桐鄉(xiāng)古鎮(zhèn)石門灣往事

沈怡華 費洪標(biāo)

作為軍事經(jīng)濟(jì)重鎮(zhèn)，石門灣曾風(fēng)光無限，商賈船只往來不斷。如今風(fēng)煙散盡，遺跡依稀，這里成了文人雅士懷古思遠(yuǎn)的最好去處。

“走了五省，經(jīng)過大小百數(shù)十個碼頭，才知道我的故鄉(xiāng)石門灣，真是一個好地方。”一代藝術(shù)大師豐子愷在《辭緣緣堂》中寫下與故土情牽夢縈的情愫。

石門灣在哪？它位于浙江省北部，杭嘉湖平原腹地，隸屬于桐鄉(xiāng)市，是桐鄉(xiāng)四大古鎮(zhèn)之一，聞名中外的烏鎮(zhèn)與其相距20多公里路程。相比于烏鎮(zhèn)的熱鬧喧囂，古鎮(zhèn)石門灣多了幾分深沉雋永。

這份古韻藏在深厚的歷史積淀里，早在2500年前的春秋時期，越國為了抵御吳國曾在此壘石為門，故名石門。南宋石門驛中設(shè)行幄，為皇帝往來之行宮，乾隆六下江南時曾在此駐蹕。

悠悠京杭大運河自杭州經(jīng)塘棲、崇德蜿蜒而來，至石門突然拐了120度的元寶彎折向東北，筑就了石門灣這塊風(fēng)水寶地。這方水土有靈性，孕育了不少名人大家。

（一）

回首百年前的民國時期，思想開化，是一個大師群芳的年代，僅石門就走出了豐子愷、吳清源、張星逸等大師或?qū)＜摇?/p>

豐子愷可以說是石門鎮(zhèn)最深刻的烙印。作為我國近現(xiàn)代史上著名的文藝家、新文化運動的啟蒙者、現(xiàn)代漫畫的鼻祖，豐子愷在文學(xué)、音樂、書法、教育、翻譯等各方面都有極高的造詣，是難得的全才。

1898年，豐子愷出生在石門一書香之家，自小深受中國傳統(tǒng)文化的影響。17歲，他考到當(dāng)時的浙江省立第一師范學(xué)校求學(xué)，向李叔同學(xué)習(xí)音樂和西洋繪畫，向夏丏尊學(xué)習(xí)國文，之后，他前往日本深造。他在東京的二手書店看到竹久夢二的春之卷畫集，這為他打開了一扇藝術(shù)的大門。

20世紀(jì)二三十年代，豐子愷以他別具一格、反映現(xiàn)實、富有哲理的“子愷漫畫”享譽(yù)國內(nèi)外。他的漫畫寥寥幾筆，卻包羅人生滋味和人間冷暖，詮釋了現(xiàn)代文人的家國情懷。

1933年，豐子愷用稿費在石門建起“緣緣堂”。這里的生活點滴給予了他無盡的創(chuàng)作靈感，許多漫畫與文學(xué)作品皆取材于此，比如著名的《緣緣堂隨筆》?？梢哉f，這富庶的土地孕育了豐子愷濃濃的鄉(xiāng)情，才誕生出一個個鮮活生動的藝術(shù)形象。

1937年抗日戰(zhàn)爭爆發(fā)，緣緣堂也被日軍炸毀，豐子愷心痛不已，逃亡路上寫下《還我緣緣堂》《告緣緣堂在天之靈》《辭緣緣堂》數(shù)文。1984年，在桐鄉(xiāng)縣（）政府和豐子愷好友的資助下，緣緣堂在原址得以重建。

豐子愷的一生受李叔同影響深遠(yuǎn)。1928年，豐子愷畫了50幅護(hù)生畫為老師50歲助壽，并約定在老師60歲的時候畫60幅，100歲時畫100幅。1942年，弘一法師（）圓寂，但是豐子愷又繼續(xù)繪作，用46年完成了《護(hù)生畫集》。

如今斯人已去，但豐子愷的藝術(shù)光芒仍照耀著中國藝術(shù)世界。他的漫畫、文學(xué)、音樂、譯著等藝術(shù)貢獻(xiàn)，一直溫潤著后人的心靈。

吳清源之于圍棋，有如愛因斯坦之于物理學(xué)，他被稱為“20世紀(jì)的圍棋天才”，一生奉獻(xiàn)于棋道。

1914年6月12日，吳清源出生于福州，在北京度過了童年和少年時代。15歲時吳清源肩負(fù)中日圍棋事業(yè)進(jìn)步和中日和睦的使命，前往東京，成長為一名職業(yè)棋士。

