论文部分内容阅读
“东南山水越为首，剡为面，沃洲天姥为眉目。”谈到新昌山水之美，离不开唐代诗人白居易的这句话。山川秀丽必有俊彦，新昌青年梁少膺研读日语而译著颇丰，继2003年其书法作品在日本东京亮相后，最近由其翻译的《日本书法史》《日本美术史》又由北京中国社会出版社出版发行，为国内读者了解日本文化、为中日文化交流增添灿烂一章。
苦寒中的第一次飞跃
梁少膺，1966年出生于浙江新昌县一个小山村。他的童年岁月缺少母爱，5岁时母亲便离他而去。为了消解儿子的孤独，身为民办教师的父亲，在昏暗的煤油灯下教他绘画、写字，于是很有悟性的他慢慢地对书法、绘画产生了兴趣，一有空就抓起笔仿照父亲语文课本上的插图，认真地涂抹起来。童年时代的梁少膺不仅受到书法、绘画的启蒙教育，并且养成了多看、多学、多读、多思的习惯，这为以后的发展打下了良好的基础。
1983年，梁少膺高中毕业，因数学成绩不理想，被无情的分数线挡在大学门外。于是他改变生活道路，当了新昌印刷厂的一名美工。工作之余梁少膺仍然对书法如痴如醉，所临写的经典碑帖以及秦汉书法竟达百种。
1991年，中央电视台与中国书法家协会共同举办五年一届的“第二届全国电视书法篆刻大奖赛”，梁少膺的书法作品在七万多件稿件中脱颖而出，摘取了桂冠。赴京参加颁奖晚会期间，梁少膺的书法得到了书坛巨匠启功、沈鹏先生的指授。从此，这位青年书法家开始崭露头角，为社会所知晓，这是梁少膺书法生涯的新起点。
1992年，梁少膺辞去了山城的工作，自费到原杭州大学外国语学院学习，攻读日语专业。杭州大学图书馆当时藏书180余万册，梁少膺除了上专业课外，每天都泡在图书馆，几乎翻遍了图书馆中文、史、哲等各类书籍。这期间，他还经常往返于浙江美术学院(现为中国美术学院)图书馆，阅读有关日文版的书法著述和杂志，拜访了美院章祖安、王冬龄、陈振濂等教授，从中受益良多。这是他的艺术生涯一次飞跃。
京华书坛见世面
1999年，梁少膺应邀赴京参加了荣宝斋出版社的《中国书法全集》的编撰工作。
《中国书法全集》上迄商周，下至当代，总计108卷。该书是继宋代《淳化阁帖》、清代《三希堂法帖》之后，中国当代书法学术界对几千年优秀传统书法艺术的一次空前整理、研究和评价。如此全面、系统、深入、细致地研究一门艺术，不仅在中国，在世界学术界也是罕见的。梁少膺在京的日日夜夜，接触到古代书画真迹达上千件，其中有乾隆时誉为“三希堂”珍宝之一东晋王的《伯远帖》、我国最早的墨迹本陆机的《平复帖》和唐宋元明清历代名家的作品以及敦煌写经、北朝墓志、造像等拓本等等。
学而不倦的梁少膺，利用这难得的机会，如饥如渴地汲取其中的养料。在京的日子里，他还几乎两星期去一次老师王镛先生家请教。王镛作为中国书法家协会篆刻艺术委员会副主任，曾先后40余次在全国或国际书画篆刻大展中被聘为评审委员，出版个人专著十余种，创造了个性主义的艺术风格，在文人书法传统和民间书法传统方面卓有建树。
王镛的家在京郊，每一次来回，路上得花四个小时，故梁少膺非常珍惜这样的机会，每次他对梁少膺讲述的秦汉书史及有关笔法技巧和书法实践中的心得，他总是一一作笔录，回来后又再作整理和消化。
经过在北京的多渠道接触，使梁少膺的书法研究和实践又有了一次观念转变，对一些碑贴中的诸多问题又有了新的认识，肯定了许多，也否定了许多。这是梁少膺书法生涯中的第二次飞跃。
浸淫于多个艺术领域
梁少膺自20世纪90年代初荣获“第二届全国电视书法篆刻大奖赛”一等奖后，书艺日进，引起当今书坛的瞩目，赢得了国内外书法爱好者的青睐。此后，梁少膺又在“全国第五届书法篆刻展览”中荣获“全国奖”，这是中国书协主办的各类展览中的最高奖项。
此后他的作品参展便一发而不可收，先后参加了“中国书法名家精品展”“当代著名书法家代表作展”第六届中国艺术节“国际书法大展”、香港中文大学“中国获奖青年书法展”“2000海内外著名书法家创作邀请展”等等。此外，作品还赴日本、新加坡、韩国、欧洲及台湾等地展出。
艺术应当是激情的产物，生命的律动。梁少膺的草书属于逸笔草草、随心所欲型。欣赏其作品，有一种强烈的生命律动和掩不住的才情与盎然之生机，他笔下的线条总是抑制不住激动与狂想。他最喜欢李白的《梦游天姥吟留别》，写来激情飞扬，歪歪斜斜，一任自然，大有“天台四万八千丈，对此欲倒东南倾”的大气与趣味。他草书作品中的章法，有时大开大合，犹如莎士比亚的戏剧；有时高潮迭起，好像莫泊桑的小说，其结字简练，甚至简练为一个个不能再简的符号，然后用迂回的节奏，一气贯穿，汨汨滔滔，莽莽苍苍，真气弥满。
除书艺外，梁少膺还精于美术史、音乐史与戏剧史。从1989年至今，已发表论文30余篇，其中有对史料的梳理钩沉，有对个案的深入评析，有对流派的思索，又有对技法的讲述……。尤其是他精通日本国语言，为日本书法史的研究、创作和翻译做出了贡献，发表了《日本奈良、平安江户期流传的中国书学典籍》《日本书道史述》《王国维的“二重证据法”与日本中国甲骨学形成》等，并翻译了日本青山杉雨、中田勇次郎、田宫文平、外山军治、桃山草介、铃木春彦等学者的著述达20余篇，为国内读者了解日本书学尽了努力，也为中日文化交流增添了光彩的一笔。
A Bilingual Calligrapher's Brilliant Career
By Huang Zhiyi
Liang Shaoying is a preeminent calligrapher. He staged his first Tokyo solo exhibition in 2003. Recently, his translations of A History of Japanese Calligraphy and A History of Japanese Art have been published in China. These two books provide Chinese readers with an insight into the Japanese culture and add a brilliant chapter to cultural exchanges between the two neighboring countries.
Born in a mountainous village in Xinchang, Zhejiang Province, Liang began to learn how to read and write at age five from his father, a village school teacher. Fascinated by illustrations in his father’s textbooks, the boy practiced himself into copying them. His strong interest in drawings and calligraphy grew with him.
