孫俊

10月，我去貴州。廣告詞說(shuō)貴州“大美”，確實(shí)，那里山水地理獨(dú)絕、民族風(fēng)情爛漫，歷史人文也有積淀。

山中有城、城中有山，到貴陽(yáng)，紀(jì)念中國(guó)明代大儒王陽(yáng)明的專(zhuān)祠是必須游覽的——以前讀書(shū)，一直不忘梁?jiǎn)⒊瑢?duì)王陽(yáng)明的評(píng)價(jià)：“他在近代學(xué)術(shù)界中，極其偉大，軍事上政治上，亦有很大的勛業(yè)”，“他的學(xué)術(shù)像打藥針一般令人興奮，所以能……吐很大光芒”，說(shuō)得形象，記憶深刻，況且王陽(yáng)明是浙籍人士。

貴陽(yáng)有陽(yáng)明祠，是因?yàn)橥蹶?yáng)明曾在今天的修文縣做過(guò)龍場(chǎng)驛丞。三年有余的時(shí)間里，他一度在貴陽(yáng)文明書(shū)院講學(xué)，影響深遠(yuǎn)，被后人推崇為貴州第一文化名人。中華好禮，禮有五經(jīng)，莫重于祭。自南宋正式訂立祠堂之制（朱熹《家禮》）以后，各地喜歡建祠，此風(fēng)尤以明清時(shí)期為烈。清嘉慶十九年（1814），貴陽(yáng)鄉(xiāng)士為禮敬先賢，也為鼓吹并顯示教化文治，選城東扶風(fēng)山立陽(yáng)明祠。

扶風(fēng)山，舊時(shí)號(hào)稱(chēng)“黔垣第一峰”，其實(shí)山的形勢(shì)未必偉岸或纖秀。我去時(shí)，天忽雨忽陰，山間恍惚有霧氣，盡管周邊樓市也多，倒是迷蒙幽靜。

扶風(fēng)一山，不獨(dú)有陽(yáng)明祠，還有尹道真祠和扶風(fēng)寺。兩祠一寺，三組相對(duì)獨(dú)立的建筑組成了文化型的景勝之區(qū)。

拾階而登，我感覺(jué)這整座山更像一處風(fēng)景園林。過(guò)去兩祠一寺多有毀廢，現(xiàn)在主建筑已根據(jù)舊規(guī)制修繕，其他亭臺(tái)、疊石及諸小品，大都按照山勢(shì)高下有更多新布置；而且看得出，祠、寺之間有過(guò)渡銜接，張弛開(kāi)閉地，強(qiáng)調(diào)了藝術(shù)意蘊(yùn)；另外也注意到，這里的喬木渲染很有點(diǎn)意思，老柯橫枝的像柏樹(shù)、銀杏、桂樹(shù)之類(lèi)和常年翠綠的竹子，營(yíng)造起氣氛，傳達(dá)出境界，點(diǎn)醒了紀(jì)念或者憑吊的象征意義。這也是中國(guó)園林藝術(shù)中非常獨(dú)到的審美之處。

不過(guò)再怎么說(shuō)，扶風(fēng)山的崇祀性主題畢竟孱弱下去。供人崇拜、舉行儀典的祠、寺本是主景，園林應(yīng)當(dāng)烘托呈現(xiàn)端莊肅穆、高尚崇敬，兼具靜謐悠遠(yuǎn)的氛圍?？蓵r(shí)代終究在發(fā)展，現(xiàn)代生活的活潑的流動(dòng)，逐漸水洗去一代代人的祭祀觀念，于是，有意無(wú)意間這禮制建筑淪為園林一景，大約也情有可原。

陽(yáng)明祠有兩進(jìn)建筑：前殿也叫桂花廳，陳列著王陽(yáng)明生平展；大殿即享堂，陳列著王陽(yáng)明學(xué)術(shù)展。王陽(yáng)明的學(xué)術(shù)成就主要集中在心學(xué)上，值得欽佩的是，他將心學(xué)哲學(xué)化，使中國(guó)古代真正產(chǎn)生了哲學(xué)。其思想的博大昌達(dá)，影響了明清、近現(xiàn)代乃至當(dāng)今，后人將儒學(xué)創(chuàng)始者孔丘、儒學(xué)集大成者孟軻、理學(xué)集大成者朱熹、心學(xué)集大成者王守仁并稱(chēng)為“孔孟朱王”。

享堂是祠的中心。進(jìn)得進(jìn)去，中央置王陽(yáng)明漢白玉坐像，兩側(cè)懸其手書(shū)“壯思風(fēng)飛沖情云上；和光春靄爽氣秋高”木刻聯(lián)對(duì)，東西內(nèi)墻分別嵌其《訓(xùn)士四條》和《論語(yǔ)四條》的木刻板片。

