论文部分内容阅读
知識改变命运
和园主人汪贤林，一位儒雅的中年人，衢州太和艺田装潢工程公司的经理。
“文革”期间，汪贤林毕业于浙江常山两年制农村初中。改革开放后，16岁的他离开家，独自走向陌生的世界。从福建的建筑工地、江西的农贸市场、上海的广告公司、江苏的商业机构、山东的信息部门，到广东的专业市场，汪贤林走南闯北，风风雨雨，备尝艰辛，不断胜出，积累起相当的经验与一定的资金。
1992年，汪贤林在衢州开办了工艺标牌厂，不久扩展为装潢工程公司。多年来，这公司已有相当知名度，无论公建的标志性项目，还是家居的私人空间，从创意设计到技术施工，汪贤林与他的伙伴们都作为艺术作品来打磨。
汪贤林闯荡“江湖”30多年，深知知识的价值。他学历不高，可自我学习从未间歇过。夜深人静，他如饥如渴地阅读文学、哲学、历史、社会、艺术诸类书籍，并临帖习书。如是，他不仅开阔了视野、开启了智慧，而且逐步形成了他对事物、对经济、对市场、对文学艺术独有的价值判断。学，然后知不足。他广交文友，拜访师长，曾连续三年每周到杭州“恒庐讲堂”听名家讲座以“充电”。小时候他梦想成为一个像他外公那样的文化人。他有了一个美满的家庭：妻子周慧娟，在衢州日报社工作，爱好书法，曾两次获得省里书画展的奖项；儿子在外地上大学。
多年前，他将含辛茹苦大半辈子的父母接来衢州同住，共享天伦，而不必如某些成功人士那样追悔“子欲养而亲不在”而自责；虽然去年母亲驾鹤西去，但得到了儿子的孝、享到了儿子的福，亦可含笑九泉了。
汪贤林的成才与成功，是知识改变了他的命运。
用喜欢的方式回报社会
和园，是汪贤林购买的三间三层楼商品房装修成艺术馆式的住宅，位于商业闹市地段。太和艺田装潢工程公司就在马路对面。
和园的一楼与二楼很宽敞，四围排满了接顶的大书橱，若在这些书橱外面镶上薄板，即可悬挂大幅书画，举办小型书画展。中间摆有原生态的樟木桌凳，古朴雅致，宜三五友朋喝茶闲聊，听不到市声，是一方闹中取静的艺术天地。三楼是餐厅与卧室。公司的办公人员就在和园用工作餐。汪贤林自称“和园班长”。
因为和园，汪贤林已经在衢州文化人圈中颇有名气。2012年至2016年间，汪贤林出资为一些世人所不太知晓、渐渐遗忘的老去或已逝的文化人，或出版或印行了“和园从书”十种，为的是用他自己喜欢的方式回报社会。
说起这事，汪贤林很有感慨。他告诉我，2011年暑假，他带儿子到西安旅游，在陕西历史博物馆，被一幅《狩猎出行图》吸引住了。观这幅从乾陵章怀太子墓中割取出来的长12米、宽3米的壁画，汪贤林似乎听到了古代画家在粗糙的石壁上笔走龙蛇的沙沙声。那一刻，他想起了衢州乌溪江山区那位已故的柴汝梅老先生写在农具、家什以及村居门楣上的大字，觉得与唐代壁画有异曲同工之妙。柴汝梅（字石松）原是衢州一中教师，1957年被遣送回乡当了一辈子农民。然而，艰辛的生活并未磨灭柴老师热爱书法的雅兴。他为乡邻写春联，号箩筐（衢县农村语，“号”即写），题门楣上的“紫气东来”或“南极生辉”……汪贤林以前在一位曾经学书于柴老师的朋友毕全林那里，读过很多柴老师写在糙纸上的诗词，对之书品人品敬佩至极。汪贤林觉得，像柴汝梅的书法形体与品位，远远超越某些书家，应在衢州书坛有一席之地。于是，由汪贤林主编、毕全林副主编的《石松存稿》，作为“和园丛书”的第一种，由人民教育出版社出版，一切费用由汪贤林承担。
流淌的乡愁与乡情
“和园丛书”的社会反响很大，大家称赏不已。其中，《和园》即介绍“太和艺田”这个团队的概况、设计理念和装潢样板。《寸心容香》介绍老画家季子耀的考古成就。《垄上行营》介绍常山六名自由结合的“玩”书法的普通人。《厚石斋吟稿》介绍老画家梅谷民的诗词与书法。《人文众园》介绍一座民间博物馆。
这里特别要提一提《人文众园》。众园，是衢州企业家严春元“烧钱”建造在衢州北乡九华的一座内有20幢徽派建筑的仿古园林，并将几十年来收藏的“百床”“千瓷”“万玉”展示在古建筑中，俨然一个规模宏大的民间博物馆。“众园”筹划时，汪贤林亦参与其中。汪贤林之所以这样做，一是欣赏严春元的乡愁乡情——再现一个浙西山乡百姓祖祖辈辈赖以生存和生活的和谐的民居环境，二是他梦想有一天自己也能建起一座仿古庭园，就像当年外公家被充公的那座老房子一样，那里面有前厅后院、天井厢房，有雕梁画栋、花窗牛腿，过蒔花种竹、养鱼蓄禽的怡然自得的慢生活。汪贤林曾对我说过，严春元这座“众园”，现在是衢州的一道风景，百年以后还是衢州的一道风景。正是出于这样的想法，汪贤林编著了这一种图书：流淌着他这个从常山走出来的农村少年的浓浓乡愁与乡情。
还有《瑰意琦行》，是为衢州杜瑰生先生出版的，也值得说一说。杜老先生在文艺的诸多方面均有造诣，且经历丰富，友朋如云，影响也大，后来却只过着“老客赋闲五十年”、“汲水引煤兼数米”的日子。2011年，汪贤林得到一本朋友赠送的瑰生先生与其父亲、弘一法师的友人宝光先生的诗文合集《诗是吾家事》，初览就爱不释手，立即萌生了新编一种集子，留住衢州曾经的文化的想法。汪贤林两次拜望九旬高龄的瑰生先生，与其公子新一先生接洽，从散乱的稿本中，整理出这包含诗词、书画、篆刻、音乐、自传（上）以及藏品的合集，于2014年交给西泠印社出版社出版，由他出资。
汪贤林出书不媚俗、不趋时、不带功利目的，他只是想以自己的微薄力量，尽量保持、传续衢州民间的文脉。
