收藏史上獨(dú)樹一幟的傳奇

陳陽(yáng)

文物篇

《蘭亭序》從誕生到傳家、從真跡到摹本、從書法到文化，已成為中國(guó)書法藝術(shù)的圖騰，中國(guó)古代文化形態(tài)的標(biāo)志。它產(chǎn)生、流傳、消失、衍變和傳播的歷史，已超越了王羲之為代表的魏晉文人風(fēng)骨和精神世界，成為中國(guó)特有的一種藝術(shù)文化，并播及海外。

在中國(guó)，無分南北西東，不論男女老幼，幾乎沒有人不知道書圣王羲之之名和《蘭亭序》其帖的。

《蘭亭序》完成后，一直在王氏一門作為傳家之寶，到了唐代，進(jìn)入皇室內(nèi)府，又在馮承素、歐陽(yáng)詢、虞世南、褚遂良等書法大家的手中生發(fā)出多個(gè)摹本、臨本。北宋法帖刻石捶拓技術(shù)興起以后，唐人的臨摹本又生發(fā)出許多上石本，文獻(xiàn)記載宋人藏有《蘭亭序》傳本百種或百種以上的就有好幾位，其中賈似道一人就藏有800種。從此蘭亭的各種傳本進(jìn)入一團(tuán)亂麻的階段。元、明、清三代人也愛《蘭亭》，把這一團(tuán)麻搞得更亂。

唐人摹本、宋人傳本、名家臨本，加上歷代有影響的拓本，《蘭亭序》建構(gòu)起一個(gè)龐大駁雜的書法藝術(shù)世界，也給我們留下了一大筆因《蘭亭序》書法而生發(fā)出來的文物遺產(chǎn)。今天我們暫且不去理會(huì)這團(tuán)亂麻，把目光轉(zhuǎn)向書法和碑帖之外，去看看那些因《蘭亭序》而誕生的繪畫和琳瑯滿目的器物。

《蕭翼賺蘭亭圖》和《蘭亭修禊圖》

作為千古名作，《蘭亭序》至唐代彰顯于世以來為歷代文人所推崇，取材于《蘭亭序》相關(guān)故事、《蘭亭序》序文、作者王羲之的典故及會(huì)稽蘭亭勝景，皆可入畫。從最早傳為唐閻立本的《蕭翼賺蘭亭圖》至明清時(shí)期各種《蘭亭修禊圖》《蘭亭圖》，與蘭亭文化相關(guān)的繪畫也有千年歷史。

《蕭翼賺蘭亭圖》歷來傳為出自初唐有“丹青神化”之譽(yù)的閻立本之手。畫面描繪唐太宗御史蕭翼從王羲之第七代傳人僧智永的弟子辯才的手中將“天下第一行書”《蘭亭序》騙取到手，并獻(xiàn)給唐太宗的故事。唐人何延之寫的《蘭亭記》記載了這件逸聞?，F(xiàn)存宋人摹《蕭翼賺蘭亭圖》計(jì)有3本，北京故宮藏、遼寧省博物館和臺(tái)北故宮博物院各藏一卷，其中遼博和臺(tái)北故宮藏本較為完整，北京故宮藏本相對(duì)較簡(jiǎn)略。研究者認(rèn)為遼博、臺(tái)北故宮藏本大致全是宋人臨本，北京故宮藏本則是南宋人作品。遼博本和臺(tái)灣故宮本構(gòu)圖基本相同，人物大小、用筆、設(shè)色上略有不同。

現(xiàn)藏遼寧省博物館的《蕭翼賺蘭亭圖》最近一次露面，是在該館于2019年末至2020年初《又見大唐》展上（）。該畫縱26.5厘米，橫75.7厘米，絹本設(shè)色，畫面共有5人，蕭翼、辯才和三個(gè)仆人。通過考察畫面中仆人們的形象，研究者認(rèn)為表現(xiàn)了蕭翼和辯才初次見面的情景。

畫的作者究竟是不是閻立本？現(xiàn)在存世的若干卷《蕭翼賺蘭亭圖》相互關(guān)系如何？直到今天，這些問題始終沒有解決，但傳奇的故事和精湛的技藝都決定了它會(huì)成為千古名畫，在宋及以后被反復(fù)臨摹仿制。史載元代錢選、趙子俊以及明代仇英等多位后世知名畫家皆繪過《蕭翼賺蘭亭圖》。

