文人雅士與普陀圣境

林上軍 劉勝勇

“海上有仙山，山在虛無縹緲間”。說起中國四大佛教名山之一的浙江普陀山，在中國幾乎家喻戶曉。它坐落于著名的舟山漁港沈家門對岸，形似蒼龍臥海，是舟山群島眾多島嶼中一個(gè)風(fēng)景秀麗、梵音裊裊的小島。島嶼面積約13平方公里，游客絡(luò)繹不絕，疫情之前的2019年，普陀山朱家尖景區(qū)游客量超2000萬人次。

其實(shí)普陀山不僅僅是因?yàn)榉鸾堂蕉雒?，更因?yàn)榍О倌陙恚院Ｉ街畡?、大士之靈，吸引著無數(shù)文人雅士駐足、徜徉，形成了深厚的文化底蘊(yùn)。據(jù)考證，宋代王安石、陸游、史浩，元代趙孟頫、吳萊，明代文徵明、屠隆、徐霞客、董其昌，清代全祖望、萬言、袁枚、姚燮、俞樾、劉鶚，近代康有為、孫中山、郁達(dá)夫、吳昌碩，現(xiàn)代的巴金、豐子愷、劉海粟等文人墨客和名士雅士先后游山禮佛，留下了一幀幀詩書畫卷、一段段傳奇佳話。

陸放翁頻游普陀釋性情

作為宋代著名的愛國主義詩人、文學(xué)家、史學(xué)家，陸游以人生八十五個(gè)春秋創(chuàng)作了近萬首詩。陸游（1125-1210年），字務(wù)觀，號放翁，越州山陰（今浙江紹興）人。由于才華出眾、為人正直，陸游仕途坎坷。

也許是向往普陀勝景，也許是為排遣郁悶心情，陸游曾前后四次蒞臨普陀山。宋紹興二十四年（1154），參加禮部考試，因其名列宰臣秦檜的孫子秦塤之前，被秦檜除名。是年，他與幾位同窗赴普陀山釋放心情。

淳熙四年（1177），時(shí)任提舉常平茶鹽公事的陸游，再次來到普陀山，住了10余日。他在普陀山題海山壁間詩《登山望旭》云 ：“海上乘云滿袖風(fēng)，醉捫星斗躡虛空。更知壯觀非塵世，半夜鯨波浴紅日?！笔惆l(fā)了自己壯心不已的抱負(fù)。

淳熙七年（1180），他以擅權(quán)罪名被罷職還鄉(xiāng)閑居山陰。淳熙十年（1183）6月，陸游從紹興來到普陀山，這次他在山上僅游了半日?！皦阎觉沲裳M頭，久將余日付滄洲……公卿憂責(zé)如山重，肯信人間有放翁！”從詩中可知，他到普陀山，不是消極懈怠，而是有所寄托的。這次他在山上留下了《海山》和《夢海山壁間詩不能盡記其意追補(bǔ)》兩首詩，抒發(fā)了自己的感想。

其中《夢海山壁間詩不能盡記其意追補(bǔ)》這樣寫道：碧海無風(fēng)鏡面平，潮來忽作雪山傾。金橋化出三千丈，閑把松枝引鶴行。

開禧三年（1207）秋，八十高齡的陸游重游普陀山。因家居時(shí)養(yǎng)生有術(shù)，他依然耳聰目明，身似游云野鶴，據(jù)說當(dāng)時(shí)還健步登上普陀山最高峰佛頂山，與小庵高禪師把茶問盞，訴說心事。他進(jìn)普陀山寶陀觀音寺圓通殿，游千步沙，并賦《千步沙觀潮》《記九月二十六日夜》兩詩。兩詩都是描寫風(fēng)景名勝、山水景物，以寫景抒情為主。語言平實(shí)通俗、明白如話，表現(xiàn)手法細(xì)膩傳神，詩歌意境平和恬淡。

王魯彥夜宿普陀聽潮音

一篇《聽潮的故事》，讓近代作家王魯彥的名字印在許多中國人的腦海中，因?yàn)檫@篇文章收進(jìn)了中學(xué)語文課本。而這篇散文的靈感就來自普陀山島。

王魯彥（1901～1944），現(xiàn)代小說家。原名王衡，又名王返我，字忘我，浙江鎮(zhèn)海人。 長期從事教育和編輯工作。1929年7月，王魯彥偕新婚妻子覃英，應(yīng)作家郁達(dá)夫及其妻子王映霞之邀，于當(dāng)月25日抵達(dá)普陀山。同行的還有著名作家樓適夷、著名詩人任鈞等。

郁達(dá)夫（1896～1945），中國現(xiàn)代著名小說家、散文家。浙江富陽人。早年留學(xué)日本，1927年定居上海，曾參加“左聯(lián)”。1933年遷居杭州?？谷諔?zhàn)爭期間在南洋從事抗日救亡宣傳活動。