Wang Xianlin is a successful businessman in Quzhou， a key city in southwestern Zhejiang. He left home at 16 with only two-year education of junior high school in a rural region. He had been around the country for a long while before he came back to Quzhou and started a business that made plaques in 1992. He soon stepped into decoration business. Nowadays， the business is a success. Wang hasn’t tried to expand. For years， he has just maintained his business at a certain level and given his time to cultural undertakings. Fortunately， his employees see eye to eye with him with business stability. Over the past 20 some years， most employees have stayed with him. Wang， though with an inadequate school education， is a reader in his spare time. He devours books on philosophy， literature， history， art， sociology. And he practices calligraphy.
His wife， a journalist and calligrapher， and he live in a three-story house across the street where his business is located. The home is called Harmony Garden. The reputation of the residence has spread among local cultural circles in Quzhou largely because he has published ten books in Harmony Garden series.
The inspiration came from a visit with his son to a history museum in Xi’an， the capital city of northwestern China’s Shaanxi province in the summer 2011. He saw a mural which measures 12 meters long and 3 meters high. The mural was unearthed from a mausoleum of the Tang prince. The ancient wall painting awed him and reminded him of Chai Rumei， a calligrapher of Quzhou whom he had met years before. He found something familiar in the wall painting. Chai was sacked from a middle school in Quzhou in 1957 in a political chaos. The former teacher lived as a farmer all his life， but he left his calligraphy writings all over the villages in the mountain region where he lived. Wang remembered that Chai was even much better than some so called calligraphers of modern times. He had seen some calligraphy works by Chai， which were in the collection of a local calligraphy friend named Bi Quanlin. So Wang felt that Chai’s calligraphy should be remembered. Back home， he and Bi Quanlin worked together and compiled a collection of Chai’s calligraphy. Wang published the book at his own expense. This was the first of the long series and he named the series after his residence.
