文王岳川 WANG Yuechuan

被稱(chēng)之為“南饒北季”的饒宗頤先生于2月6日去世，無(wú)疑是中國(guó)文化界的一大損失。

饒宗頤學(xué)術(shù)藝術(shù)道路非常廣闊，可謂達(dá)到了孔子所說(shuō)的“君子不器”的理想高度。季羨林說(shuō)“心目中的大師就是饒宗頤”，錢(qián)鐘書(shū)說(shuō)他是“曠世奇才”，金庸說(shuō)“有了饒宗頤，香港就不是文化沙漠”。饒先生學(xué)貫中西，獲譽(yù)多多：曾獲多項(xiàng)獎(jiǎng)譽(yù)、榮譽(yù)博士及名譽(yù)教授銜，包括法蘭西學(xué)院“儒蓮獎(jiǎng)”、法蘭西學(xué)院外籍院士、巴黎亞洲學(xué)會(huì)榮譽(yù)會(huì)員、法國(guó)高等研究實(shí)踐學(xué)院首位華人榮譽(yù)人文科學(xué)博士、香港政府大紫荊勛章、香港藝術(shù)發(fā)展局終身成就獎(jiǎng)等，足見(jiàn)學(xué)界評(píng)價(jià)之高！

饒先生的學(xué)術(shù)藝術(shù)境界高邁出塵——出經(jīng)入史、博大精深、詩(shī)文書(shū)畫(huà)、著作等身。一個(gè)學(xué)者在101年的壽命中能寫(xiě)出60多部著作、 500多篇論文，還精通六七門(mén)外語(yǔ)，再加上書(shū)法、繪畫(huà)，令人匪夷所思。我認(rèn)為饒先生的成就可以概括十個(gè)方面：敦煌學(xué)、甲骨學(xué)、詞學(xué)、史學(xué)、目錄學(xué)、楚辭學(xué)、考古學(xué)、金石學(xué)、書(shū)法繪畫(huà)和詩(shī)學(xué)美學(xué)。這十個(gè)方面，饒先生以一人之力，做出了可貴的貢獻(xiàn)。

國(guó)學(xué)精神 天人互益

學(xué)術(shù)界有一個(gè)基本共識(shí)：“南饒北季” ，即南方有香港的饒宗頤先生，北方有季羨林先生。這兩位學(xué)術(shù)大師都精通數(shù)門(mén)外語(yǔ)，著作等身，學(xué)術(shù)上達(dá)到相當(dāng)高的境界。但他們沒(méi)有關(guān)門(mén)做學(xué)問(wèn)，而是心系天下——關(guān)注全球化中的中國(guó)文化命運(yùn)！饒先生治學(xué)的方法論，對(duì)我們做學(xué)問(wèn)，包括做書(shū)法學(xué)、美術(shù)學(xué)研究的都很有啟發(fā)：

其一，勇于推陳出新。推陳出新強(qiáng)調(diào)方法新、觀點(diǎn)新、材料新。我注意到王國(guó)維先生的“二重證據(jù)法”：出土文物加上紙上的文獻(xiàn)。文獻(xiàn)是文字的，出土文物是實(shí)物的，二者可以佐證史實(shí)的真實(shí)性。饒先生又加了一個(gè)新東西——甲骨文。甲骨文既是地下出土的，但是它的價(jià)值不是看甲骨，而是甲骨上的文字，所以它又是文獻(xiàn)。我認(rèn)為這是繼王國(guó)維之后的一大學(xué)術(shù)推進(jìn)。

