獨而不孤的水墨修行

● 張 玫

中國著名畫家傅抱石之女傅益瑤在東京辦畫展

展覽現(xiàn)場，《端午頌》儼然成了日本觀眾洞察中華文明的一扇窗?，F(xiàn)場有觀眾表示，日本也有端午節(jié)，日本的端午節(jié)和中國的端午節(jié)有所不同，但是看到《端午頌》所表現(xiàn)出來的生動場景，依然覺得十分親切，可見中日文化相近相通。

傅益瑤向大家推薦本刊。A recent photo of Fu Yiyao with a 2019 May copy of Cultural Dialogue in her hands

2019年8月8日，在東京池袋著名文化地標(biāo)——東京藝術(shù)劇場，傅益瑤穿著修身禮服，胸前別著圣潔的白色禮花，像新娘子一樣神采奕奕。一輩子沒有結(jié)婚的她感慨說，正在舉行的“傅益瑤日本祭繪畫作品大展”就是她最盛大的“婚禮”。

本次展覽共展出傅益瑤30多年來潛心創(chuàng)作的“日本祭”主題繪畫的代表作80多幅，同時還有《端午頌》這樣專為中國節(jié)氣所創(chuàng)作的繪畫。展覽于8月17日結(jié)束。

這場長達(dá)30多年的水墨修行，不僅讓她繼承了身為國畫大師的父親傅抱石的衣缽，亦在日本形成自己的風(fēng)格，將中國的水墨文化發(fā)揚光大。

“日本祭”畫作開展，以水墨點燃東京奧運

傅益瑤被東京奧組委選定為2020年東京奧運會奧運文化支持藝術(shù)項目的藝術(shù)家。此次展覽中有一幅她的重要作品《那智火祭》，描繪的是日本三大火祭之一——有著1700年歷史的那智火祭。畫中，人們?yōu)榱似砬笮腋：桶矘?，在熊熊火焰之中翩翩而舞。這里的烈火是生命力的象征，與奧運圣火在本質(zhì)上產(chǎn)生了一種奇妙的呼應(yīng)。

傅益瑤此次畫展，是經(jīng)過36道評審程序，力克群雄，才進(jìn)入奧運文化支持工程名單的。但是，日本民間對于這個中國畫家的入選，并不感到意外。似乎只要是日本祭主題作品的畫家入選，傅益瑤就是不二人選。

“日本祭”，即日本各地每年于特定日期舉行的民間傳統(tǒng)慶典，有著兩千多年的歷史。這是傅益瑤在日本“撿”到的一個主題，并逐漸形成自己的一個獨特繪畫門類：“那些數(shù)百上千年的歷史，如此鮮活地留存在這些民間祭中?！?/p>

在傅益瑤眼里，“日本祭”是日本風(fēng)土的產(chǎn)物，卻又蘊藏著華夏文化的精髓。但她在潛心創(chuàng)作這些大畫的時候，從未想過有朝一日要將這些作品呈現(xiàn)于奧運會的藝術(shù)圣殿。不過現(xiàn)在回想起來，她與奧運會之間確有一份難以割舍的情愫。在她看來，“日本祭”中所展現(xiàn)的那種平等、拼搏、向上的人類精神，與奧林匹克精神不謀而合。

1986年，在瑞士洛桑，傅益瑤接受瑞士國寶級大師、畢加索的好友漢斯·埃爾尼的邀請，聯(lián)合舉辦二人展“神州相逢”。在國際奧林匹克委員會總部，傅益瑤見到了一幅漢斯創(chuàng)作的奧運主題壁畫。壁畫的內(nèi)容是奧林匹斯山諸神的故事，漢斯以一種極其恢宏和富有動感的筆法來展現(xiàn)人類運動競技的歷史。這極大震撼地了傅益瑤的心。從此，她默默走上了創(chuàng)作“日本祭”巨畫之路。

一幅長卷《端午頌》，生動體現(xiàn)文化交流

在80多幅作品中，唯一一幅表現(xiàn)中國傳統(tǒng)節(jié)慶的長卷《端午頌》成為全場最受矚目的作品。這幅長達(dá)14米、高1.8米的巨制，是傅益瑤在端午節(jié)進(jìn)入聯(lián)合國教科文組織“人類非遺代表作品名錄”之后，應(yīng)中國藝術(shù)研究院的邀請所作。