從二戰(zhàn)前至二戰(zhàn)后的十番棋比賽中，他一個接一個地?fù)魯×水?dāng)時名震棋壇的日本一流棋手，走上圍棋神壇。但不管命運如何跌宕，不管身在何處，吳清源一家都沒有忘記自己的祖籍地——浙江石門，他們都聲稱自己是石門吳家的后代。吳清源曾委托親人多次來浙江尋訪，可惜都無功而返。

2014年11月30日，一代“圍棋泰斗”吳清源在日本仙逝，留下了棋壇未來幾十年都難以泯滅的佳話與神話，也留下未能尋得根在何方的遺憾。

但命運在冥冥中有著自己的安排。2015年，福建吳氏后人吳樹鈞尋到石門，也牽出了石門吳家的榮光。他們的老祖宗叫吳涵，字容大，康熙二十一年（）高中“進(jìn)士及第”，為榜眼，任翰林院編修，后升順天府丞、工部侍郎，轉(zhuǎn)刑部。因?qū)彴腹剩瑓呛芸滴踬p識，賜“慎行堂”匾額，后升左都御史。1825年，“慎行堂”裔孫吳渶中舉后赴福建任學(xué)官，帶去的還有“慎行堂”堂名，而吳清源正是這一支系的后人。為了紀(jì)念吳清源，石門當(dāng)?shù)卣O(shè)立了“吳清源祖居地”紀(jì)念碑。

2017年5月，吳清源的女兒吳佳澄來到石門尋根訪祖，了卻父親生前遺愿。吳佳澄深情地表示：“如果父親還活著，知道我們找到祖居地，他肯定會非常高興的?！?/p>

元曲原屬民間文學(xué)藝術(shù)，但曲語中夾雜著大量的方言俗語，對今人的閱讀構(gòu)成了一大難題。然而一位石門人通過一本《元曲選釋補(bǔ)證》，震動了元曲研究界，這為后人研究元曲提供了方向。他就是張星逸。張星逸1908年出生于石門米商之家，父親張?zhí)m墀通文墨，嗜好劇曲，張星逸從小浸淫在良好的家學(xué)傳統(tǒng)中。在故鄉(xiāng)時，他跟隨豐子愷學(xué)習(xí)日語和繪畫，在上海更是豐家的熟客。

受父親影響，張星逸留意于元曲曲語的探解。豐子愷還曾專門介紹他去拜訪中國古典戲曲研究大家趙景深教授。機(jī)緣巧合下，張星逸接觸到兩本日本出版的《元曲選釋》，由吉川幸次郎選編并注釋。但讀了幾篇后，他發(fā)現(xiàn)其中有很多不妥和誤釋之處。在趙景深的鼓勵下，張星逸根據(jù)日本京都版《元曲選釋》完成了《元曲選釋補(bǔ)證》。趙景深閱后大喜，認(rèn)定這份《補(bǔ)證》學(xué)術(shù)價值非同一般，并將冊子交給了日本橫濱市立大學(xué)的漢學(xué)家波多野太郎教授，隨后以橫濱市立大學(xué)論叢名義分期發(fā)表。

發(fā)表的《元曲選釋補(bǔ)證》雖只是六個簿冊，但在當(dāng)時的元曲研究界引起了不小的震動。對于名不見經(jīng)傳的著者張心逸，無人了解其背景。但他一出手，就能指正最有實力的日本漢學(xué)權(quán)威的著作，很多學(xué)者爭相詢問其來歷。京都大學(xué)的吉川幸次郎教授更是親自寫信向星逸先生表示誠摯的謝意，兩人由此成了學(xué)術(shù)上的真正朋友。

（二）

文化賡續(xù)綿延不斷，新中國成立以來，石門又陸續(xù)走出眾多文化名人，吳蓬和葉瑜蓀就是其中的佼佼者。

“石門吳家”是真正的書香門第，除了出了吳清源這樣的圍棋天才，當(dāng)代書畫大家吳蓬也從這里走出。

吳蓬，原名吳士龍，字抱虹，又字稚農(nóng)，1941年生于石門灣下塘玉帶環(huán)腰處，為當(dāng)代著名書畫大家、美術(shù)理論家、書畫教育家、評論家。他善古琴，精篆刻，尤精鑒賞，具有很高的文藝修養(yǎng)和學(xué)術(shù)膽識。因自幼愛雞，在農(nóng)村務(wù)農(nóng)時他畫了大量雞的速寫。畫雞成為他的一絕，筆墨趣味橫生，撲騰紙上，業(yè)內(nèi)觀之，無不叫絕。他創(chuàng)立“五行品味說”，用于對書畫的創(chuàng)作與鑒賞，對當(dāng)今畫壇影響頗深。其山水、花鳥、人物皆臻絕妙，山水中以長卷最見功力，所寫流水最為動人，時稱“天下第一水”;花鳥中以蘭竹為出手絕，所寫墨雛，能在渾樸中見精微，是謂前無古人、時罕其匹，被譽(yù)為“當(dāng)代齊白石”。

