朱曉峰?盧云芬

明末張岱曾說：“人無癖不可與交，以其無深情也；人無癡不可與交，以其無真氣也。”癖，可以理解為一種根深蒂固的信念，一種超越于凡俗的堅(jiān)執(zhí)，一種沉潛中的追尋。沉潛內(nèi)修，沉潛創(chuàng)新，必須舍棄現(xiàn)實(shí)種種誘惑，才有可能體悟到藝術(shù)的真諦，修得正果。盧樂群先生的書法，正是其耐得住寂寞，幾十年如一日孜孜以求，才達(dá)到蓄深養(yǎng)厚的藝術(shù)高度。

盧樂群，1942年生，浙江臨海人。書法受業(yè)于沙孟海、陸維釗諸先生。書法作品曾獲全國群眾首屆書法比賽二等獎(jiǎng)、全國四屆書展二等獎(jiǎng)、全國五屆書展全國獎(jiǎng)、全國三屆中青展一等獎(jiǎng)、國際賽克勒杯一等獎(jiǎng)，曾被書壇譽(yù)為“獲獎(jiǎng)專業(yè)戶”。近年來他相繼在北京中國美術(shù)館、日本東京《朝日新聞》會館、新加坡書法中心等地舉辦個(gè)人書法展，飲譽(yù)海內(nèi)外。出版有作品集2冊，發(fā)表《民間書法的啟迪》等多篇論文；歷任浙江省書法家協(xié)會副主席、中國書協(xié)創(chuàng)作委員會委員、臺州市文聯(lián)主席、臺州學(xué)院客座教授等職。

盧樂群的書作因既具有歷史的、古典的韻味，又富含著強(qiáng)烈的時(shí)代創(chuàng)新色彩而為世人所重。

一個(gè)人的成長或多或少都會受到地域的影響，千年古城臨海的靈山秀水滋養(yǎng)了他溫和而堅(jiān)韌的性情，亦柔亦堅(jiān)的地域基因深深潛藏在他的血液之中。盧樂群家學(xué)淵源，其祖父曾在杭州圖書館工作，1949年后回到臨海。祖父擅長書法，盧樂群幼年即在祖父指導(dǎo)下臨習(xí)歷代名家字帖，打下扎實(shí)的功底。盧樂群一往情深回憶起祖父當(dāng)年手把手教自己習(xí)書的情景：記得有一次，我突發(fā)奇想，打破常規(guī)，斷開相連的筆劃，造成似斷非斷的視覺效果，受到祖父的夸獎(jiǎng)。祖父常常用“頭碗菜”來比喻習(xí)書的重要性，而童年的我也深深悟到這個(gè)道理。在一起習(xí)書的小伙伴中，我是最用功的一個(gè)，小小年紀(jì)手上就有了把筆痕，這讓我很是驕傲。盡管有時(shí)也會調(diào)皮偷懶，但內(nèi)心還是深愛書法的。盧樂群至今記得祖父有一個(gè)半新不舊的皮箱，里面有其珍愛的書籍、字畫，有沈尹默、徐悲鴻等大家的作品，也有父親留下的精美書法作品。兒時(shí)的盧先生總是對那個(gè)寶箱充滿想象。

回憶起父親，盧樂群神情凝重。父親愛好書法，寫得一手好字，而且與于右任、沈尹默等書家交情深厚。后來父親去了臺灣，盧樂群的青少年時(shí)代為此受到牽累。盧樂群做過臨時(shí)工，賣過柴，拉過車，拌過水泥。他給自己起了個(gè)筆名：盧樵。

“文革”十年中，盧樂群一家受到?jīng)_擊，收藏的書籍、字畫被毀，找工作受到歧視。他也曾迷茫、彷徨，但他心中有一股不向命運(yùn)低頭的倔勁頭，他對書法的探索沒有停止。盧樂群暗暗對自己說：我要扼住命運(yùn)的咽喉，等待轉(zhuǎn)機(jī)。