“傅益瑤日本祭繪畫作品大展”在東京藝術(shù)劇場舉行。A view of Fu's solo art show at Tokyo Cosmopolitan Theater in Tokyo

《端午頌》局部。A detail of Ode to Duanwu, a huge painting by Fu Yiyao, on display at her solo exhibition at Tokyo Cosmopolitan Theater in August, 2019

傅益瑤坦言，她與《端午頌》的緣分，從出生時就開始了?！鞍职謱η兄浅Ｉ詈竦母星椋麑Α冻o》能夠倒背如流，年輕時取名‘抱石’，乃‘屈子抱石’之意。我家?guī)讉€孩子的名字，全都是從《楚辭》中來的?！?/p>

跟每個中國孩子一樣，在她記憶深處，最快樂的也是端午節(jié)?！耙坏蕉宋纾职志蜁鬟B在《云中君》《大司命》《屈原》等畫作前。這是沉淀在他靈魂里的詩歌，有一種初戀般的感情?！?/p>

2015年，傅益瑤赴屈原故里湖北秭歸采風(fēng)。采風(fēng)中，傅益瑤一直苦惱如何將眾多民俗場景在一幅卷軸中呈現(xiàn)。終于，她想到了用民歌式的串聯(lián)——給孩子洗澡以求“百病皆除”、包粽子、掛艾草、點雄黃、屈原詩會……畫中特別用一組“窗式”表現(xiàn)她寫生時所見的民俗?！拔耶嬅耖g祭有一個原則，就是自己的審美感受和筆墨與當(dāng)?shù)鼐用竦那楦腥谠谝黄?。?/p>

而展覽現(xiàn)場，這幅《端午頌》儼然成為了日本觀眾洞察中華文明的一扇窗。在現(xiàn)場有觀眾表示，日本也有端午節(jié)，日本的端午節(jié)和中國的端午節(jié)有所不同，但是看到《端午頌》所表現(xiàn)出來的生動場景，依然覺得十分親切，可見中日文化相近相通。

傅益瑤認(rèn)為，就節(jié)慶而言，日本雖有很多自己的獨特之處，但也深受中國文化的影響。展覽中有一幅《京都祗園祭》，展現(xiàn)的是著名的京都祗園祭的場景。里面山車舞臺上的戲文，講的都是高山流水、三國、二十四孝這樣的中國故事。而另一幅《輪島重藏神社大祭》，畫中那三丈高的牌樓上都用漢字書法寫著一些孔孟的賢文良句，這都是中國文化影響日本節(jié)慶文化的最直接體現(xiàn)。

可以說，這個日本祭主題畫展正是中日“文明交流互鑒”最生動最直接的體現(xiàn)。

配合她的巨畫創(chuàng)作，日本名寺拆了橫梁

事實上，除了在東京展覽的民間祭組畫，這個骨子里有一種佛性的美麗女子，更在障壁畫上建樹卓越。

日本寺廟眾多，在遍布橫濱、京都、群馬的眾多寺廟中，都有傅益瑤畫的障壁畫。30多年的吃苦修行，造就了傅益瑤的障壁畫事業(yè)——常樂寺、寶勝寺、圓滿寺、延歷寺等日本名寺，都將她的畫作當(dāng)成鎮(zhèn)寺之寶。

這次的日本大展，傅益瑤還特地帶著筆者開始一段包括圓滿寺、延歷寺、三千院、三十三間堂的寺廟之旅。

第一站橫濱。八月恰逢日本最盛大的盂蘭盆節(jié)，全日本迎來九天長假，而寺廟，則成為日本民眾必須“打卡”的地方。在橫濱最有名的圓滿寺，夏日陽光正盛，曬得人懶洋洋的，但傅益瑤卻穿著高跟鞋噔噔噔地徑直爬上了山門。住持西郊良光早早地等候這位“厲害的中國女人”的到來。在圓滿寺內(nèi)，專門設(shè)有傅益瑤的禪室，可見其地位。