除了蕭翼賺蘭亭的傳奇故事外，歷代畫家們還經(jīng)常以蘭亭修禊場(chǎng)面為創(chuàng)作的題材。這個(gè)主題的繪畫數(shù)量比《蕭翼賺蘭亭圖》更多，元人趙孟頫、王蒙，明代文徵明、祝允明、唐寅、錢貢、許光祚，清人沈時(shí)、樊沂，再到當(dāng)代傅抱石等都有與蘭亭序相關(guān)的作品。此外，還有一些藝術(shù)水平很高的佚名作品。在此，我們僅舉兩例。

遼寧省博物館藏有一卷傳元代王蒙所繪制的《修禊圖卷》。此卷繪畫紙本水墨，縱28.8厘米，橫135.5厘米，從款識(shí)看是元四家之一的王蒙所繪制，畫后有唐寅書法《蘭亭序》一通，書寫時(shí)間為明正德十三年。雖然對(duì)這卷畫真正的作者究竟是誰學(xué)者們有不同的意見，但哪怕作者不是王蒙，也一定是一個(gè)水平高超的畫家。同時(shí)，這也不妨礙我們看圖讀畫，遙想永和九年暮春的那場(chǎng)盛會(huì)。

明代祝允明書法造詣深厚，為明代吳中三大家之首。文徵明詩(shī)文書畫無所不能，為吳門畫派的領(lǐng)袖。他們也為蘭亭合作了一把。這卷祝允明書《蘭亭序》文徵明補(bǔ)圖，一書一畫，均屬上乘之作，可謂珠聯(lián)璧合。和上面那卷傳為王蒙的《修禊圖》相比，少了幾分清逸，卻多了一份暖融融的春日氣息。

蘭亭硯和鵝形硯

書畫是古代文人的日課，蘭亭的題材也深深地烙印在他們的案頭。不同材料制作的各類文房器物上，隨處可見蘭亭的身影，時(shí)刻相伴左右。其中，最常見的是蘭亭硯和鵝形硯。

以蘭亭修禊情景或蘭亭八景（）作為硯臺(tái)紋飾的硯稱作“蘭亭硯”。蘭亭硯多為長(zhǎng)方形或橢圓形，寬大厚重，六面分別雕刻王羲之等人蘭亭禊飲盛況，北宋以后成為定型硯式，又因曲水流觴而稱其為“曲水硯”。

目前存世宋代蘭亭硯極稀少，多為明清時(shí)期制品。清代第一部官修硯譜——《西清硯譜》收錄5方蘭亭硯，其中最珍罕的當(dāng)屬宋米芾蘭亭硯。端石制作，周壁上方及右側(cè)刻有蘭亭修禊圖、米芾《蘭亭序》全文和米芾的長(zhǎng)方印。此外，還有表明它曾是南宋內(nèi)府藏品的“宣和”及“紹”“興”兩字連珠印，硯背刻有乾隆御題詩(shī)。硯臺(tái)略有殘損，部分紋飾漫漶不清，但仍無法掩蓋它上好的材質(zhì)、精良的做工和在歷代朝野間輾轉(zhuǎn)的滄桑。

還有一種鵝形硯，也是源自蘭亭風(fēng)流的典范硯式。王羲之愛鵝，傳說他曾手書一卷《黃庭經(jīng)》和老道士換一籠鵝。羲之愛鵝被當(dāng)作文人墨客文雅情趣的體現(xiàn)，后人將它和“陶淵明愛菊”“周茂叔愛蓮”“林和靖愛鶴”并稱“四愛”。古代制硯家狀物模形，以鵝入硯，追慕書圣遺風(fēng)。

鵝形硯一般以鵝肚為硯堂，鵝回首啄理羽毛，彎曲的鵝頸與鵝身之間形成硯池。在《西清硯譜》卷十七就有兩方鵝形硯，我們且看其中之一。硯背伸出一雙鵝掌，既是硯腳，又像白鵝撥動(dòng)清波。盛水磨墨時(shí)，仿佛懷抱一汪清泉，意趣生動(dòng)，觀賞實(shí)用兩不誤。鵝形硯出現(xiàn)的具體時(shí)間尚待考證，但從當(dāng)今博物館藏有宋、元、明、清傳世精品的情況來看，這種硯式歷史悠久。

和鵝形硯相類似的，還有鵝紋硯。這類硯全器或方、或圓，或是隨形，在硯面或硯背有一只或幾只游鵝，或悠然自得，或追逐嬉戲，無不活潑可愛，妙趣橫生?！段髑宄幾V》中多方硯上有“浴鵝圖”。王羲之愛鵝的形象如此深入人心，蘭亭鵝池的傳說流傳如此之廣，以至于只需要在硯臺(tái)上以鵝的形象稍作點(diǎn)綴，我們就知道這是向右軍大人，向蘭亭精神致敬。

