文/蔣玲莉 譯/張佳藝

梨園，原是唐代都城長安的一個地名，也是唐代訓(xùn)練樂工的機構(gòu)。梨園的主要職責(zé)是訓(xùn)練樂器演奏人員，與專司禮樂的太常寺和充任串演歌舞散樂的內(nèi)外教坊鼎足而三。后世遂將戲曲班子、劇團稱為“梨園”，稱戲曲演員為“梨園子弟”。“梨園情”這組戲劇人物的畫作中，季仁葵先生不僅主張形態(tài)上準(zhǔn)確傳神，更追求線條的節(jié)奏與韻律的美，以不同風(fēng)格、不同筆調(diào)、不同構(gòu)思的特點，來體現(xiàn)“梨園子弟”的風(fēng)韻。

The Pear Garden (literal translation of Liyuan), originally a place name in Chang’an, the capital of the Tang Dynasty, was also an institution for training musicians in Tang Dynasty. The primary responsibility of the Pear Garden is to train musical instrument players. It forms a tripartite confrontation with the Tai Chang Temple (Court of Imperial Sacrifices), which specializes in rites and music, and the Royal Academy, the official school for music,dance, and theater. Later, the Pear Garden refers to the theatrical troupe, and the performers are commonly called “Disciples of the Pear Garden.” In the paintings of Love in the Pear Garden, Ji Renkui advocates accuracy and vividness of the form and pursues the rhythm beauty of lines. Different styles, tones, and ideas embody the charm of Disciples of the Pear Garden.