“浙里”有個(gè)“十三點(diǎn)”

鮑志成

多次赴日本、美國、加拿大訪問講學(xué)的林先生，從閩入浙，行跡遍布海內(nèi)外，然終歸老“浙里”杭州。故其“十三點(diǎn)”者，無不熏染有“浙里”“浙氣”。此氣者何？江南詩意、西子靈秀也。

說人“十三點(diǎn)”，多少有語帶嗔怪、取笑、調(diào)侃之意，語雖不夠典雅，但聽著也不至于生氣、怪罪，算是吳語方言中的高頻俚語俗詞，使用廣泛，具體含義要看語境，復(fù)雜而微妙，趣味無窮。

有時(shí)情侶之間一句“你個(gè)十三點(diǎn)”，反倒讓人暗生歡心。盡管如此，自稱為“十三點(diǎn)”者恐怕少之有少，自稱為“十三點(diǎn)”并引以為榮者，更是難得。在浙江文化藝術(shù)界有“老神童”之稱的林乾良先生可算一個(gè)。

一

林先生是福州人，自幼好玩石治印，自號(hào)“印謎”。后業(yè)醫(yī)，兼通中西醫(yī)各科，旁及茶藥，故有“醫(yī)通”“茶博”之稱。繼而師名家，習(xí)書畫，于甲骨、璽印、磚瓦、篆書、山水、花鳥、人物，無所不能，金石書畫界有“十相”之譽(yù)。林先生稟賦卓異，既可作詞填曲、粉墨登場，也會(huì)作文賦詩、妙筆生花，于音樂、戲曲、詩文、著論各有造詣;又興趣廣泛，廣收博取，收藏醫(yī)方、名箋、字畫、珍郵、銅鏡、瓷甓諸物，林林總總，計(jì)有十三項(xiàng)之多，晚年遂自號(hào)“十三點(diǎn)”。

林先生嘗撰《十三點(diǎn)自述》，備述其原委緣由，內(nèi)云：“此名大不雅，世人每歸之癡呆怪異者流。今適逢此數(shù)，真天意也。即以為號(hào)，又有何妨。人以為忤，余則甘之若飴矣。”詼諧灑脫之中，可見“老神童”之風(fēng)采神韻。

稱林先生為“老神童”，恐怕我是第一人。何故？一者他尊榮雅號(hào)無數(shù)，如“中醫(yī)學(xué)家”“茶療學(xué)者”“篆刻家”“書畫家”“票友”“收藏家”等等，抑或“醫(yī)通”“茶博”“印謎”“戲癡”“鏡奴”“甓癖”“箋王”……少有人能如此博學(xué)多藝;二者昔年他曾與我詳述家世生平，稱自幼失怙，淪為孤兒，雖歷經(jīng)顛沛流離、九死一生，仍好學(xué)求進(jìn)，加之天資卓異，得以英才勃發(fā)。而今林先生仍老而彌堅(jiān)，勇猛精進(jìn)，著述不輟，每日伏案十多小時(shí)，整理藏品，潛心學(xué)問，僅近5年出版專著就有二十七冊(cè)之多，不僅是一個(gè)活脫脫的“老神童”，而且是一個(gè)實(shí)打?qū)嵉摹安焕夏猩瘛薄?/p>

而在我看來最值得深究的是，醫(yī)者林先生何以精通這諸般“藝文”？

古來圣賢從不以多才與博學(xué)自夸，也不教人求多務(wù)博。如孔子曰“吾道一以貫之”，韓愈云“聞道有先后，術(shù)業(yè)有專攻”。專心一業(yè)、持之以恒，此乃成功之道。學(xué)業(yè)、專業(yè)是這樣，職業(yè)、事業(yè)更是如此。而多才多藝與博學(xué)廣識(shí)，則似乎相懟相克，所謂雜則不精，博則不專，博學(xué)而無所成名，講的都是這個(gè)道理。

林先生以醫(yī)為業(yè)，其專如何？他八載苦讀，兼通中西醫(yī)，在浙江中醫(yī)藥大學(xué)一人講遍中西醫(yī)諸科目;他從醫(yī)60多年，醫(yī)學(xué)臨床、教學(xué)科研成果斐然，計(jì)有專著三十五種，論文、科普各百余篇，還有任主編的或二版、三版教材各五六種。及至晚年退休，國家有關(guān)部門匯其畢生醫(yī)教研成果之精華，集為《林乾良醫(yī)學(xué)叢書》出版，一函五冊(cè)，分別為《簡易療方》《中國茶療》《古今名醫(yī)處方真跡》《乾良醫(yī)話》《養(yǎng)生壽老集》。此外，還有《藥對(duì)》《養(yǎng)生之道》分別在美國、加拿大出版。他曾任醫(yī)史、藥史、中醫(yī)文化、中西醫(yī)結(jié)合等國家、浙江學(xué)術(shù)團(tuán)體理事和正副會(huì)長之職;還多次赴日本、美國、加拿大訪問講學(xué)，桃李遍天下。