高士杯和筆墨風(fēng)流

明清以來，蘭亭似乎成了清雅脫俗的代名詞，流布于文房之外的各種器物上。

一件明成化斗彩高士杯，高僅3.4厘米，口徑5.9厘米，足徑2.7厘米。小小的個(gè)兒，哪怕放在女士手中也顯得太小。薄薄的杯壁上，繪制兩組斗彩紋飾：“王羲之愛鵝”和“俞伯牙攜琴訪友”，他們是古人高山仰止的高士，所以后人稱這類杯子為“高士杯”。畫面中王羲之著紅衣，臨池俯視水中游鵝，身后一綠衣童子手捧書卷，四周環(huán)以垂柳、野花，彩云輕飄。俞伯牙服綠衣，頭扎雙髻，穩(wěn)步前行，一紅衣書童抱琴相隨，四周松柏蒼翠，野菊叢簇。兩組畫面上的青花是釉下施彩，紅彩和水綠則是釉上彩。這種釉下青花和釉上多種彩色相結(jié)合而成的新工藝，代表當(dāng)時(shí)瓷器制作的最高水平，明代人用他們最高的工藝技術(shù)表達(dá)對(duì)書圣的仰慕。除了瓷器，明代人還把蘭亭修禊刻到剔紅漆器上，刻到犀牛角雕上，畫到扇面里……

到了清代，蘭亭成為最常見的裝飾題材之一，尤其是文房用具和各類擺設(shè)，其中，品質(zhì)最上乘、保存最完整的當(dāng)屬清宮舊藏。

去故宮看看吧，清乾隆時(shí)期竹管蘭亭賞狼毫筆，成組的清乾隆蘭亭修禊御墨（），青田石蘭亭序印章、乾隆款剔紅曲水流觴圖盒、青玉蘭亭修禊圖山子、白玉羲之愛鵝圖勒子、乾隆款碧玉蘭亭記雙面插屏、青玉刻乾隆御筆蘭亭玉如意……從實(shí)用的文房用器筆、墨、印章，到作為擺件的山子、插屏、玉如意，乾隆皇帝給自己配了全套蘭亭定制用品。

一方墓志再續(xù)傳奇

2006年，紹興一位文物愛好者收藏的一方墓碑曾在文物圈和書法界引起小小的震動(dòng)。這塊墓碑長(zhǎng)68.5厘米，寬56厘米，厚8.8厘米，隸書，共28行，345字。除部分字跡無法辨認(rèn)外，絕大部分文字清晰可辨。乍一看，和同時(shí)期其他墓碑并無兩樣。內(nèi)容顯示，它的主人是王羲之夫人——郗璇。碑文記載了24個(gè)跟王羲之有密切關(guān)系的人，也為我們揭開了一段公案的謎底。

一代書圣王羲之生究竟哪年生？哪年死？關(guān)于王羲之的生卒年份，《辭海》出現(xiàn)過3個(gè)版本，分別為：“321～379”“303～361”“307～365”。雖然享年都是59歲，但生卒年不相同。沒有文獻(xiàn)記載，史家也無從定論。出土的墓碑記載，郗璇卒于升平二年即公元358年，時(shí)年王羲之56歲。王羲之比其夫人郗璇多活了3年，因此王羲之的卒年就是公元361年，卒年扣除享年，王羲之的生年即為公元303年，與《辭?！分?個(gè)版本中的一個(gè)相同。

隨著王羲之夫人墓碑的出土，一段公案就此了結(jié)?？墒?，蘭亭的傳奇還在繼續(xù)。從誕生到傳家、從真跡到摹本、從書法到文化，《蘭亭序》成為中國(guó)書法藝術(shù)的圖騰，中國(guó)古代文化形態(tài)的標(biāo)志。它產(chǎn)生、流傳、消失、衍變和傳播的歷史，早已超越了王羲之為代表的魏晉文人風(fēng)骨和精神世界，成為中國(guó)特有的一種藝術(shù)文化，并播及海外。修禊盛會(huì)、絕品墨跡、書圣風(fēng)骨、蘭亭勝跡，通過千年的物化和積淀，共同構(gòu)筑了中國(guó)文化史上一個(gè)永不落幕的傳奇。

