類隱、酒類俠”，唐雲先生一生與茶為伴，一日不可離，是他創作靈感的重要組成部分，並由他將茶酒提昇到至高的藝術境地。上世紀八十年代，上海書店重版胡山源所編的《古今茶事》、《古今酒事》，均為唐雲先生題耑，唐老嗜茶嗜酒之影響由此可見。

前人謂“茶之飲，最宜精行修德之人。“唐老嗜茶，更注重茶中藝事，故嗜紫砂陶藝，尤嗜“曼生壺” ，一生尋覓，竟得八柄，因顏其室曰： “八壺精舍”。唐老早在上世紀三十年代即與顏景舟、朱可心、蔣彥亭、王寅春等製壺高手探討壺藝，上世紀八十年代更醉心於紫砂創作，或構思設計，或作畫撰銘，留下諸多佳作。由唐雲及滬上諸多書畫名家興起的紫砂壺創作高潮，是繼清代陳曼生、楊彭年後，紫砂復興之第二浪，也可謂紫砂史上之絕唱。

唐雲先生之壺銘壺晝，匠心獨運，別樹一幟，尤為難能可貴的是他信古而不泥古，創立新程式，清代陳曼生的幕友汪鴻，擅畫工鐵筆，善山水，曾曰： “宜興沙壺不能刻山水，雖摹古人晝本亦不佳。”此經驗之談流傳甚廣，也成定律為大家認可，唐老壺畫，題材最廣，除梅、蘭、竹、菊、花鳥魚蟲外，也頗多山水精品‘就此一點，就具劃時代意義。唐老深閣壺藝，又常與鐫刻名手沈覺初切磋商討，故深知壺之刻法，與沈氏並作，可謂珠聯璧合也‘唐雲先生壺上山水，以澹見真，以簡入妙，皆離合奇縱另構一種靈奇，壺之題句亦佳，或言簡意賅，意在言外，或妙語解頤，趣意橫生，均朗朗可誦也。曾見一壺，青山談抹，疏曠一亭，二人對飲，題曰：“最愛春山亭子下，襲人清氣是茶香。”又見一壺，深山幽谷，翠林映閣，一高士納涼獨飲，題曰： “獨飲清茶誰為伴，新詩只在翠微中。”皆詩情畫意，風趣自然，前人謂“酒似俠，有豪邁之氣，具入世雄心，”唐老嗜酒，其書畫創作，常有酒之助，酒濃意興，或吟，或詩，或書，或畫，皆俱豪氣。曾有詩曰： “腕中拂拂起春風，詩句渾如奪化工，不信由來都嗜酒，生機卻在醉毫中。”可見唐老一生之作與酒密不可分。唐雲先生曾作《瓶梅圖》，酒甏先以大筆濃淡寫出，極具質戚，又以逆筆、枯筆寫出枝幹，穿插相映，充滿生機。梅花則信筆勾圈，素花點點各具姿態。題曰： “酒甏插花，花薰酒氣，十指間來，陶林之趣。”此亦醺醺然中之佳作也。唐雲先生一生嗜酒，最知箇中情趣，所謂“飲喜宜節，飲勞宜靜、飲倦宜詼諧，”曾作《戒酒圖》，水墨斗方，圖左盆蘭數叢，右置酒壺一大柄，中則散亂大小酒杯七個，上以草隸漫題曰： “酒能亂性，少飲則佳，若多吃點，不聞香花，唐雲自誡。”文筆風趣隽永，極具幽默戚。

唐雲先生生活即藝術，藝術即生活，其藝術之趣無處不在，也處處陶冶情趣。他曾有一札致摯友李研吾曰： “前後來書及油胡蘆（叫蟲），都收到。甚謝，甚謝。弟年逾古稀，尚好童年所玩之物，兒態未改，殊可笑也，兄云油胡蘆有許多名堂，希遇有經驗者為我一問，一如何飼養？二叫聲如何？如叫時有幾個起伏，即幾個翻頭……“童心未泯，情真意切，如此人品藝品合一之大藝術家，無人不敬也！

On the Artworks and

Connoisseurship of Mr. Tang Yun

Tong Yanfang

This year marks the centennial anniversary of the birth of renowned calligrapher, painter, connoisseur and collector TangYun - whose calligraphy and paintings integrate the traditions and philosophy of the ancient masters while projecting a unique cornucopia of imagery.