The launching of the Harmony Garden series caused a sensation in Quzhou. Pretty soon， more books followed. So far， Wang has funded the publishing of ten books of the series. One book focuses on the archaeological studies of Ji Ziyao， a local artist. Another book introduces six amateur calligraphers in Changshan County， a rural part of Quzhou. Another book is a collection of poems and calligraphy works of Mei Gumin， a veteran artist of Quzhou. One book covers an open museum of ancient architecture by Yan Chunyuan， a local business tycoon. The museum has 20 houses all erected in the architectural style of Anhui， a neighboring province west to Zhejiang. These twenty houses provide adequate space to display the antique beds， porcelain and jade artworks Yan has spent several decades to collect. Wang worked as an advisor when the museum was in the preparatory phase. Wang wanted to publish such a book largely because the book recreates the 20 houses on the paper and because he himself nourishes a similar dream of building such a house. The museum is now a cultural phenomenon of Quzhou and will remain so for a long time to come.
One book in the series is worth special mentioning. Du Gui is a local cultural celebrity. He is a scholar. In his younger years， he made a lot of friends and was influential. In 2011， Wang received a book from a friend. The book is a collection of poems and essays by both Du Gui and his father who once befriended Master Hongyi. Wang went through the book and thought it was his responsibility to include the works of Du Gui in the series. So he paid two visits to Du Gui in his 90s. In collaboration with Du Gui’s son， Wang went through the scholar’s manuscripts and put together a collection of Du’s works including poems， calligraphy， paintings， engraved seals， music and an autobiography and some photos from his antique collection. The book was printed by the publishing house of the Xiling Seal Art Society in 2014. Wang Xianlin footed all the bills.
和园主人汪贤林，一位儒雅的中年人，衢州太和艺田装潢工程公司的经理。
“文革”期间，汪贤林毕业于浙江常山两年制农村初中。改革开放后，16岁的他离开家，独自走向陌生的世界。从福建的建筑工地、江西的农贸市场、上海的广告公司、江苏的商业机构、山东的信息部门，到广东的专业市场，汪贤林走南闯北，风风雨雨，备尝艰辛，不断胜出，积累起相当的经验与一定的资金。
1992年，汪贤林在衢州开办了工艺标牌厂，不久扩展为装潢工程公司。多年来，这公司已有相当知名度，无论公建的标志性项目，还是家居的私人空间，从创意设计到技术施工，汪贤林与他的伙伴们都作为艺术作品来打磨。
汪贤林闯荡“江湖”30多年，深知知识的价值。他学历不高，可自我学习从未间歇过。夜深人静，他如饥如渴地阅读文学、哲学、历史、社会、艺术诸类书籍，并临帖习书。如是，他不仅开阔了视野、开启了智慧，而且逐步形成了他对事物、对经济、对市场、对文学艺术独有的价值判断。学，然后知不足。他广交文友，拜访师长，曾连续三年每周到杭州“恒庐讲堂”听名家讲座以“充电”。小时候他梦想成为一个像他外公那样的文化人。他有了一个美满的家庭：妻子周慧娟，在衢州日报社工作，爱好书法，曾两次获得省里书画展的奖项；儿子在外地上大学。