有兩通石碑或者有一看的價(jià)值，可惜非原物：一為王陽(yáng)明朝服大像；朝服也可用作祭服，刻于此以顯示地位。一為明隆慶時(shí)穆宗追贈(zèng)王守仁為新建侯、謚文成的誥命；誥命是封贈(zèng)之旨，刻于此以顯示榮耀。

享堂外有游廊相連。廊壁嵌刻石數(shù)十方，內(nèi)容包括“書(shū)法通神，足為臨池之模范”（朱彝尊語(yǔ)）的王陽(yáng)明《矯亭記》和家書(shū)文稿墨跡，還有清代學(xué)者錢(qián)大昕、袁枚、翁方綱、阮元、何紹基、鄭珍、莫友芝等的題詠詩(shī)章及相關(guān)學(xué)術(shù)考辨文章。有人說(shuō)，這是貴陽(yáng)和陽(yáng)明祠的歷史菁華，我以為不太為過(guò)。據(jù)介紹，這些刻石在五十年前全部被毀，過(guò)了二十年多，客居姑蘇的黔籍書(shū)畫(huà)家謝孝思先生依據(jù)拓片，雇人一一復(fù)制，完成舊跡重新。浙江博物館黃良起先生說(shuō)起他了解此事，對(duì)陽(yáng)明祠的復(fù)制石刻，謝先生希望更上層樓，故曾詢(xún)問(wèn)黃先生的父親、吳中刻石名家黃懷覺(jué)老先生愿否援手，但終究因故罷去。我想起當(dāng)其時(shí)，黃氏父子受沙孟海先生邀，正在重刻武林岳廟碑廊，現(xiàn)在如果兩地相較，或可稱(chēng)為小掌故。

天落淅瀝小雨的緣故，游人很少，我得以徘徊，發(fā)現(xiàn)這些井然劃一、歷時(shí)四年完成的刻石，原本系由金石學(xué)家精選墨本、書(shū)法家雙鉤上石、刻家鐫石的，而現(xiàn)在不少名勝的碑碣、匾聯(lián)的款署，往往突出撰、書(shū)二者，忘卻工藝作匠，實(shí)在要學(xué)學(xué)這里的謙遜恭敬的氣度。

陽(yáng)明祠內(nèi)還有一碑，也想對(duì)它道一道。碑，刻日本人三島毅七絕一首，考詩(shī)題《龍岡觀月》，實(shí)在作于修文，與貴陽(yáng)無(wú)涉。據(jù)說(shuō)，此碑由當(dāng)年貴陽(yáng)公立師范學(xué)堂的日本教習(xí)豎立，今人沿用，大約為凸顯所謂王陽(yáng)明的海外影響力。又考三島毅行實(shí)，為文學(xué)博士，曾做過(guò)東宮（太子）侍講，日俄戰(zhàn)爭(zhēng)一結(jié)束，即代表皇室與日本駐華武官等人“考察”中國(guó)各地，到過(guò)貴州，心術(shù)真可商榷。

涼意徐徐撲面。我問(wèn)工作人員，歷史上陽(yáng)明祠是地方官府設(shè)立并設(shè)祭的，如今香火行為又怎樣延續(xù)。答曰：現(xiàn)在有“清明茶祭王陽(yáng)明先生”活動(dòng)，且與“清明茶祭尹道真先生”一并舉行。尹道真名珍，東漢人，他曾走出貴州大山叩問(wèn)中原文化，之后又回到這化外蠻荒之地傳播，功莫大焉?！氨睂W(xué)游中國(guó)；南天破大荒”（曾燠撰），“德兼教養(yǎng)”（洪亮吉題），后人因建尹道真祠，向他致敬。同祭尹、王，當(dāng)然無(wú)不可，他倆對(duì)貴州文化發(fā)展都有貢獻(xiàn)，但我另想，以中華文化發(fā)展而論，卻不然。主流的儒學(xué)，自孔、孟之后，朱熹、王陽(yáng)明是兩個(gè)高峰般的人物。查《明史·本傳》，萬(wàn)歷中，神宗允準(zhǔn)王陽(yáng)明從祀文廟，為終明之世四人之一。曲阜大成殿里的配享，四圣之下有十二哲，朱熹在焉；東西兩廡里的從祀，先賢先儒172人，王陽(yáng)明在焉。先生委屈我遺憾。

出了陽(yáng)明祠，去尹道真祠。祠為一座普通的四合院，只有享堂，早先里面奉神主牌位。邊上的廂樓上掛著當(dāng)代畫(huà)家所繪的二十四位貴州文化名人的畫(huà)像和生平簡(jiǎn)介，我把它比擬作貴州先賢祠，具有純粹而根深蒂固的鄉(xiāng)土情懷和民族特性，反映了中華文化的主流思想。