其二，饒先生非?？粗貒?guó)學(xué)與中國(guó)傳統(tǒng)的意義，在方法論上注重“中西佐證”。有些學(xué)者僅僅是拿中去比西，或拿西去比中，這都有很大的問(wèn)題。饒宗頤先生認(rèn)為，中國(guó)文化的主體是經(jīng)學(xué)，國(guó)學(xué)就是本國(guó)的文化，每個(gè)國(guó)家都有本國(guó)的文化，把中華文化稱(chēng)為國(guó)學(xué)，放到世界上就不通了，因此他主張更準(zhǔn)確應(yīng)該稱(chēng)為“漢學(xué)”或“華學(xué)”。就此而言，他對(duì)古經(jīng)史深懷難以表達(dá)的敬意，強(qiáng)調(diào)研究國(guó)學(xué)不能褻瀆“國(guó)本”，要愛(ài)惜敬重“古義”，順著中國(guó)文化的經(jīng)絡(luò)本義闡發(fā)經(jīng)史，并用“大文化”的眼光看中國(guó)的材料并佐以西學(xué)脈絡(luò)，從這一點(diǎn)來(lái)講，在學(xué)問(wèn)上是深情冷眼地“中西匯通”。

其三，學(xué)術(shù)理性的懷疑和創(chuàng)新精神。這是作為一個(gè)學(xué)者最重要的品格。他對(duì)疑古派過(guò)分地懷疑中國(guó)歷史提出批評(píng)，包括對(duì)疑古派學(xué)者把中原地盤(pán)越說(shuō)越小提出不同意見(jiàn)。他的研究應(yīng)該是對(duì)中國(guó)文化深層結(jié)構(gòu)和遠(yuǎn)古精神的揭示。對(duì)世紀(jì)學(xué)術(shù)各家各派，皆是取長(zhǎng)補(bǔ)短，獨(dú)出機(jī)杼。饒宗頤說(shuō)：“正如魯迅先生所講，近代學(xué)者往往受哪個(gè)國(guó)家、哪個(gè)學(xué)派影響，我則盡量多些接觸各國(guó)、各學(xué)派的學(xué)者，包括在美國(guó)1年，日本4年，新加坡5年，英、法、西班牙、印度等地幾個(gè)月。到那里潛下心來(lái)研究當(dāng)?shù)氐恼n題，決不一知半解就以為窺見(jiàn)全豹，自鳴得意?！?/p>

其四，文學(xué)研究上大膽運(yùn)用比較文學(xué)方法。季羨林認(rèn)為：饒宗頤教授運(yùn)用比較文學(xué)的方法，探討中國(guó)古代文學(xué)的源流，對(duì)于我們研究中國(guó)古代文學(xué)史也有很多啟發(fā)。饒先生在《漢字與詩(shī)學(xué)》一文中認(rèn)為關(guān)鍵就是漢字——中國(guó)漢文詩(shī)的特點(diǎn)與漢字有緊密的聯(lián)系。饒先生在他的文章中探討了一些與詩(shī)的形式有關(guān)的問(wèn)題，韻律也在探討之列。所有這一切都是從漢字這個(gè)特點(diǎn)出發(fā)的。

皋蘭山寫(xiě)生（中國(guó)畫(huà)）饒宗頤Sketching of Gaolan Mountain, (Chinese Painting) Jao Tsung-i

書(shū)法超邁 獨(dú)出機(jī)杼

饒宗頤幼年從唐顏真卿入手，臨寫(xiě)《顏勤禮碑》《顏氏家廟碑》《麻姑仙壇記》；然后，為強(qiáng)健腕力轉(zhuǎn)而寫(xiě)《張猛龍碑》《爨寶子碑》；后為求結(jié)構(gòu)森嚴(yán)精準(zhǔn)，對(duì)唐歐陽(yáng)詢《化度寺碑》下過(guò)苦功；為求書(shū)法意趣之美，轉(zhuǎn)而對(duì)宋蘇、黃、米三家行書(shū)刻意臨寫(xiě)，領(lǐng)略其中意趣。中年以后，因?yàn)閷W(xué)術(shù)研究所及敦煌學(xué)和甲骨學(xué)，著有《戰(zhàn)國(guó)楚簡(jiǎn)箋證》《編鐘銘釋》《居延零簡(jiǎn)》《日本所見(jiàn)甲骨錄》《巴黎所見(jiàn)甲骨錄》《長(zhǎng)沙出土戰(zhàn)國(guó)繒書(shū)新釋》《海外甲骨錄選》《殷代貞卜人物通考》，這無(wú)疑影響到他的書(shū)法趣味和風(fēng)格，故而形成中年變法，對(duì)甲金、簡(jiǎn)帛及漢隸情有獨(dú)鐘，朝夕臨習(xí)不輟。饒宗頤在《論書(shū)十要》中說(shuō)：“新出土秦漢簡(jiǎn)帛諸書(shū)奇古悉如錐書(shū)，且皆是筆墨原狀，無(wú)碑刻臃腫、斷爛之失，最堪師法。觸類(lèi)旁通，無(wú)數(shù)新蹊徑，正待吾人之開(kāi)拓也?！?/p>