多年前，他将含辛茹苦大半辈子的父母接来衢州同住，共享天伦，而不必如某些成功人士那样追悔“子欲养而亲不在”而自责；虽然去年母亲驾鹤西去，但得到了儿子的孝、享到了儿子的福，亦可含笑九泉了。
汪贤林的成才与成功，是知识改变了他的命运。
用喜欢的方式回报社会
和园，是汪贤林购买的三间三层楼商品房装修成艺术馆式的住宅，位于商业闹市地段。太和艺田装潢工程公司就在马路对面。
和园的一楼与二楼很宽敞，四围排满了接顶的大书橱，若在这些书橱外面镶上薄板，即可悬挂大幅书画，举办小型书画展。中间摆有原生态的樟木桌凳，古朴雅致，宜三五友朋喝茶闲聊，听不到市声，是一方闹中取静的艺术天地。三楼是餐厅与卧室。公司的办公人员就在和园用工作餐。汪贤林自称“和园班长”。
因为和园，汪贤林已经在衢州文化人圈中颇有名气。2012年至2016年间，汪贤林出资为一些世人所不太知晓、渐渐遗忘的老去或已逝的文化人，或出版或印行了“和园从书”十种，为的是用他自己喜欢的方式回报社会。
说起这事，汪贤林很有感慨。他告诉我，2011年暑假，他带儿子到西安旅游，在陕西历史博物馆，被一幅《狩猎出行图》吸引住了。观这幅从乾陵章怀太子墓中割取出来的长12米、宽3米的壁画，汪贤林似乎听到了古代画家在粗糙的石壁上笔走龙蛇的沙沙声。那一刻，他想起了衢州乌溪江山区那位已故的柴汝梅老先生写在农具、家什以及村居门楣上的大字，觉得与唐代壁画有异曲同工之妙。柴汝梅（字石松）原是衢州一中教师，1957年被遣送回乡当了一辈子农民。然而，艰辛的生活并未磨灭柴老师热爱书法的雅兴。他为乡邻写春联，号箩筐（衢县农村语，“号”即写），题门楣上的“紫气东来”或“南极生辉”……汪贤林以前在一位曾经学书于柴老师的朋友毕全林那里，读过很多柴老师写在糙纸上的诗词，对之书品人品敬佩至极。汪贤林觉得，像柴汝梅的书法形体与品位，远远超越某些书家，应在衢州书坛有一席之地。于是，由汪贤林主编、毕全林副主编的《石松存稿》，作为“和园丛书”的第一种，由人民教育出版社出版，一切费用由汪贤林承担。
流淌的乡愁与乡情
“和园丛书”的社会反响很大，大家称赏不已。其中，《和园》即介绍“太和艺田”这个团队的概况、设计理念和装潢样板。《寸心容香》介绍老画家季子耀的考古成就。《垄上行营》介绍常山六名自由结合的“玩”书法的普通人。《厚石斋吟稿》介绍老画家梅谷民的诗词与书法。《人文众园》介绍一座民间博物馆。
这里特别要提一提《人文众园》。众园，是衢州企业家严春元“烧钱”建造在衢州北乡九华的一座内有20幢徽派建筑的仿古园林，并将几十年来收藏的“百床”“千瓷”“万玉”展示在古建筑中，俨然一个规模宏大的民间博物馆。“众园”筹划时，汪贤林亦参与其中。汪贤林之所以这样做，一是欣赏严春元的乡愁乡情——再现一个浙西山乡百姓祖祖辈辈赖以生存和生活的和谐的民居环境，二是他梦想有一天自己也能建起一座仿古庭园，就像当年外公家被充公的那座老房子一样，那里面有前厅后院、天井厢房，有雕梁画栋、花窗牛腿，过蒔花种竹、养鱼蓄禽的怡然自得的慢生活。汪贤林曾对我说过，严春元这座“众园”，现在是衢州的一道风景，百年以后还是衢州的一道风景。正是出于这样的想法，汪贤林编著了这一种图书：流淌着他这个从常山走出来的农村少年的浓浓乡愁与乡情。
还有《瑰意琦行》，是为衢州杜瑰生先生出版的，也值得说一说。杜老先生在文艺的诸多方面均有造诣，且经历丰富，友朋如云，影响也大，后来却只过着“老客赋闲五十年”、“汲水引煤兼数米”的日子。2011年，汪贤林得到一本朋友赠送的瑰生先生与其父亲、弘一法师的友人宝光先生的诗文合集《诗是吾家事》，初览就爱不释手，立即萌生了新编一种集子，留住衢州曾经的文化的想法。汪贤林两次拜望九旬高龄的瑰生先生，与其公子新一先生接洽，从散乱的稿本中，整理出这包含诗词、书画、篆刻、音乐、自传（上）以及藏品的合集，于2014年交给西泠印社出版社出版，由他出资。
汪贤林出书不媚俗、不趋时、不带功利目的，他只是想以自己的微薄力量，尽量保持、传续衢州民间的文脉。
Wang Xianlin is a successful businessman in Quzhou， a key city in southwestern Zhejiang. He left home at 16 with only two-year education of junior high school in a rural region. He had been around the country for a long while before he came back to Quzhou and started a business that made plaques in 1992. He soon stepped into decoration business. Nowadays， the business is a success. Wang hasn’t tried to expand. For years， he has just maintained his business at a certain level and given his time to cultural undertakings. Fortunately， his employees see eye to eye with him with business stability. Over the past 20 some years， most employees have stayed with him. Wang， though with an inadequate school education， is a reader in his spare time. He devours books on philosophy， literature， history， art， sociology. And he practices calligraphy.