吳蓬著作頗豐，有《芥子園畫譜·吳蓬臨本》《白雪齋畫學(xué)叢書》《蓬嵐閣畫譜》《硯田耕耘錄》《五行品味圖鑒》《筆墨圖說》等書畫教學(xué)教材。他創(chuàng)作的國畫《烏鎮(zhèn)雙橋》曾在第二屆世界互聯(lián)網(wǎng)大會上作為國禮，贈送給俄羅斯時任總理梅德韋杰夫。

2015年，吳蓬為支持家鄉(xiāng)文化事業(yè)建設(shè)，向桐鄉(xiāng)市捐贈書畫作品2300余件，并在2016年發(fā)起并成立“浙江吳蓬藝術(shù)基金會”。

葉瑜蓀，字知秋，齋號容園，1948年出生于石門，浙派竹雕的民間藝術(shù)家，30多歲始學(xué)竹刻，終成大家。豐子愷的畫，陳從周的字，經(jīng)葉瑜蓀手下的刻刀，留在了一段竹刻臂擱上。

葉瑜蓀7歲學(xué)畫，12歲學(xué)篆刻，后習(xí)民間木雕。雖然葉瑜蓀的前半輩子都在與美術(shù)、工藝打交道，但真正接觸竹刻，卻是在1979年——當(dāng)時，北京榮寶齋出口日本的文房四寶中，需要配套的竹刻臂擱，對竹刻藝術(shù)頗有興趣的葉瑜蓀答應(yīng)下來，并開始留心收集竹刻資料，嘗試學(xué)習(xí)研刻。

漸漸地，葉瑜蓀發(fā)現(xiàn)，以自己的工藝基礎(chǔ)和愛好方向，更適合專研文人竹刻一路。文人竹刻是浙派竹刻的主要特征。嘉興則是浙派竹刻的主要代表之一，自明末至民國出過文后山、沈振名、胡钁、袁馨等40多名竹人。出于對同鄉(xiāng)前輩豐子愷先生的景仰和偏好，他嘗試以竹刻去表現(xiàn)子愷書畫的意趣，收到了未曾料想的效果。

而文博大家、竹刻學(xué)研究權(quán)威王世襄先生的一封信，則給葉瑜蓀未來的創(chuàng)作之路指明了方向，王世襄先生說，光刻一類題材，技法受限，不利于竹刻技藝的傳承和創(chuàng)新。于是，葉瑜蓀開始在作品中運用浮雕、深刻等技法，摹刻古今名家字畫。

如今，葉瑜蓀的竹刻作品飲譽(yù)海內(nèi)外，著有《竹刻漫談》《竹刻文化談薈》《豐子愷的藝術(shù)人生》《分心堂筆記》等專著，出版了《容園竹刻》、《竹刻技藝》等專著，1995年9月還被聯(lián)合國教科文組織和中國民間文藝家協(xié)會授予“一級民間工藝美術(shù)家”稱號，1996年3月曾應(yīng)邀赴新加坡舉辦展覽。

著名的古建筑園林大家陳從周教授更是對他推崇有加，譽(yù)其為“竹人之魁”，曾特囑其刻兩件作品轉(zhuǎn)贈給國際著名建筑大師貝聿銘。葉瑜蓀說：“我在刻竹子的同時，竹子也在雕刻我，我的生活習(xí)慣、性格、愛好、人品和人生觀都在刻竹的過程中被改變和深化了?！?/p>

“It was not until after I had visited hundreds of cities and towns in five provinces that I became aware that my hometown Shimenwan is really a paradise，” wrote Feng Zikai （1898-1975）， a master of art celebrated for his unprecedented literati-styled cartoons and essays. He was a native of Shimen， a tiny ancient town on the Grand Canal of China in northern Zhejiang.

The town is about 20 kilometers from Wuzhen， now the best known canal town in northern Zhejiang. Like Wuzhen， Shimen is located in the territory of Tongxiang， a city in northern Zhejiang. Unlike Wuzhen which is sometimes full of people from all over the world， Shimen is quiet and comfortable with itself. The Yue Kingdom and the Wu Kingdom were at war with each other in this region over 2，500 years ago. In order to defend itself against the northern enemy， Yue built a stone gate where the town is now. According to local historians， thats how the town is called Shimen （literally stone gate in Chinese）. In the Southern Song （1127-1279）， the town had a government-operated post service. Emperor Qianlong of the Qing Dynasty （1466-1911） is said to have stayed in town on his southern inspection tours toward Hangzhou.