醫(yī)學(xué)教育作為衛(wèi)生健康事業(yè)的重要基礎(chǔ)，是高等教育的重要組成部分，也是教育強(qiáng)國(guó)建設(shè)和健康中國(guó)建設(shè)的重要內(nèi)容。將繼續(xù)積累和總結(jié)教學(xué)經(jīng)驗(yàn)，在實(shí)踐中不斷改進(jìn)完善教學(xué)改革內(nèi)容，為我校培養(yǎng)更多具有“仁心妙術(shù)”的高素質(zhì)醫(yī)學(xué)人才。

進(jìn)入晚年，他對(duì)敦煌書(shū)法長(zhǎng)期專(zhuān)攻，選取巴黎所藏敦煌經(jīng)卷精萃編為《敦煌書(shū)法叢刊》29冊(cè)，化所有學(xué)術(shù)和書(shū)法養(yǎng)料而成就自我書(shū)法風(fēng)格，終于形成不同于各家各派的古文字書(shū)法風(fēng)格。他既不走民間書(shū)法的道路，也不走西方抽象畫(huà)書(shū)法道路，而是堅(jiān)定地走熔鑄傳統(tǒng)、匯通碑帖的大美之路，廣泛涉獵帖學(xué)、簡(jiǎn)牘、甲骨、魏碑等，融會(huì)貫通而自成面目。

饒先生的書(shū)論思想有自己的美學(xué)原則。他在《論書(shū)十要》里主張書(shū)體要“重”“拙”“大”而拒絕“輕佻、嫵媚、纖巧”，行筆避免熟滑、甜俗而要厚重耐看，臨帖習(xí)碑要手摹心迫，細(xì)讀深思，不可只求形似；書(shū)道講求“墨色酣暢，線條淋漓，人天湊泊”等。在我看來(lái)，中國(guó)的書(shū)家不少，學(xué)者很多，但是書(shū)法能寫(xiě)到饒先生這樣精到、自成面目、學(xué)古不泥古的，實(shí)不多見(jiàn)。這與饒宗頤先生的書(shū)法態(tài)度很有關(guān)系——不屑于書(shū)法山頭主義、流派主義，他日課臨帖與常常獨(dú)處，甚少出門(mén)，幾乎不應(yīng)酬。重視精神的獨(dú)處和生命的修煉，才能有書(shū)法的無(wú)言大美。

文人繪畫(huà) 沉勁老辣

饒宗頤先生在中國(guó)文人畫(huà)創(chuàng)作上傾注了巨大的精力并獲得公認(rèn)的藝術(shù)高度。他在文人畫(huà)創(chuàng)作上新法迭出，行內(nèi)外人士公認(rèn)，其成就絕不在學(xué)術(shù)之下。

文人畫(huà)到了饒宗頤先生這里，有了新的變化。他不再熱衷于對(duì)摹原作的形似，而在自己的山水畫(huà)寫(xiě)景或造景山水中浸透著對(duì)古人精品的深刻洞悉，以他郁勃的學(xué)術(shù)之氣和生命感悟在筆墨情趣中散發(fā)出山川之魂。畫(huà)家黃苗子認(rèn)為，饒宗頤繪畫(huà)之所以“落筆便高”，是和他廣博的學(xué)問(wèn)分不開(kāi)的。美術(shù)史家萬(wàn)青力認(rèn)為，饒宗頤繪畫(huà)已超越傳統(tǒng)“文人畫(huà)”，是中國(guó)繪畫(huà)史上極其罕有的“學(xué)者畫(huà)”。