盧樂群人生中幾個(gè)重要的良師就是在這段歲月中結(jié)識的。沈敦五先生是寧波師專校長，此時(shí)已退休在家，他的文學(xué)素養(yǎng)極高，尤擅詩詞。許良奇先生是中學(xué)語文教師，也有很厚的文學(xué)功底。鄉(xiāng)賢朱在勤先生對于書史與理論研究頗深，不僅傳授知識，還教給學(xué)生許多為人處世的道理。他們對藝術(shù)的執(zhí)著和樸素的人生觀、藝術(shù)觀深深影響了這個(gè)年輕人。

經(jīng)朱在勤先生指點(diǎn)，盧樂群決定去杭州拜謁沙孟海先生。

1972年秋，盧樂群懷揣夢想來到杭州，找到了龍游路12號沙孟海先生的家。站在寫滿歷史痕跡的屋檐下，年輕人猶豫片刻，然后鼓起勇氣敲門。一代宗師沙孟海開了門，臉上掛著詢問的笑意。明白這個(gè)年輕人的拜師意圖后，沙老綻放一臉笑容，伸出溫暖的雙手。

“在當(dāng)今文化如此蕭條的時(shí)期，你為什么還這么追求書法藝術(shù)？”沙孟海問道。

“這是祖父、父親和我三代人的共同愛好?！北R樂群回答。

“吾道不孤?！鄙忱细锌馈?/p>

沙老看過年輕人的習(xí)作，欣然收下這個(gè)徒弟。令盧樂群至今難忘的是，沙老嗓門響亮，知識面寬，文化學(xué)養(yǎng)極高。其間，沙師母不斷插話問訊故鄉(xiāng)，因?yàn)樗彩桥_州人，這使盧樂群備感親切。老師灌頂良言溢滿學(xué)生心房。從老師家出來已是傍晚，學(xué)生的心充盈濃濃的歡愉和幸福。此時(shí)，漫過心際的是春風(fēng)般的暖意，抬眼遠(yuǎn)眺，藍(lán)天深邃高遠(yuǎn)，晚霞安靜祥和，還有一行大雁在天空飛翔。

翌日下午，盧樂群再次來到沙老家，請教大師。“看沙老寫字，運(yùn)筆大開大合，勢如橫掃千軍，令人嘆為觀止。”后來，經(jīng)沙老介紹，他又認(rèn)識了陸維釗先生。就在陸先生家，他與書法名家朱關(guān)田相識，后來還成為至交。

有幸得到沙老的悉心指導(dǎo)，盧樂群如逢甘露，茅塞頓開。他憑藉雄厚的文學(xué)功底，躬身求索，廣泛涉獵藝術(shù)精髓。從書法概論、漢字的創(chuàng)造與書法的產(chǎn)生，從字體結(jié)構(gòu)、章法布局等方面，他用一種饑渴的眼光細(xì)細(xì)打量，不停研習(xí)、思考、領(lǐng)悟，全身心地投入到一種超脫的境界之中，沉浸在翰墨字香中。

佛教對中國的書法藝術(shù)產(chǎn)生了巨大的影響，與書法藝術(shù)在思維方式、情感體驗(yàn)等各方面是相通的，而佛教的精神內(nèi)涵也不同程度上滲入了中國書法藝術(shù)。從骨子里來說，盧樂群是一個(gè)深受傳統(tǒng)文化影響的文人，但和“居廟堂之高則憂其民，處江湖之遠(yuǎn)則憂其君”的儒家不同，他追求的是一種自在、自得、適意、暢達(dá)的藝術(shù)境界。盧樂群年少時(shí)便對佛教產(chǎn)生了濃厚的興趣。禪宗空的境界，王維、陶淵明等詩人飽含寂靜空曠之感的詩景契合了盧樂群的心境?！敖Y(jié)廬在人境，而無車馬喧。問君何能爾？心遠(yuǎn)地自偏?！?/p>

有了高妙的領(lǐng)悟能力，盧樂群自然而然進(jìn)入一個(gè)嶄新的藝術(shù)天地。虛靜恬淡游于藝，澄懷觀道寫人生。他把自己的個(gè)性、氣質(zhì)、情思滲入創(chuàng)作之中，與筆墨交融，靜靜地守著自己心中的精神家園。盧樂群是走碑帖交融書法之路的第三代書家中的杰出代表。