時間回放到1989年，圓滿寺新建大殿需兩幅巨畫，住持西郊良光經(jīng)其師傅、天臺宗大僧正推薦，找到了傅益瑤。于是，在西郊良光的邀請下，傅益瑤用了大半年時間寫生，將山間之氣“養(yǎng)”在心中，創(chuàng)作了高4米寬5米的兩幅巨作《比叡山延歷寺》和《天臺山國清寺》。

30年前的傅益瑤，對佛教題材并不熟悉，但西郊良光很有耐心。光佛教天臺宗的發(fā)源地——浙江天臺的國清寺，西郊良光就陪她去了3次；日本最著名的天臺宗比叡山，更是陪她去了五六次?！拔耶嬛挟嫷乃蓸?，都是在國清寺天臺大師修行的地方寫生而來的?！蹦菚r，傅益瑤在瀝川的畫室距離橫濱很遠(yuǎn)，但西郊良光每周都會準(zhǔn)時去她的畫室拜訪，查看畫作情況，并請傅益瑤吃飯。

只是讓西郊良光沒有想到的是，看起來身材嬌小的傅益瑤，畫的畫卻是巨大無比?！爱?dāng)時真沒想到她會畫得那么大，大到必須拆掉一根橫梁。”對于嚴(yán)謹(jǐn)?shù)娜毡救藖碚f，對建筑臨時更改結(jié)構(gòu)簡直是不可能的事，但是傅益瑤卻很堅持，并表示，如果不拆掉那根梁，堅決不交畫?！爸袊藚柡Φ煤埽僚烁菂柡??！蔽鹘剂脊庑ρ浴?/p>

最后他只能把梁拆了，“你看現(xiàn)在那里還有一個洞，可是為了這兩張畫，傅益瑤花了好大精力，功夫全都看得見，其他都是次要的?！?/p>

傅益瑤在《天臺山國清寺》畫前回憶當(dāng)年創(chuàng)作過程。Fu Yiyao reminisces about her creation of The Guoqing Temple in Mount Tiantai decades ago.

藏于圓滿寺的《天臺山國清寺》。The Guoqing Temple in Mount Tiantai, created by Fu Yiyao, is on display at the Enman-ji Temple in Yokohama, Japan.

如今，經(jīng)過30年的沉淀，這兩幅巨制山水更是呈現(xiàn)出一種曠古的味道。每一個局部，都有當(dāng)年難忘的場景。在《天臺山國清寺》里，畫有一塊王羲之寫“鵝”的字碑，這是國清寺的名景之一。相傳，王羲之跟隨靈墟山中的向白云先生學(xué)書，每日觀察水中嬉戲的白鵝。一日，王羲之見一白鵝振翅，筆隨心動，大書一“鵝”字?！爱?dāng)時在寫這個字的時候，一點都沒有想要模仿的意思，因為想模仿也沒轍，王羲之什么人？根本模仿不來?！钡狄娆幵趯懮鷷r觀察到，這塊碑因為時間久遠(yuǎn)，碑面黑了，字反而是白的?！坝谑俏揖陀梅此畬懀瑢懲暌院笈赃呌媚镜?。結(jié)果出來之后，如有神助，筆頭特別有韻味。”

五年構(gòu)思一年作畫，成就延歷寺的國寶

如果要說傅益瑤的代表作，那么，位于滋賀縣比叡山延歷寺國寶殿收藏的《佛教東漸圖》，絕對屬于最重要的瑰寶。

延歷寺是世界文化遺產(chǎn)。伴隨著車在盤山公路行駛，你就能遙遙望見山下的琵琶湖。

這幅傅益瑤20多年前創(chuàng)作的《佛教東漸圖》，是延歷寺為天臺大師智者大師1400周年誕辰紀(jì)念大典所用?！疤炫_宗在日本是最重要佛教源生地，當(dāng)年佛教就是從中國傳到了這里。曾經(jīng)，天臺大師在浙江的國清寺丟出一把‘鑰匙’——他說，至此以后，佛教東漸。”就因為這句話，當(dāng)時延歷寺大方丈小林隆彰問傅益瑤，能不能以佛教東漸的歷史創(chuàng)作成一張障壁畫。