到了晚年，饒宗頤形式的創(chuàng)作力勃然迸發(fā)，尤其在他熱愛(ài)的敦煌題材的繪畫(huà)上，以一種天老地荒、沉勁老辣的筆勢(shì)，一大塊的漲墨和枯潤(rùn)相間的大寫(xiě)意筆法描繪敦煌壁畫(huà)的畫(huà)意，透過(guò)形似而達(dá)到神似，進(jìn)而直追北魏、隋唐，為敦煌繪畫(huà)開(kāi)了新的文人畫(huà)的美學(xué)路徑。21世紀(jì)初，饒宗頤不滿足中國(guó)繪畫(huà)史論中的“南宗”“北宗”之爭(zhēng)，獨(dú)辟蹊徑地提出中國(guó)山水畫(huà)“西北宗”之說(shuō)，并特立獨(dú)行用自我獨(dú)創(chuàng)的筆法墨法和天風(fēng)浩蕩的結(jié)構(gòu)氣象，為西北雄奇山水寫(xiě)神，實(shí)踐著山水畫(huà)“西北宗”的美學(xué)原則。

歷史會(huì)銘記饒宗頤這位君子不器、依仁游藝的大學(xué)者！

①鑄古今異字（書(shū)法）饒宗頤Unique characters of ancient and modern China (calligraphy) Jao Tsung-i

②壽（書(shū)法）饒宗頤Longevity (calligraphy)Jao Tsung-i

③福（書(shū)法）饒宗頤Blessing (calligraphy) Jao Tsung-i

④萬(wàn)古不磨意 中流自在心（書(shū)法）饒宗頤Unchangeable Willingness, Durable Faith (calligraphy) Jao Tsung-i

⑤長(zhǎng)樂(lè)延年（書(shū)法）饒宗頤Longevity with joy (calligraphy) Jao Tsung-i

With a most broad path in both academy and art, Mr. Jao is considered to have reach the ideal height of what the Confucius called the “exemplary persons are not mere vessels”.Mr. JIXianlin said that “the great master in his mind is Mr. Jaotsung-i”, Mr. QIAN Zhongshu called him a “matchless genius” and Mr. Louis Cha said that “Hong Kong is not a cultural desert with the presence ofMr.Jao Tsung-i”. Having learned from both the Chinese and Western cultures, he has won many reputation: receiving a number of awards, honorary doctorates and honorary professorships,including “Julien Award” of Institution of France, Foreign Academician of Institution of France, Honorary Member of the Asian Society of Paris, First Chinese Doctor of Humanities and Humanities of France Higher Institute of Research and Practice,Grand Bauhinia Medal from Hong Kong Government, Lifetime Achievement Award of Hong Kong Arts Development Council, etc.,reflecting the high commendation from the academic community.With unprecedented and in-depth academic and artistic realm,Mr. Jao had profound knowledge in history, poetry, calligraphy,works and others. It was truly incredible that a scholar could write more than 60 books and over 500 dissertations in his life span of 101 years. He was also proficient in six or seven foreign languages, together with achievement in calligraphy and painting.Mr. Jao’s accomplishments, in my opinion, can be summed up in 10 aspects: Dunhuang studies, oracle bone studies, studies of words,historiography, bibliography, Chuci studies, archeology, philology,calligraphy, painting and poetry aesthetics. In these ten aspects,with the strength of an individual, Mr.Jao has made a valuable contribution.