常言道：茶藥同源。林先生因醫(yī)藥、養(yǎng)生而旁及于茶，立志研習(xí)，梳理茶事文獻(xiàn)五百余種，撰《茶史》《茶功》宏文，首倡“茶療”之說，所著《中國茶療》迄今已三版、三譯;又著《養(yǎng)生壽老茶話》《養(yǎng)生壽茶》《茶壽與茶療》等專著五種，擬“和敬清寂壽，廉美悟怡真”十字為“中華茶德”，創(chuàng)作茶題材書畫篆刻作品難計(jì)其數(shù)，匯刊《茶印千古緣》存錄。

二

若以其博學(xué)多藝言之，舉其大而有成者，約略如下：

印及書畫，卓成大家。林先生早歲往來三山（）市井街坊，為印石鋪琳瑯滿目壽山印石所吸引，常摩挲印石，徘徊其間，耳濡目染，髫齡即有篆刻治印之雅好。就學(xué)杭州后，得與“天下第一名社”西泠印社親密接觸，深愛其翰墨氣韻，節(jié)假日常徘徊其中，不知日之將暮。后拜陸維釗、沙孟海、韓登安為師，印藝大進(jìn)，乃獨(dú)辟蹊徑，常以甲骨文、古璽、漢印、磚瓦入印，題材旁及醫(yī)道、茶藥、戲文、鏡瓦諸端，遂自成一家之氣象。

然治印不過刀筆功夫，學(xué)問卻在刀筆之外。林先生自號(hào)“印謎”，研習(xí)印學(xué)史論，廣交天下印人，博搜海內(nèi)外印品，籌辦“二十世紀(jì)篆刻大師展”，撰著《方寸萬千》《印謎叢書》《瓦當(dāng)印譜》《西泠八家研究》《篆字辨識(shí)》《中國印》等十余種，藏印一甲子，印富五車多，業(yè)界有“新精奇罕趣”之贊。近年新著《世界印文化概述》，首開世界印文化新說，從古埃及、古巴比倫到東亞印學(xué)，無不囊括筆端，其視野之闊、學(xué)藝之深，由此足見一斑。林先生一生治印八十載，西泠社齡四十年，位尊“西泠五老”之列，至有“天下印人誰人不識(shí)君”之謂。

至若其書法，則以篆為主，兼融甲骨、金文、璽印、磚刻、鏡銘章法意蘊(yùn)，出古入新，工拙并美;其畫起于印石薄意，師承西泠諸家，山水、花鳥、人物信手涂抹，即成妙相，人有“林加索”“小冊(cè)頁大王”之稱。

戲文箋方，各臻其妙。京劇號(hào)為國粹，林先生早年于上海中醫(yī)研究班期間，常陪同學(xué)在“大世界”看戲，三月下來，從對(duì)戲劇毫無所知的“戲盲”，快速成長為一個(gè)懂戲會(huì)唱的“戲癡”票友。及退休之后，嘗一度旅居美國，其間入行于凈，遍訪灣區(qū)票房。從此一發(fā)不可收，常粉墨登場，演出于海內(nèi)外劇場?；蛟S有人會(huì)說：“逢場作戲，哼唱幾句，誰人不會(huì)？！”此言誠然，然林先生之為“戲癡”，真“票友”也。他不僅登臺(tái)，還編劇作曲，曾創(chuàng)作京劇劇本《錢王射潮》《不朽的阮文追》和《紅燈記組曲》，自己填詞作曲《紅燈頌》。他不僅創(chuàng)作，還弘揚(yáng)國粹，在海內(nèi)外撰文、演講普及推廣京劇。不僅如此，他結(jié)合自己最拿手的“老本行”，刻京昆戲劇印章三百方，集十多位名家戲畫數(shù)百紙，制作京劇主題郵品。

林先生早歲酷愛古文、詞賦和唐詩，自謂煩悶之時(shí)，常以吟誦消遣。年三十，得章炳麟弟子潘國賢之教而入于“小學(xué)”，著有《篆字辨識(shí)》《甲骨文易讀》《篆匯》，享譽(yù)古文字學(xué)界，至今猶任浙江省甲骨文學(xué)會(huì)副會(huì)長之職。

然世間德業(yè)，當(dāng)以教書育人為最，教育育人則又以開課啟蒙為要。林先生嘗自撰自印《基本中文易讀》，供海外華裔學(xué)習(xí)漢語之用。又推陳出新，撰專題《三字經(jīng)》九種，其中中醫(yī)、篆刻、茶文化三種已問世。其最難者，非《三字經(jīng)千字文合璧》莫屬，集兩部華夏傳世國學(xué)經(jīng)典于一書。