雨漸漸停歇，我登臨松巔閣依窗泡茶。松巔閣原為曇云精舍，是扶風(fēng)寺的舊構(gòu)。扶風(fēng)寺以前有悲懷于萬(wàn)里風(fēng)濤的觀音殿和尚勇如凜凜山風(fēng)的關(guān)圣殿，釋、道居然在此相容；后來(lái)重修，不再供神偶，而是表達(dá)對(duì)文字的膜拜，修建了惜字院等，惜字院覆著字冢，有人為之作下些規(guī)矩文章。這是我萬(wàn)萬(wàn)沒(méi)想到的尊奉文明基業(yè)的行為，須知，一切的文化科技都從文字始，可惜現(xiàn)在都廢去。

窗外有山鳥(niǎo)啾啾，我循聲望去，是甲秀樓的方向。甲秀樓拾取“科甲挺秀”之意，想必有承唐代長(zhǎng)安慈恩寺登樓題名的遺韻。又一處文化風(fēng)流的標(biāo)志！

（本文照片由沈安娜提供）

I visited Guizhou last October and found the province in the southwestern corner of China just gorgeous and cultured， just as trumped in television commercials by the provinces tourism authorities.

Guiyang， the capital seat of the province， is a city of mountains. One of the musts for culture-conscious tourists is Wang Yangming Memorial Temple. Wang Yangming （1472-1529） was one of the most important Chinese Neo-Confucian thinkers. A native of Zhejiang， he was a philosopher， government official， educationist， calligrapher and general during the Ming Dynasty （1368-1644）. I had known of him as a great scholar in my school years.

Guiyang hosts the temple largely because Wang Yangming served for more than three years as a governor in Longchang， which is present-day Xiuwen County. During his exile there， he gave lectures at a local academy of classics studies in Guiyang. The temple was erected in 1814 at Fufeng Hill in the east of the city. In the past， the hill was lauded as Number One Peak there. The hill did not look grand or gracious to me. The day I was there， it drizzled and the city was shrouded in mist. Though the hill was encircled by brand new housing development projects， it was relatively serene， which appealed to me.

As a matter of fact， Fufeng Hill is home to three temples. In addition to Wang Yangming Memorial Temple， there are Yin Daozhen Temple and Fufeng Temple. The three buildings form a complex of culture. In my eye， the hill looked more like a tourism attraction now. The temples are something restored with some new afterthought to make them a whole. Artistically， the temples and the towering trees looked amazing and cultured. However， the commemorative and ritual role which Fufeng Hill emphasized in the past is now relatively weakened. The temples are where people come to commemorate， to carry on， to remember， to look both way at the past and toward the future， to show respect and admiration and to pay homage. Making them scenic somewhat plays down their existence and significance.

Wang Yangming Memorial Temple consists of two major halls punctuated by a courtyard in between. The front hall is called Sweet Osmanthus Hall where his life is highlighted. The Great Hall is where a white jade statue of Wang sits. Wang is a great scholar who promoted the conception of mind and turned it into a philosophy. His ideology is considered the real beginning of ancient Chinese philosophy and it has impacted scholars of the Ming and the Qing and up to today. Wang Yangming is considered one of the four greatest masters of Confucianism in history along with Confucius， Mencius and Zhu Xi.

Two stone steles inside the major hall testify to the glory the pioneering scholar once enjoyed. One displays a carved portrait of Wang Yangming dressed in the court apparel and the other presents the text of a royal decree which posthumously gave him the titles of Marquis and Completion of Culture thirty-eight years after his death.

Outside the Major Hall are dozens of stone steles bearing inscriptions arranged along a corridor. These steles present inscriptions by great scholars of the past dynasties. It is said that these inscriptions and poems are the most valuable cultural heritages Guiyang can be proud of. I agree. The original steles were destroyed during the Cultural Revolution （1966-1976）. Artist Xie Xiaosi， a native of Guizhou who lived in Suzhou， Jiangsu， a province in eastern China， had them restored on the basis of rubbings previously made on the originals about 20 years ago. The project took four years to complete.

It was raining and I was one of the few visitors there. I wandered along the corridor， reading the inscriptions slowly. I noticed the quality of the carving. That is something commendable. These stone steles have names of the master calligraphers whose calligraphic styles were chosen， name of the calligraphers who wrote down master plans for engravers， and names of the engravers. Nowadays， some restored stone carvings often inappropriately emphasize the modern calligraphers who regard writing for such steles are an opportunity to assert their historical values.

One stele in the temple caught my eye. It bears a poem by a Japanese poet who visited Wang Yangmings sites in Xiuwen County. It is said that the stele was set up by a Japanese scholar who once taught at a normal school in Guiyang. The stele and the story behind it reflect the influence of Wang Yangming in Japan.

That day， I also visited the two other temples at Fufeng Hill and I enjoyed the visit. But that is another long story.