In 1983, he graduated from high school, but his poor mathematics score disqualified him in the college entrance examination. He started working as an art designer at a local print shop. During this period he devoted his spare time to practicing calligraphy after models of ancient masters. In 1991, his calligraphic work won him the top prize at the 2nd National TV Calligraphy and Seal Carving Awards. More than 70,000 candidates participated in the contest. While in Beijing, he found time to visit top-class calligraphers such as Qigong and Shen Peng for advice and knowledge.
If Liang’s winning of the first prize marked a brilliant beginning of his career as a calligrapher, the first turning point of his career came in 1992 when he resigned from the print shop and started studying the Japanese language at Hangzhou University. In addition to the language studies, he spent a lot of time at the university’s library reading literature, history and philosophy. And he also frequented the library of the Zhejiang Academy of Fine Arts (today’s China Academy of Fine Arts) where books and magazines of calligraphy in Japanese were available. He visited professors at the academy and enjoyed the great benefit from their advice.
The second turning point of his career came in 1999.
At the invitation of the Rongbaozhai Publishing House, he went to Beijing and worked as an editor for Complete Works of Chinese Calligraphy. The 108-volume collection was designed to showcase the calligraphic art from the Shang (C.1600-C.1100 B.C.) and Zhou (C.1100-221B.C.) dynasties down to the present time. It was the third effort in the Chinese history to sum up calligraphic masterpieces. Such a complete, systematic, thorough, and painstaking study of an art is rare not only in China but also in the world.
Working as such an editor provided Liang with a golden opportunity of a thorough exposure to calligraphic masterpieces. He was able to review more than 1,000 original antique masterpieces. Every two weeks, he paid a visit to Wang Yong, a top calligrapher and knowledgeable theorist in the field. From the master, Liang absorbed both the history of calligraphy in the Qin (221-206B.C.) and Han (206B.C.-220A.D.) dynasties and skills and tips of the calligraphic art.
After winning his first top award in the early 1990s, Liang Shaoying as a calligrapher became more masterly and gradually established himself as a master in the field. Later he won the National Award at the 5th National Calligraphy and Seal Carving Exhibition. The award is the top award of all awards issued at exhibitions held by Chinese Calligraphers“Association. His artworks have been exhibited in Japan, Singapore, Korea, Taiwan and some European countries.