他們一行先住在普陀山天福庵里。他們中只有任鈞躲在庵里埋頭寫中篇小說《愛與仇》，其他人每天游山玩海，過得極為浪漫悠閑。郁達(dá)夫去潮音洞聽潮音，站在礁石上，見浪濤轟鳴而下，即興賦詩《游普陀作》：山谷幽深杖策尋，歸來日色已西沉。雪濤怒擊玲瓏石，洗盡人間絲竹音。

幾天后，王魯彥夫婦與郁達(dá)夫等轉(zhuǎn)移至朝陽庵中下榻。朝陽庵位于普陀山千步沙和白步沙之間，憑海臨風(fēng)，白天在房間推窗望出去氣象萬千、心曠神怡;晚上，枕濤而眠，天籟之音不絕。

作為現(xiàn)實(shí)主義作家的魯彥，他正是帶著由于時(shí)勢變化而產(chǎn)生的不同尋常的心情來到四面環(huán)海的普陀山避暑。他住在瀕臨大海的庵房里，日夜傾聽著海潮的聲響。當(dāng)海潮停落之時(shí)，恬靜優(yōu)美;而當(dāng)其暴漲之時(shí)，則又雄渾壯闊。

魯彥非常喜歡聽海潮的聲音，他常常一個(gè)人走到門外聽潮聲。海潮起伏，潮聲在不同的時(shí)間有不同的聲音。魯彥面對澎湃的海潮，耳為所感，心為所動，海潮與心潮并起。

普陀山的海潮有其獨(dú)特的振聾發(fā)聵的魅力，這是其他地方海潮所不可比擬的。第二年，魯彥與覃英去了廈門鼓浪嶼海邊，那里也有一望無際的海，同樣也是聽潮，但感覺完全不一樣。魯彥后來把與妻子在普陀山聽潮的那段經(jīng)歷，寫就一篇借景抒情的優(yōu)美散文《聽潮的故事》。他抓住大海落潮、漲潮初起和漲潮達(dá)到高峰時(shí)聲音情態(tài)的不同、感受的不同，通過大海的變化，直抒胸臆，描繪了海睡圖、海醒圖、海怒圖，表達(dá)對大海的溺愛之情。

在王魯彥的耳中、心里，海天佛國普陀山的潮音是如此精彩絕倫：如戰(zhàn)鼓聲、金鑼聲、吶喊聲、叫號聲、啼哭聲、馬蹄聲、車輪聲、機(jī)翼聲摻雜在一起，像千軍萬馬混戰(zhàn)起來……

書畫家摩崖石刻留墨印

在普陀山普濟(jì)寺旁，有一處摩崖石刻，上書“震旦第一佛國”，為明朝登萊總兵張大可（字觀甫）所書，寫出了當(dāng)時(shí)普陀山香火旺盛的壯觀景象。 摩崖石刻是普陀山深蘊(yùn)文化內(nèi)涵的人文景觀之一，現(xiàn)普陀山上存160余條摩崖石刻，有的為元代趙孟頫所題，而大多是明清及以后的題書，有明董其昌、侯繼高、何汝賓，清康熙、雍正、吳昌碩、康有為，近代郭沫若、趙樸初等。其中可考刻石有114處，其中明代25處、清代10處、近代30余處。

2011年，普陀山新的文化景觀被列入省級文保單位。由普濟(jì)寺周邊的達(dá)摩峰西摩崖石刻、西天門元代石刻、海岸牌坊、大乘庵、文昌閣、興善堂、積善庵和法如庵等八處文物古跡整合為普陀山新的文化景觀，據(jù)《普陀山大辭典》記載，達(dá)摩峰上由趙孟頫書寫的直徑達(dá)1.4米的“瀛洲界”三個(gè)大字，是趙孟頫先用盛米的小畚箕，將米一畚箕一畚箕地撒在紙上，形成“瀛洲界”三字，然后用墨筆勾定。

五朝恩賜無雙地，四海尊崇第一山。關(guān)于歷代文人雅士與普陀圣境的故事，千百年來可謂不勝枚舉。

千秋香火真如地，萬國梯航大士家。如今，普陀山已經(jīng)成為五大洲信眾和游客向往的朝山攬勝之地，一年四季游人如織，香客如潮。美麗的自然風(fēng)景和濃郁的人文底蘊(yùn)、佛教氣息，使它蒙上一層神秘的色彩。進(jìn)入新時(shí)代，普陀山與時(shí)俱進(jìn)，書寫著嶄新的人文景觀，延續(xù)著悠久歷史的精彩文脈。

The Scared Putuo Mountain

By Lin Shangjun ?Liu Shengyong

The Putuo Mountain， one of the four sacred Buddhist mountains in China， is known to almost every household in the country. Sitting across the Shenjiamen Port， a famous fish port in Zhoushan city， Zhejiang province， it emerges from the sea like a crouching emerald dragon， and stands out among the Zhoushan Archipelago as a dainty island with rich Buddhist culture. Its 13 or so square kilometer stretch is usually thronged with tourists： in 2019， the Zhujiajian- Putuo Mountain Scenic Area received over 20 million visitors.