Mutual Benef i t of Sinology Spirit

There is a basic consensus in the academic community: “Jao of South and JI of North”, indicating Mr.Jao Tsung-i from Hong Kong to the south and Mr. JI Xianlin to the north. The two academic masters are proficient in several foreign languages and literature works etc., reaching a very high academic level. However, they didn’t only cast attention to learning, but showing their concerns to the whole world---paying attention to the Chinese cultural destiny in globalization! The methodology for scholarship of Mr.Jao inspires for us to learn, including the study of calligraphy and fine arts:

Firstly. Courage for innovation. It highlights the new methods,ideas and materials. I have noticed Mr. WANG Guowei’s Double Evidence Method: unearthed cultural relics and paper documents.Literature is literal, and unearthed cultural relics are physical objects that can support the authenticity of historical facts. Mr.Jao has added another new perspective–oracle bone inscription,which were unearthed underground. However, its value is not to research the oracle bones, but the text on it, which is also a document accordingly. I think this is a major academic advancement after the achievement of Mr. WANG Guowei.

Secondly. Mr. Jao highly valued the significance of sinology and Chinese traditions, casing attention to the Evidence of both Chinese and Western in methodology. Some scholars simply compared the Chinese connotation to Western connotation or reverse, which is of large problem. According to Jao Tsung-i, the main body of Chinese culture is Confucian studies. The sinology is the culture of China. Each country has its own culture. And it is unreasonable on a global scale when calling the Chinese culture the sinology. Therefore, he advocated more accurately that it should be called “Han School of Classical Philology” or “Chinese learning". In this regard, he expressed his deepest esteem for the Confucian classics and history, stressing that the study of sinology should not desecrate the Fundamental Principles of Country,but to cherish the respect of "ancient meaning", interpret the Confucian classics and history along the origins of the Chinese culture, preserve all the materials concerning China with view of Big Culture partially supported by the context of Western culture.From this point of perspective, he was a man Understanding All Issues from East and West with a cold eye.

Thirdly. Academic rationality and innovation. This is the most important character of a scholar. He criticized the suspiciousancient-school for excessively suspicion of Chinese history,including disagreement with scholars of such school to make the area of China’s central plains smaller and smaller. His research should reveal the deep structure and ancient spirit of Chinese culture, learning from every academic faction of the century academics. Mr. Jao said: "As Mr. LU Xun spoke, modern scholars are often influenced by countries and schools. I try to make more contacts with scholars from various countries and schools of thought, including 1 year in the United States, 4 years in Japan, and 5 years in Singapore and months in France, Spain, India, and other places, thoroughly committing myself to research of local topics".Fourthly. The bold use of comparative literature in literary studies.According to Mr. JI Xianlin: Professor Jao uses the methods of comparative literature to explore the origins of ancient Chinese literature, inspiring us to study the history of ancient Chinese literature. Mr. Jao believes that the Chinese characters play the key role in the article of "Chinese Character and Poetics" - the characteristics of Chinese poetry are closely related to Chinese characters.In his article, Mr. Jao discussed some issues related to the form of poetry, and rhythm as well,all of which is based on the characteristics of Chinese characters.

Supreme Attainments in Calligraphy

Starting learning from YAN Zhenqing of Tang Dynasty in his childhood, Mr. Jao copied theYAN Qinli Inscription, YAN Shi Jiamiao InscriptionandMaguXiantanji, followed byZhangmenglong InscriptionandCuanbaozi Inscriptionin order to strengthen his wrist force, studyof Huadu Temple Inscriptionof OUYANG Xun of Tang Dynasty for precise and accurate structure,copy of running script of SU Shi, HUANG Tingjian and MI Fu of Song Dynasty for the beauty of calligraphy in order to understand the inner charm. Into his middle age, due to the academic research institute, studies of Dunhuang and oracle bone, Mr. Jao has composed the WarringStates Chujianzheng, Bianzhong Mingshi,Ju Yan Ling Jian, Oracle Archives Seen in Japan, Oracle Archives Seen in Paris, New Interpretation of Warring States Period Books Unearthed in Changsha, Selection of Overseas Oracle Records, andRecords of Divination Figures of Yin Dynasty,which undoubtedly affected his calligraphy interest and style, resulting in the law changes at his middle age. He was keen on characters of Jin dynasty on oracles, bamboo slip and silk, and official script of Han dynasty with much endeavor. Mr. Jao Tsung-i noted in the Ten Musts of Books: newly-unearthed books of bamboo slips and silks of Qin Dynasty are of intact conditions, showing slim structures and unprecedented skills. The new methods embedded are waited to be explored.