“天哪！這可是整整2600年的佛教歷史?！睘榱诉@個浩大的工程，傅益瑤開始了長達(dá)5年的構(gòu)思。“我到處去采訪，甚至去了印度，光佛教史就讀了5大本?！?/p>

值得注意的是，在操作期間，應(yīng)隨時觀察液硫池空氣入口的流通情況，若液硫池空氣入口處有氣體冒出，應(yīng)首先降低鼓泡空氣量，確?，F(xiàn)場處于安全狀態(tài)，然后調(diào)整抽空器蒸汽量，或加開備用抽空器，再逐步增加鼓泡空氣量。

傅益瑤畫了整整一年，最終在敲定的期限前，落筆完成。傅益瑤笑言，生活中她是一個永遠(yuǎn)遲到的人?！拔腋信笥鸭s會沒有準(zhǔn)時過，開會沒有準(zhǔn)時過，我什么都沒有準(zhǔn)時過，就是交畫準(zhǔn)時。這一點像我爸爸，我爸爸每次畫完就在本子上打一個勾?！?/p>

有意思的是，這幅長12米、寬2.7米的巨作中，還有朝鮮天臺宗第一人義天在杭州修行的場景。原來，這個高麗王的第4個王子11歲出家，在南宋杭州修行的時候，曾在杭州天竺寺研習(xí)天臺教觀。為了再現(xiàn)這個場景，傅益瑤還加入了西湖和三潭印月。“巧得很，這個梭子型的構(gòu)圖，很好地與畫中其他場景做了融合?！?/p>

此次再度拜訪，小林隆彰的傳人、其孫子小林隆真在看到傅益瑤之后，格外親切。當(dāng)年，他才是小學(xué)生，在一旁看著傅益瑤創(chuàng)作這幅作品。他表示：“繪畫是唯一不需要翻譯的，從這幅畫，可以看到佛教東傳的精神，每年都有超過50多萬人來這里觀看。”

在傅益瑤看來，任何事情要有意義才有地位?！盀榱水嬤@張畫，我不斷旅行學(xué)習(xí)。我把中國人內(nèi)心的和平、幸福、慈悲都融入進(jìn)來，所以大家看了后才會感同身受?！?/p>

這種精神與奧林匹克精神也是不謀而合的?！昂眠\不可能從天上掉下來，一定是一步一步走，積累能量，忽然碰到一個可以攀登的山，才有力量攀登過去?！边@個一輩子與繪畫作伴的奇女子，內(nèi)心豐盈，“玩味自己，獨而不孤。孤是一種寂寥冷漠；而獨，是無論身處人群中還是荒野里，都能保持清醒理智，不被外界所左右，擁有屬于自己的獨特人生?！?/p>

（本文圖片攝影：李曉龍 張玫）

Fu Yiyao Holds Art Exhibition in Tokyo

By Zhang Mei

August 8, 2019 witnessed the opening of an exhibition of artworks by Fu Yiyao, a 72-year-old Chinese artist, at Tokyo Metropolitan Theatre, a cultural landmark of Tokyo, capital of Japan.Dressed in glory, Fu attended the opening ceremony, feeling as if it had been her wedding, though she has stayed single all her life. The show ended on August 17th. About 80 artworks, created a period of over 30 years, essentially presented a theme of Japanese rituals.

Fu has firmly established herself as an artist who outstandingly depicts Japanese rituals in huge-size paintings and murals for religious venues. In fact, she has been picked as an artist who provides cultural support for 2020 Tokyo Olympic Games. She came out as the winner through a 36-step selection procedure. The Japanese public was not surprised by the final choice. No one in Japan outshines her in portraying Japanese rituals in art.

The subject came gradually to her in her sojourn in Japan. The history of these rituals goes back to more than 2,000 years in Japan.The lifestyle and customs of hundreds years even more than 1,000 years have managed to look vivid in these rituals. She considers Japanese rituals as a pure product of Japanese life which, however,ref l ects the essence of Chinese culture.

The seed for her choice of the rituals as an art subject germinated in 1986 when she visited the headquarters of the International Olympic Committee in Lausanne, Switzerland and saw a huge mural by Hans Erni (1909-2015) featuring the Olympic motif. She was deeply impressed by the grandeur and splendor of the artwork. Back in Japan she examined Japanese rituals more closely and got inspired.