Liang Shaoying is also well versed in histories of music, art, and theater. Since 1989, he has published over 30 treaties on case studies, techniques, historical trends, and artist groups. What is more, he has published articles on Japanese calligraphy and arts, and translated over 20 articles by Japanese scholars.
(Translated by David)
苦寒中的第一次飞跃
梁少膺，1966年出生于浙江新昌县一个小山村。他的童年岁月缺少母爱，5岁时母亲便离他而去。为了消解儿子的孤独，身为民办教师的父亲，在昏暗的煤油灯下教他绘画、写字，于是很有悟性的他慢慢地对书法、绘画产生了兴趣，一有空就抓起笔仿照父亲语文课本上的插图，认真地涂抹起来。童年时代的梁少膺不仅受到书法、绘画的启蒙教育，并且养成了多看、多学、多读、多思的习惯，这为以后的发展打下了良好的基础。
1983年，梁少膺高中毕业，因数学成绩不理想，被无情的分数线挡在大学门外。于是他改变生活道路，当了新昌印刷厂的一名美工。工作之余梁少膺仍然对书法如痴如醉，所临写的经典碑帖以及秦汉书法竟达百种。
1991年，中央电视台与中国书法家协会共同举办五年一届的“第二届全国电视书法篆刻大奖赛”，梁少膺的书法作品在七万多件稿件中脱颖而出，摘取了桂冠。赴京参加颁奖晚会期间，梁少膺的书法得到了书坛巨匠启功、沈鹏先生的指授。从此，这位青年书法家开始崭露头角，为社会所知晓，这是梁少膺书法生涯的新起点。
1992年，梁少膺辞去了山城的工作，自费到原杭州大学外国语学院学习，攻读日语专业。杭州大学图书馆当时藏书180余万册，梁少膺除了上专业课外，每天都泡在图书馆，几乎翻遍了图书馆中文、史、哲等各类书籍。这期间，他还经常往返于浙江美术学院(现为中国美术学院)图书馆，阅读有关日文版的书法著述和杂志，拜访了美院章祖安、王冬龄、陈振濂等教授，从中受益良多。这是他的艺术生涯一次飞跃。
京华书坛见世面
1999年，梁少膺应邀赴京参加了荣宝斋出版社的《中国书法全集》的编撰工作。
《中国书法全集》上迄商周，下至当代，总计108卷。该书是继宋代《淳化阁帖》、清代《三希堂法帖》之后，中国当代书法学术界对几千年优秀传统书法艺术的一次空前整理、研究和评价。如此全面、系统、深入、细致地研究一门艺术，不仅在中国，在世界学术界也是罕见的。梁少膺在京的日日夜夜，接触到古代书画真迹达上千件，其中有乾隆时誉为“三希堂”珍宝之一东晋王的《伯远帖》、我国最早的墨迹本陆机的《平复帖》和唐宋元明清历代名家的作品以及敦煌写经、北朝墓志、造像等拓本等等。
学而不倦的梁少膺，利用这难得的机会，如饥如渴地汲取其中的养料。在京的日子里，他还几乎两星期去一次老师王镛先生家请教。王镛作为中国书法家协会篆刻艺术委员会副主任，曾先后40余次在全国或国际书画篆刻大展中被聘为评审委员，出版个人专著十余种，创造了个性主义的艺术风格，在文人书法传统和民间书法传统方面卓有建树。
王镛的家在京郊，每一次来回，路上得花四个小时，故梁少膺非常珍惜这样的机会，每次他对梁少膺讲述的秦汉书史及有关笔法技巧和书法实践中的心得，他总是一一作笔录，回来后又再作整理和消化。
经过在北京的多渠道接触，使梁少膺的书法研究和实践又有了一次观念转变，对一些碑贴中的诸多问题又有了新的认识，肯定了许多，也否定了许多。这是梁少膺书法生涯中的第二次飞跃。
浸淫于多个艺术领域
梁少膺自20世纪90年代初荣获“第二届全国电视书法篆刻大奖赛”一等奖后，书艺日进，引起当今书坛的瞩目，赢得了国内外书法爱好者的青睐。此后，梁少膺又在“全国第五届书法篆刻展览”中荣获“全国奖”，这是中国书协主办的各类展览中的最高奖项。
此后他的作品参展便一发而不可收，先后参加了“中国书法名家精品展”“当代著名书法家代表作展”第六届中国艺术节“国际书法大展”、香港中文大学“中国获奖青年书法展”“2000海内外著名书法家创作邀请展”等等。此外，作品还赴日本、新加坡、韩国、欧洲及台湾等地展出。
艺术应当是激情的产物，生命的律动。梁少膺的草书属于逸笔草草、随心所欲型。欣赏其作品，有一种强烈的生命律动和掩不住的才情与盎然之生机，他笔下的线条总是抑制不住激动与狂想。他最喜欢李白的《梦游天姥吟留别》，写来激情飞扬，歪歪斜斜，一任自然，大有“天台四万八千丈，对此欲倒东南倾”的大气与趣味。他草书作品中的章法，有时大开大合，犹如莎士比亚的戏剧；有时高潮迭起，好像莫泊桑的小说，其结字简练，甚至简练为一个个不能再简的符号，然后用迂回的节奏，一气贯穿，汨汨滔滔，莽莽苍苍，真气弥满。
除书艺外，梁少膺还精于美术史、音乐史与戏剧史。从1989年至今，已发表论文30余篇，其中有对史料的梳理钩沉，有对个案的深入评析，有对流派的思索，又有对技法的讲述……。尤其是他精通日本国语言，为日本书法史的研究、创作和翻译做出了贡献，发表了《日本奈良、平安江户期流传的中国书学典籍》《日本书道史述》《王国维的“二重证据法”与日本中国甲骨学形成》等，并翻译了日本青山杉雨、中田勇次郎、田宫文平、外山军治、桃山草介、铃木春彦等学者的著述达20余篇，为国内读者了解日本书学尽了努力，也为中日文化交流增添了光彩的一笔。
A Bilingual Calligrapher's Brilliant Career
By Huang Zhiyi
Liang Shaoying is a preeminent calligrapher. He staged his first Tokyo solo exhibition in 2003. Recently, his translations of A History of Japanese Calligraphy and A History of Japanese Art have been published in China. These two books provide Chinese readers with an insight into the Japanese culture and add a brilliant chapter to cultural exchanges between the two neighboring countries.
Born in a mountainous village in Xinchang, Zhejiang Province, Liang began to learn how to read and write at age five from his father, a village school teacher. Fascinated by illustrations in his father’s textbooks, the boy practiced himself into copying them. His strong interest in drawings and calligraphy grew with him.