In his later years, he had a long-term commitment in Dunhuang calligraphy. He chose the essence collection of Dunhuang scriptures in Paris and composed the “Dunhuang Calligraphy Series”, a 29-volume edition, transforming the entire academic and calligraphy nourishments into his own calligraphy style and finally forming a different style from the various factions, an ancient calligraphy style. He did not take the road of folk calligraphy,nor the road of Western abstract calligraphy. Instead, he firmly adhered to the road of great beauty that melts the tradition and inscriptions, extensively involving in the study of calligraphy copybook, bamboo slips, oracle bones, and Wei Inscription,forming his exclusive style.

Mr. Jao had his own aesthetic principles concerning the book theory. In hisTen Musts of Books,he advocated that the body of the calligraphy should be "Heavy" "Dull" and "Large", but not"Light, Enchanting, Thin", avoiding being slippery and vulgar in writing while focusing on thick and durable, following hands and hearts in copying inscriptions with deep thought and adhering to Bright Ink, Smooth Lines and Natural Combination etc. In my opinion, there are many calligraphers and scholars in China,however, it is truly rare to find someone whose calligraphy capacity is as much as that of Mr. Jao in mastery, unique style and free acknowledgement of ancient tradition. This has a lot to do with his calligraphic attitude — disdain to mountain-stronghold mentality in calligraphy and genreism. He was devoted to daily writing with his own shadow and few social activities. Only through focusing on spiritual solitude and cultivation of life can it lead to the beauty of calligraphy beyond words.

Sophisticated Style in Literati Painting

Mr. Jao Tsung-i has devoted great energy to the creation of Chinese literati painting and attained the art height acknowledged by the public. He has made much new practice in the creation of literati painting, and the pertinent achievements were by no means lower than that of his academic gains, which were recognized by people of all fields.The literati painting generated new changes due to Mr. Jao,who was no longer passionate about the shape of the original manuscript, but holding profound insight of great artworks of ancient times deeply immersed in his landscape paintings or painting of artificial landscapes. According to painter HUANG Miaozi, the reason why Jao Tsung-i's paintings had “great acknowledgement” was inseparable from his extensive knowledge. WAN Qingli, an art historian believed that the painting of Mr. Jao has surpassed the traditional Literati Painting, and was an extremely rare "painting of scholars" in the history of Chinese painting.

In his later years, the creative power of Mr. Jao tsung-i burst out,especially on the paintings of Dunhuang that he loved. With an ever-lasting and sophisticated gesture while using the freehand brushwork with integration of large area of ink together with substantial dryness to depict the artistic conception of Dunhuang murals, he has opened a new aesthetic path of literati paining for the Dunhuang murals via the form of a similarity to realize the genuine likeness so as to pursue the Northern Wei Dynasty and the Sui and Tang Dynasties. At the beginning of the 21st century,due to his discontent over the disputes between the “Southern Bound” and “Northern Bound” in the history of Chinese painting, he proposed a unique way to put forward the theory of“Northwestern Bound” in the field of Chinese landscape painting,and used his unique brushstroke method and magnificent voluminous structural phenomena to paint the majestic landscape of the northwestern part of China, while practicing the aesthetic principles of the Northwestern Bound in the field of landscape painting.

A great scholar of “Exemplary Persons are Not Mere Vessels,Practice by Virtue and Skills”, Mr. Jao Tsung-i will be remembered by the history.

蓮蓮吉慶（中國(guó)畫(huà)） 饒宗頤Glamour of the lotus (Chinese Painting) Jao Tsung-i