傅益瑤在畫展現(xiàn)場。Fu Yiyao poses for a photo at the opening ceremony at her solo exhibition at Tokyo Cosmopolitan Theater in August 2019.

The most eye-catching artwork at the exhibition, however, had nothing to do with Japan. It was Ode to Duanwu, a masterpiece especially dedicated to a Chinese tradition in honor of Qu Yuan(340-278BC). The 14-meter-long, 1.8-meter-tall magnum opus was commissioned by China National Academy of Arts after the Duanwu Festival was inscribed onto the UNESCO Representative List of the Intangible Cultural Heritage of Humanity. In 2015, she visited Zigui, the hometown of Qu Yuan, for inspiration of creating an artwork about the Duanwu Festival. She wondered how to string together all the folk rituals and festivities on the day in China in one painting. Then she found the solution. This huge artwork at the exhibition gave Japanese visitors in Tokyo a window on Chinese culture. Though Duanwu is celebrated in both Japan and China,there are differences and similarities. Some Japanese visitors felt the affinity between China and Japan.

Some paintings at the exhibition were murals Fu created for religious temples in Yokohama, Kyoto and Gunma. Over the past three decades, Fu has created quite a few murals for some temples in this part of Japan, including some historical ones such as Joraku-ji Temple, Hosyo-ji Temple, Enman-ji Temple, and Enryaku-ji Temple.

《佛教東漸圖》局部之西湖三潭印月。This detail of Buddhism Came from China to Japan shows Three Pools Mirror the Moon, one of the scenic highlights of the West Lake in Hangzhou.

《天臺山國清寺》中傅益瑤畫王羲之“鵝”字碑。This detail of The Guoqing Temple in Mount Tiantai, created by Fu Yiyao, shows a one-word inscription on a stele in a pavilion. The word means “goose” in the handwriting of Wang Xizhi (301-361), the greatest Chinese calligrapher in history.

In August, Fu and I traveled to take a look at the original mural paintings at some Buddhist temples. Our first visit was to the Enman-ji Temple in Yokohama. Our visit occurred during the Obon Festival, which gives the public a nine-day holiday. Abbot Ryoko Nishioka waited for us at the gate to the temple. The temple had a special Zen room dedicated to Fu, “a brilliant Chinese woman” as the abbot describes. Fu first met the abbot in 1989 when Fu was recommended to the abbot by his master. The Enman-ji Temple needed two huge murals for a newly-built hall. Fu spent almost a year doing sketching, familiarizing herself with religious doctrines. The abbot accompanied Fu to visit the Guoqing Temple in Tiantai Mountain in Zhejiang three times where the Tendai School of Buddhism as known and practiced in Japan originated and fl ourished. During that time, the abbot traveled every week to visit Fu at her studio, far away from the Enman-ji Temple in Yokohama.The abbot was astonished to find that the petite Chinese artist dedicated her heart and soul to creating two oversized artworks, each being 4 meters tall and 5 meters wide.The paintings were so huge that one beam in the hall had to be removed to display the paintings in full. This posed an impossible challenge to the abbot. At first, he refused to take the beam out. Fu said she would not deliver the paintings unless the beam made room for them. The abbot eventually gave in to the iron will of the artist. The paintings looked wonderful in my eye.

If the two paintings Fu created for the Enman-ji Temple are enormous, the mural Fu created for the Enryaku-ji Temple on Mount Hieizan in Kyoto is much more enormous.Fu spent five years creating and painting this 12-meter-tall and 2.7-meter-wide mural. She was commissioned to create a mural for the temple so that the whole history of how Buddhism came from China to Japan can be presented in the mural. The mural was scheduled to mark the 1,400th anniversary of the birth of the founding monk of the temple. She traveled and visited many places including India. She read a lot, including five books on the history of Buddhism. Eventually, she delivered the painting on time. I learned during my visit to the temple that more than 500,000 visitors view the mural per year.

In a discussion of the mural with me, Fu Yiyao says that the studies and travels she did for the creation of the mural enriched her. “I introduced Chinese essentials such as spiritual peace, happiness, and grace into this painting so that the mural really appeals to everyone who sees it,” she reveals.