However， Putuo Mountain’s cultural reputation is not built on Buddhism alone. For thousands of years， visiting literati and celebrities have been captivated by its fascinating sea and mountain views and they wrote affectionately about this place in the form of poetry and articles， and recreated its beauty through paintings. According to historical records， such visitors include Wang Anshi， Lu You and Shi Hao from the Song dynasty （960-1279）， Zhao Mengfu and Wu Lai from the Yuan dynasty （1206-1368）， Wen Zhengming， Tu Long， Xu Xiake and Dong Qichang from the Ming dynasty （1368-1644）， Quan Zuwang， Wan Yan， Yuan Mei， Yao Xie， Yu Yue， Liu E from the Qing dynasty （1616-1911）， as well as contemporary Kang Youwei， Sun Yat-sen， Yu Dafu， Wu Changshuo， Ba Jin， Feng Zikai and Liu Haisu.

As a famous patriotic poet， writer and historian， Lu You （1125-1210） wrote nearly 10，000 poems during his lifetime. Born in Shanyin， Yuezhou （nowadays Shaoxing， Zhejiang）， Lu had a career path that twisted and turned because of his outstanding talent and integrity.

Lu visited the Putuo Mountain for four times. The first time was in 1154， after he was framed by Qin Hui （1090-1155）， the notorious traitor， and failed in an examination held by the Ministry of Rites. In 1177， Lu revisited here as an official and stayed for ten days. During his stay， he wrote a poem titled “Dengshan Wangxu” （“Ascending the Putuo Mountain and Watching Sunrise”）， crying out his unrewarded ambition. He came back for his third visit in 1183 and stayed for only half a day. Three years before， he was removed from office and returned to Shaoxing with unfulfilled aspirations， which he weaved into the two poems composed during his half-day visit at the Putuo Mountain.

In the autumn of 1207， the then 80-year-old Lu came to Putuo for the fourth time， and he was still in a very good shape， brilliant and brisk as ever. It is said that he even climbed to the top of Foding Mountain， Putuo’s highest peak， drank tea while conversing with a Buddhist monk， and visited several temples and other scenic spots. For the fourth visit， Lu wrote another two delicate， peaceful poems on the local landscape in a plain and communicative style.

Wang Luyan （1901-1944） is a Chinese contemporary writer who became well-known by an article selected into a Chinese textbook. The article was titled “Tingchao de Gushi” （Story of Listening to Tides）， and it was inspired by the Putuo Mountain.

Wang Luyan is a modern novelist. He was born in Zhenhai， Zhejiang， formerly known as Wang Heng and Wang Fanwo with the courtesy name Wangwo. Wang has been long engaged in education and editing. In July 1929， Wang and his newly married wife Tan Ying reached the Putuo Mountain at the invitation of the famous writer Yu Dafu and his wife Wang Yingxia， accompanied by the writer Lou Shiyi and the poet Ren Jun， who were also reputable. They were a romantic， laid-back crowd.

As a realistic writer， Wang was mindful of the changing society and decided to spend some summertime at the Putuo Mountain， listening to the sound of the tides. He loved the sound of the tides here， which varied at different times， and was deeply attracted to their unparalleled charm. Later， he wrote his tide-admiring experience into his famous article， where the varying sound and mood of the sea rising and falling were captured fondly.

Next to the Puji Temple on the Putuo Mountain， there is a cliff inscription carved by Zhang Dake， a Ming dynasty commander， which proclaimed Putuo as the foremost Buddhist ground in China， showing the popularity of the Putuo Mountain for Buddhist worshippers back then. On the Putuo Mountain， the cliff carvings are one of the humanistic landscapes with deep cultural connotations. More than 160 cliff carvings could be found here on the Putuo Mountain， some of which were inscribed by the Yuan dynasty painter and calligrapher Zhao Mengfu （1254-1322）， while most of them were inscribed in Ming， Qing and later dynasties. Among them， 114 can be traced to their authors， of which 25 were from the Ming dynasty， 10 from the Qing dynasty and more than 30 from the modern times.

In 2011， the new “Putuo Mountain Cultural Landscape” was listed as a provincial cultural preservation unit， which includes eight cultural relics and monuments around the Puji Temple.

Throughout history， the stories between the celebrities and the holy land of Putuo are countless. The beautiful natural scenery combined with rich humanistic and Buddhist culture has made the sacred mountain even more mysterious. Now the Putuo Mountain is entering a new era， and it will keep pace with the times while renewing its humanistic landscape.