Shimen is also known as Shimenwan. “Wan” in the Chinese name refers to a river bend. The Grand Canal comes from Hangzhou before it takes an abrupt 120-degree turn at the town and flows in the direction of northeast. The town sits and flourishes at the sharp bend.

Shimen has given birth to some cultural celebrities in modern times.

Feng Zikai

He is the best known celebrity of Shimen. Feng Zikai （1898-1975）， generally considered the founding father of modern Chinas literati cartoons， was a versatile master. A man of letters， he was also a musician， calligrapher， educator and translator. He studied music and art under the guidance of Li Shutong， a celebrity of culture and religion， and studied Chinese classics under the guidance of Xia Mianzun， a professor of ancient poetry. It was in a secondhand bookstore in Tokyo during his years in Japan that Feng ran into an art collection by Yumeji Takehisa. Inspired by Takehisas artworks， Feng began to create literati-styled cartoons that portray a lifestyle seen in Jiangnan. In the 1920s and the 1930s， Feng was best known for his literati-styled cartoons. In 1933， he came back to Shimen and built a house which he called Yuanyuantang. He planned to live there， but the residence was destroyed in Japanese bombing in 1937 after Japan launched an all-out invasion into China.

Wu Qingyuan

To the surprise of many people， Wu Qingyuan （1914-2014）， a very influential Weiqi player of China， had his ancestral roots in Shimen. In his lifetime， Wu knew his ancestor came from Shimen but he wasnt sure where Shimen was in Zhejiang. He was born in Fuzhou， the capital of Fujian Province to the south of Zhejiang， and spent his childhood years in Beijing. At 15， he went to Japan to study under Weiqi masters there. He grew up to be the best Weiqi player in Japan. His relatives in Fujian didnt know where Shimen was either. Wu asked a few relatives to visit Zhejiang in a bid to locate Shimen， but， strangely enough， all to no avail. It was not until 2015 that Wu Shujun， a descendent of the Wu clan in Fujian， found Shimen in Tongxiang. His visit to Shimen made the Wu clan in Shimen well known to the present-day world. The most glorious ancestor of the Wu clan in Shimen was Wu Han， who came out the third in an imperial examination in 1682. He served as a high-ranking official of the Qing Dynasty. His fairness in making judicial decisions was highly appreciated by Emperor Kangxi who handwritten a plaque to honor the official. About 190 years ago， Wu Ying， a descendent of Wu Han， was appointed to a position in the education authorities in Fujian. He became the founding father of the Shimen-related Wu clan in Fujian. Wu Qingyuan was a descendent of the clan in Fujian. In May 2017， Wu Jiacheng， the daughter of Wu Qingyuan， visited Shimen and paid homage to their ancestors.

Zhang Xingyi

Born in 1908， he came from a family of business. His father was a man of letters with a passion for theater. The junior grew up to be a theater fan. He studied Japanese and art under the guidance of Feng Zikai. Like his father， Zhang Xingyi specialized in the poems of the Yuan Dynasty （1279-1368） known as Yuan Qu. Recommended by his mentor Feng Zikai， Zhang visited Professor Zhao Jingshen， a linguist with a profound knowledge of ancient Chinese theater. Encouraged by Zhao， Zhang Xingyi corrected many mistakes in a Japanese selection of the Yuan Qu poetry put together and annotated by a Japanese professor. Zhangs amendment was published in an academic journal in Japan， and caused a stir in both China and Japan.

Wu Peng

Born in 1941， Wu Peng is an art master. He is a calligrapher and painter， aesthetician， art educator and critic. He also plays the Qin， an ancient Chinese string instrument. In 2015， Wu donated 2，300 artworks of painting and calligraphy to Tongxiang and set up Wu Peng Art Foundation there in 2016.

Ye Yusun

Born in 1945， Ye Yusun turned to bamboo carving at the age of 34. He took art lessons at 7 and studied seal carving at 12. He later turned to woodcarving. In 1979， he was approached by Rong Bao Zhai， a shop set up in 1672 in Beijing and specialized in traditional stationery， calligraphy and painting， to make some carvings on bamboo armrests for stationery to be exported to Japan. Ye agreed to do it. After the assignment， he began a self-education course on the art. He found that Feng Zikais literati cartoons appealed to him. Wang Shixiang （1914-2009）， a researcher of traditional Chinese culture， leading art collector， poet， and calligrapher， appreciated Yes bamboo carving and directed him to expand his techniques and themes. Ye now applies a full range of carving techniques to his carving. His bamboo-carving artworks include some reproduction of best known artworks of painting and calligraphy by ancient masters. Since the mid-1990s， Ye has been Chinas best known bamboo engraver.

“While I carve bamboo， bamboo carves me， too. Bamboo carving has transformed me and my life totally，” says the master.