林先生身為士林中人，不僅用箋而與箋結(jié)緣，而且愛箋而情深義重。他集腋成裘，庋藏明清近世賢達(dá)、榮寶齋、國美等詩箋、信箋、書畫箋及箋版、書畫小冊(cè)頁、金石拓片等計(jì)有數(shù)萬紙之巨。其中又以詩箋為著，足有數(shù)千紙，乃名之曰“藏詩”，篆“千家詩藏”印以鈐之，《印人詩與論印詩展》添彩于中國印學(xué)博物館，近歲合集為《千家詩藏》，由浙江古籍出版社刊行。

鏡甓瓷郵，情趣盎然。古來愛物至深至切，甘心為其“奴役”者多矣，林先生戲稱自己為“鏡奴”，則又平添佳話。至今藏鏡數(shù)千，著有《千鏡齋精品》、《鏡文化與銅鏡鑒賞》，首倡“鏡文化”之說，提出銅鏡十大功能和命名法則，對(duì)神龍鏡、龍虎相嬉鏡、雷電鏡、七子鏡等七八種鏡之定名獨(dú)有創(chuàng)見，于戲劇鏡、四虺鏡、漢鳥鏡、詩文鏡、故事鏡、醫(yī)藥鏡等藏品多有專題研究。

林先生從閩入浙，行跡遍布海內(nèi)外，然終歸老“浙里”杭州。故其“十三點(diǎn)”者，無不熏染有“浙里”“浙氣”。此氣者何？江南詩意、西子靈秀也。吳越真福地，人文一淵藪，林先生天賦之才情，得兩浙山水人文之滋養(yǎng)，發(fā)乎天地人世間。此豈非東坡之與西湖哉？

A Talented Eccentric in Hangzhou

By Bao Zhicheng

Lin Qianliang is well known jokingly for his eccentricities among his friends as well as artists and art collectors in Zhejiang. A native of Fuzhou， the capital of Fujian Province south to Zhejiang， Lin， born in 1932， has a wide range of hobbies. He is an ardent specialist of traditional Chinese medicine， tea therapy， seal art， calligraphy， painting， art and antique collection， and theater.

By occupation， Lin is a TCM doctor. Before his retirement from Zhejiang Chinese Medical University， he was a TCM professor with 35 books and over 100 papers and essays under his belt. Some of his books have been translated into foreign languages. Before his retirement， he was also a member of various professional associations， and he gave lectures in Japan， USA and Canada. As a TCM doctor， he first came up with the idea of treating patients with a tea therapy after combing more than five hundred ancient books on the subject.

Lin developed his first hobby， that is， seal art， when he was about 8 years old. After he came to Hangzhou， he had the opportunity to visit Xinling Seal Art Society， the very famous organization of seal engravers and calligraphers headquartered on the West Lake. He studied under the guidance of Lu Weizhao， Sha Menghai and Han Dengan， all artists of national renown. He was able to combine various ancient seal scripts into his own seal creations. The seal texts he has carved cover a wide range of his hobbies such as herbal medicine， tea， theater and mirrors. These texts on seals make him an outstanding seal artist. As a seal artist， he also studied ancient Chinese scripts under the guidance of Pan Guoxian， a disciple of Zhang Binlin （1869-1936）， one of the greatest ancient Chinese masters of modern times. Lin has published three books on ancient Chinese scripts. He is now a vice president of Zhejiang Association for Studies on Texts of Oracle Bones

Over his 80 years of hobby and 40 years as a member of the Xiling Seal Art Society， Lin has published more than 10 books on seal art and built up a collection of seals.

After his retirement， Lin lived in San Francisco for a few years where he became a Peking Opera fan influenced by Peking Opera shows at local Chinese communities. He was so passionate about the opera that he became an amateur Peking Opera artist. He wrote two Peking Opera scripts and composed arias. In addition， he compiled and published a Chinese primer so that the children born in America of the first-generation Chinese immigrants could get acquainted with their mother-tongue.

Over years， Lin Qianliang has built up a huge collection of letter papers. Letter papers were important stationery in ancient China. Some were manufactured by stationery and art studios and schools and some were designed by artists and scholars including some big names. The oldest letter papers in Lins collection are those printed in the Ming （1368-1644） and the Qing （1644-1911）. Many of these letter papers present special designs and pattern such as painting， seal impressions， and poems. Lins huge collection of these letter papers adds up to several tens of thousands.

Lin has also a collection of several thousands of mirrors. On the basis of his studies of these mirrors， he has developed a system to categorize mirrors and put them into different sets and give names to categories; he has also developed a theory that highlights the ten functions of these mirrors.

Lin Qianliang really does not mind if other people call him eccentric. Instead， he thinks it is okay if his hobbies are billed as eccentricities. He even wrote an explanation to lampoon his eccentricities. After all， he has a wide range of hobbies and these hobbies add colors to his life. If his happiness and joy are equal to eccentricities， he doesnt mind being called an eccentric.