All exceedingly successful painters embrace common characteristics. Apart from learning ink-painting techniques from older generations, they unfailingly strive to accomplish skills and advancement by savouring and observing the masterpieces of the past and present. The Yiyuan Duoying(Gems of Chinese Fine Arts) - Precious Calligraphy and Painting Collection of Da Shi Zhai published in 1984 features sixty-fivefine works of calligraphy and paintings collected by Tang Yun,spanning the period from Ma Lin of the Song Dynasty to QiBaishi of the modern era. As evidenced in their summarized accounts, Tang Yun invested comparatively more attention in Jin Nong, Zhu Da, Shi Tao, Hua Yan, Wang Yuanqi and QiBaishi.

Tang Yun's flower-and.bird paintings, as reflected in many of his works, unconventionally feature the painting styles of senior masters such as Hua Yan, Ba Da Shan Ren and QiBaishi. In the realm of landscape painting, he admired and followed the style of Shi Tao. One of his adored collections in Da Shi Zhai is the four panels of flower-and-landscape scroll entitled The Truth of the Brtter Melon, in which Tang Yun found great interest in various strokes - thick, thin, complicated,simple, wet and dry - as well as interesting skills in painting mountains and rocks. Tang Yun studied calligraphy at an early age and exerted great effort in practicing his art.Given his great interest in stone inscriptions, he developed a profound knowledge of rubbings from tablets. His running script is modelled after Ni Zan and features thick alternating horizontal strokes as well as thin, vigorous, clear and definite turning strokes. Many of these works feature the harmonious integration of paintings and inscriptions, inviting the viewer into a world of endless charm.

Tang Yan was not only a tea lover but an enthusiast who valued the art of tea. He was particularly keen on the porcelain art of zisha (purple clay), especially Man Sheng teapots. He collected eight of them throughout his lifetime. Tang Yun even referred to his den as the 'Studio of Eight Great Teapots'. During the 1980s, he indulged himself in the creation of zisha- such as their design, painting and inscription - and passed down a dazzling number of fine works. The fashion of zisha teapot creations produced by Tang Yun and various famous calligraphers and painters in Shanghai, in the second tide of its renaissance since that developed by Chen Mansheng and Yang Pengnina of the Qing Dynasty, can be said to have reached its zenith in the history of zisha. Tang Yun's teapot paintings embrace a wide variety of themes - including the plum blossom, orchid, bamboo, chrysanthemum, flower, bird, fish and insects as well as fine landscape works. In addition to his profound knowledge of the art of teapot - making, Ta ng Yun was acquainted with the art of teapot carving as he frequently exchanged views with teapot-carving master Shen Juechu. Tang and Shen thereafter made excellent partners in their numerous collaborative works.

Tang Yun greatly indulged in drinking. He often 'borrowed'power from alcohol while working on his calligraphy and paintings. Tang Yun painted Plum Blossom in Vase. In the image, the vase is painted with thick and thin strokes and hence is rich in texture, while the plum blossoms are contoured freely with their own unique gestures. His generous ink painting is skilfully arranged over another work, Away from Drinking, in which a pot of orchids and a large vase of wine stand respectively on the left and right hand side, with seven wine cups of different sizes placed haphazardly between. The painting also features a cursive inscription by Tang: 'Wine can drive one out of one's mind and so it's better to have less; Tang Yun warns himself never to desire the flower (alcohol) fragrance after eating too much." Such inscriptions reveal his interesting and humorous style of writing.

*This article is an abridged version of the Chinese original.

萬象羅胸 一心獨造——童衍方

萬象羅胸一心獨造——童衍方