盧樂群身兼書法家與企業(yè)家兩個(gè)身份。無論工作多忙，他必定保證每天5小時(shí)以上習(xí)書，揣其精髓，悟其真諦。對于盧樂群，做企業(yè)更多的是一種承擔(dān)責(zé)任，作為領(lǐng)頭羊，必須對員工負(fù)責(zé)，而且要負(fù)責(zé)到底。

一份責(zé)任，讓盧樂群成為合格的企業(yè)家；一種使命，成就了一位書法大家。

Calligrapher Lu Lequn， born in 1942， is a man who was portrayed and discussed by Zhang Dai （1597-1689）， a poet and essayist of the Ming Dynasty （1368-1644）. Zhang said “dont befriend a person who doesnt have a hobby， because having no hobby means having no dedication； dont befriend a person who doesnt have any obsession， because having no obsession means having no real understanding of life”. For Lu， dedication and obsession is exactly what has driven him to explore the secret and beauty of calligraphy for all these decades.

Lu Lequn stands out as a calligrapher because his art presents the elements of classical times and the innovative touches of today. Part of his dedication and obsession came from his family. His grandfather worked in Hangzhou Library before 1949. After the liberation， he came back to Linhai， their hometown and a region in the southeast of Zhejiang Province. Lu Lequn studied calligraphy under his grandfathers guidance. In the early years， he copied the masterpieces of ancient calligraphers. Of all the children who were learning calligraphy together with him， the young boy worked hardest. He was proud of the marks in his hand left by holding a brush-pen year in year out. One day， he impulsively wrote some broken brushstrokes， which were supposed to be connected. The result looked fresh and innovative. The grandfather was happy with this unexpected development and praised the boy. Lu Lequn remembers a leather suitcase that his grandfather had. It was a treasure box full of books and artworks of calligraphy and paintings by some modern masters. Also in the suitcase were some calligraphic pieces written by his father.

His father was an ardent calligrapher and was friends with Yu Youren and Shen Yimo. The fathers move to Taiwan caused a lot of trouble to Lu Lequn. In the chaotic years of the Cultural Revolution （1966-1976）， Lu and his family suffered because of his father. The familys art collection was destroyed and he had trouble finding a proper job. But his dedication to and obsession with calligraphy didnt die despite so much trouble.

He practiced calligraphy hard. It was during the tumultuous years that he came to know some tutors and guardians. He made friends with Shen Dunwu， a retired teacher specialized in poetry， Xu Liangqi， a middle school language teacher versed in literature， and Zhu Zaiqin， a calligrapher specialized in history and theory. Lu learned a lot from them. In particular， their worldviews and dedication and obsession left deep marks on the young calligrapher.

Zhu Zaiqin advised Lu Lequn to go to Hangzhou and visit Sha Menghai， the top calligrapher of Zhejiang Province. In the autumn of 1972， Lu visited Sha at his home at 12 Longyou Road. The master received the young man warmly. Asked why he was pursuing calligraphy in these years difficult for culture and art， Lu replied that it was a love shared by three generations in his family.

Through Sha， Lu Lequn visited Lu Weizhao and it was at Lu Weizhaos home that Lu Lequn met Zhu Guantian. Lu and Zhu became fast friends and the two calligraphers friendship has lasted.

It was under the guidance of Sha Menghai that Lu Lequn found his direction forward in calligraphy. He is now an exemplary representative of the third-generation calligraphers exploring a challenging style pioneered by Yu Youren and Sha Menghai and Lu Weizhao. These calligraphers saw a new path in integrating the calligraphy carved on stone steles in very ancient times and the calligraphy written on paper and other similar media. The fusion was once considered impossible and many failed. That is why the successful query is considered so rare.

Many factors have contributed to the successful fusion in the hands of Lu Lequn. Among so many contributing factors， he has worked hard. Now at 76， he still keeps practicing calligraphy five hours a day.

Though he talked indirectly about persons like Lu Lequn centuries ago， Zhang Dai of the Ming Dynasty never really knew how far a person like Lu could travel in his pursuit through dedication and obsession. Lu has traveled far down the path opened up and explored first by his predecessors in the 20th century.