His wife， a journalist and calligrapher， and he live in a three-story house across the street where his business is located. The home is called Harmony Garden. The reputation of the residence has spread among local cultural circles in Quzhou largely because he has published ten books in Harmony Garden series.
The inspiration came from a visit with his son to a history museum in Xi’an， the capital city of northwestern China’s Shaanxi province in the summer 2011. He saw a mural which measures 12 meters long and 3 meters high. The mural was unearthed from a mausoleum of the Tang prince. The ancient wall painting awed him and reminded him of Chai Rumei， a calligrapher of Quzhou whom he had met years before. He found something familiar in the wall painting. Chai was sacked from a middle school in Quzhou in 1957 in a political chaos. The former teacher lived as a farmer all his life， but he left his calligraphy writings all over the villages in the mountain region where he lived. Wang remembered that Chai was even much better than some so called calligraphers of modern times. He had seen some calligraphy works by Chai， which were in the collection of a local calligraphy friend named Bi Quanlin. So Wang felt that Chai’s calligraphy should be remembered. Back home， he and Bi Quanlin worked together and compiled a collection of Chai’s calligraphy. Wang published the book at his own expense. This was the first of the long series and he named the series after his residence.
The launching of the Harmony Garden series caused a sensation in Quzhou. Pretty soon， more books followed. So far， Wang has funded the publishing of ten books of the series. One book focuses on the archaeological studies of Ji Ziyao， a local artist. Another book introduces six amateur calligraphers in Changshan County， a rural part of Quzhou. Another book is a collection of poems and calligraphy works of Mei Gumin， a veteran artist of Quzhou. One book covers an open museum of ancient architecture by Yan Chunyuan， a local business tycoon. The museum has 20 houses all erected in the architectural style of Anhui， a neighboring province west to Zhejiang. These twenty houses provide adequate space to display the antique beds， porcelain and jade artworks Yan has spent several decades to collect. Wang worked as an advisor when the museum was in the preparatory phase. Wang wanted to publish such a book largely because the book recreates the 20 houses on the paper and because he himself nourishes a similar dream of building such a house. The museum is now a cultural phenomenon of Quzhou and will remain so for a long time to come.
One book in the series is worth special mentioning. Du Gui is a local cultural celebrity. He is a scholar. In his younger years， he made a lot of friends and was influential. In 2011， Wang received a book from a friend. The book is a collection of poems and essays by both Du Gui and his father who once befriended Master Hongyi. Wang went through the book and thought it was his responsibility to include the works of Du Gui in the series. So he paid two visits to Du Gui in his 90s. In collaboration with Du Gui’s son， Wang went through the scholar’s manuscripts and put together a collection of Du’s works including poems， calligraphy， paintings， engraved seals， music and an autobiography and some photos from his antique collection. The book was printed by the publishing house of the Xiling Seal Art Society in 2014. Wang Xianlin footed all the bills.