In 1983, he graduated from high school, but his poor mathematics score disqualified him in the college entrance examination. He started working as an art designer at a local print shop. During this period he devoted his spare time to practicing calligraphy after models of ancient masters. In 1991, his calligraphic work won him the top prize at the 2nd National TV Calligraphy and Seal Carving Awards. More than 70,000 candidates participated in the contest. While in Beijing, he found time to visit top-class calligraphers such as Qigong and Shen Peng for advice and knowledge.
If Liang’s winning of the first prize marked a brilliant beginning of his career as a calligrapher, the first turning point of his career came in 1992 when he resigned from the print shop and started studying the Japanese language at Hangzhou University. In addition to the language studies, he spent a lot of time at the university’s library reading literature, history and philosophy. And he also frequented the library of the Zhejiang Academy of Fine Arts (today’s China Academy of Fine Arts) where books and magazines of calligraphy in Japanese were available. He visited professors at the academy and enjoyed the great benefit from their advice.
The second turning point of his career came in 1999.
At the invitation of the Rongbaozhai Publishing House, he went to Beijing and worked as an editor for Complete Works of Chinese Calligraphy. The 108-volume collection was designed to showcase the calligraphic art from the Shang (C.1600-C.1100 B.C.) and Zhou (C.1100-221B.C.) dynasties down to the present time. It was the third effort in the Chinese history to sum up calligraphic masterpieces. Such a complete, systematic, thorough, and painstaking study of an art is rare not only in China but also in the world.
Working as such an editor provided Liang with a golden opportunity of a thorough exposure to calligraphic masterpieces. He was able to review more than 1,000 original antique masterpieces. Every two weeks, he paid a visit to Wang Yong, a top calligrapher and knowledgeable theorist in the field. From the master, Liang absorbed both the history of calligraphy in the Qin (221-206B.C.) and Han (206B.C.-220A.D.) dynasties and skills and tips of the calligraphic art.
After winning his first top award in the early 1990s, Liang Shaoying as a calligrapher became more masterly and gradually established himself as a master in the field. Later he won the National Award at the 5th National Calligraphy and Seal Carving Exhibition. The award is the top award of all awards issued at exhibitions held by Chinese Calligraphers“Association. His artworks have been exhibited in Japan, Singapore, Korea, Taiwan and some European countries.
Liang Shaoying is also well versed in histories of music, art, and theater. Since 1989, he has published over 30 treaties on case studies, techniques, historical trends, and artist groups. What is more, he has published articles on Japanese calligraphy and arts, and translated over 20 articles by Japanese scholars.
(Translated by David)