Artworks Inspired byPreface to the Orchid Pavilion Collection

By Chen Yang

Wang Xizhi （303-361） is the saint of Chinese calligraphy. No other person in the history of China has this godly honor. His? is considered a masterpiece in the style of semi-cursive script， aka? script. The original was kept in the Wang clan for hundreds of years until the Tang Dynasty （618-907）. After it came into the hands of the royal house of the Tang Dynasty， numerous copies were made by prominent calligraphers such as Feng Chengsu， Ouyang Xun， Yu Shinan and Zhu Suiliang. These handwritten copies gave rise to some carved replicas on stone tablets. History records that some collectors in the Song Dynasty （960-1279） had more than 100 different rubbings from stone tablets. Jia Sidao （1213-1275） who once served as prime minister of the Southern Song （1127-1279） had more than 800 different replicas in his collection of calligraphy. In the following dynasties， scholars and calligraphers were equally obsessed with the calligraphic masterwork.

Wang Xizhis preface inspired not only calligraphers of later generations， but also artists who painted Orchid Pavilion and related stories and figures for about 1，000 years. Yan Liben （c.600-673）， a master painter of the early Tang Dynasty， created a painting illustrating how a guy named Xiao Yi outsmarted a disciple of a seventh-generation grandson of the Wang clan， put his hands on the manuscript， and presented it to the emperor. This anecdote is recorded in a book penned by a scholar of the Tang Dynasty. There are three different copies of the original painting by Yan Liben， now respectively in the possession of the Palace Museum of Beijing， Liaoning Provincial Museum and the Palace Museum of Taipei.

Wangs preface also inspired numerous artists to restore the scene of the spring-day outdoor party. The same story was painted again and again in the following dynasties and up to the 20th century. Artists who dedicated their time and talent to this subject include some greatest names in the history of Chinese art.

Wang Meng （1308-1385）， one of the Big-Four artists of the Yuan Dynasty （1271-1368）， created an ink painting on a paper scroll which measures 28.8 centimeters tall and 135.5 centimeters wide. From the seals on the painting， the artwork can be ascribed to Wang Meng. Attached to the painting is a replica of the preface written in 1518 by Tang Yin （1470-1524） of the Ming Dynasty （1368-1644）. Some scholars argue the painting was not created by Wang Meng， but they all agree that it is a masterpiece. Another great artwork that portrays the gathering is a work jointly created by Zhu Yunming （1461-1527） and Wen Zhengming （1470-1559） of the Ming Dynasty. Zhu was an eminent calligrapher and Wen a versatile artist， both being among the best of their time. Zhu copied the preface and Wen created a painting to go with the calligraphy.

The Orchid Pavilion Ink-stone is a well-known stationery tool treasured by scholars of the past. The ink-stone named after Orchid Pavilion usually presents either a scene portrayed in the preface or eight scenes of the memorable place where the gathering took place. Such an ink stone first appeared in the Northern Song Dynasty （960-1127）. Most of them are lost in history. Some similar ink stones were made in the Ming and the Qing （1644-1911） dynasties. Another stereotypical ink-stone of the past is a goose-shaped design based on Wang Xizhis love of the bird. Such goose-shaped ink stones were made in the major dynasties from the Song on. These precious ink stones can be seen in various museum collections across China.

In the Ming the famous spring-time gathering first portrayed in the preface appeared in many artworks such as horn carvings， paper fans， porcelains as well as lacquer ware. In the Qing， the spring-time gathering was seen in most stationery pieces， as testified by the precious antiques in the collection of the Palace Museum in Beijing. Emperor Qianlong （1711-1799） loved the image and had a whole set of stationery and decorative pieces custom-made with this subject for his royal study.

In 2006， a tombstone in the possession of an antique collector in Shaoxing， Zhejiang caused a stir among calligraphers and antique experts and scholars. The stone bears a text of 345 words in 28 lines in the clerical script. Most of the words are legible. The text relates who was buried in the tomb and solved a problem that had puzzled historians for more than 1，000 years. Concerning the birth and death years of Wang Xizhi， （The Sea of Words）， an authoritative dictionary， had offered three scenarios： 321-379， 303-361， 307-365 in different editions. The three different timelines suggested that Wang Xizhi died at the age of 59， but historians had no way to find out exactly when he was born or died. The tombstone clarifies： Wangs wife Xi Xuan died in 358 when Wang Xizhi was 56. If the theory that Wang Xizhi died at 59 is correct， then it was 361 when he passed away and therefore he was born in 303.