文/ 吳雅蘭

展廳三展出的唐·韓愈《昌黎先生集》。Collections of Changli’s Works, written by Tang essayist, poet, philosopher and politician Han Yu, are on display.

宋韻文化是具有中國(guó)氣派和浙江辨識(shí)度的重要文化標(biāo)識(shí)。陳寅恪先生曾謂：“華夏民族之文化，歷數(shù)千載之演進(jìn)，而造極于趙宋之世?！卞X(qián)穆先生亦說(shuō) ：“論中國(guó)古今社會(huì)之變，最要在宋代。”

宋畫(huà)因其題材全、技法精，與西方文藝復(fù)興時(shí)期的繪畫(huà)并稱(chēng)為東西兩大文明的視覺(jué)象征；書(shū)法自宋代始重意，確立了全新的美學(xué)尺度；宋代版刻與碑刻的繁榮，促進(jìn)了文化的傳播和知識(shí)結(jié)構(gòu)的改變。當(dāng)宋代藝術(shù)的這三件瑰寶匯集到一起，流淌千年的宋韻文化瞬間靈動(dòng)起來(lái)。

11月底，由浙江大學(xué)藝術(shù)與考古博物館舉辦的“百代標(biāo)程—悅讀宋韻”專(zhuān)題展集中展示了“中國(guó)歷代繪畫(huà)大系”收錄的部分宋畫(huà)調(diào)色打樣稿和即將出版的《淳化閣帖紹興國(guó)子監(jiān)本》《浙江圖書(shū)館藏淳化閣帖刻石》樣稿，宋刻本古籍實(shí)物、明清影宋刻本抄本，以及“兩宋浙刻叢刊”中已出版的成品和待出版的樣張。300多件展品帶著觀眾穿越時(shí)光隧道“悅”讀宋韻，“悅”讀中國(guó)優(yōu)秀傳統(tǒng)文化的氣象萬(wàn)千。

千年丹青 感受南北宋山水畫(huà)的異與同

走進(jìn)展覽大廳，映入眼簾的是一塊透明的大屏幕，當(dāng)你用手指輕輕一點(diǎn)，一幅宋畫(huà)就在指尖慢慢暈染開(kāi)，山水花鳥(niǎo)亭臺(tái)樓閣次第鋪展在面前，還有那葉扁舟停在無(wú)人的渡口……

如果說(shuō)宋韻文化是一頂寶冠，那么宋畫(huà)就是寶冠上的明珠。始創(chuàng)于漢唐的各類(lèi)題材，如山水、花鳥(niǎo)、人物等，宋代皆臻于巔峰，故被稱(chēng)為中國(guó)繪畫(huà)的集大成時(shí)代。特別是宋代山水畫(huà)取得了異常輝煌的成就，“紀(jì)念碑”性的宋代山水畫(huà)是國(guó)際學(xué)術(shù)界公認(rèn)的人類(lèi)文化遺產(chǎn)的寶貴財(cái)富。

“千年丹青”板塊展出了200多幅“中國(guó)歷代繪畫(huà)大系”收錄的宋畫(huà)精品出版打樣稿，包括李成的《晴巒蕭寺圖》、范寬的《溪山行旅圖》和馬遠(yuǎn)的《踏歌圖》等傳世“國(guó)寶”級(jí)宋代山水畫(huà)珍品。

而如果把北宋和南宋的山水畫(huà)放在一起，就能明顯看出風(fēng)格的迥異。

《淳化閣帖紹興國(guó)子監(jiān)本》。Calligraphic Inscriptions in the Secret Chamber of the Chunhua Period.

展廳現(xiàn)場(chǎng)圖。Many pieces of treasure are on display at the exhibition.

兩宋浙刻叢刊《唐女郎魚(yú)玄機(jī)詩(shī)》。Poems of Tang Lady Yu Xuanji, engraved in Zhejiang during the Song dynasty.

“李成的這幅《晴巒蕭寺圖》就帶有明顯的北宋‘雄偉山水’的特征。你們看他筆下的山上頂天、下頂?shù)?，幾乎鋪滿(mǎn)整個(gè)畫(huà)面。”本次策展的主持者、藝術(shù)與考古學(xué)院教授繆哲說(shuō)，北宋畫(huà)家還非常善于利用前后景來(lái)豐富畫(huà)面的層次，前景的小山小樹(shù)直接疊加在后景的“主角”之前，用一片縹緲的云霧以示區(qū)分，大與小強(qiáng)烈的對(duì)比更加凸顯了主體山脈的雄偉和永恒，如范寬《溪山行旅圖》幾乎給人以泰山壓頂之感，“而且北宋時(shí)期的山水畫(huà)往往是中軸線構(gòu)圖，畫(huà)面比較均衡平穩(wěn)”。

移都杭州后，山水有靈，得益于西湖煙云的浸潤(rùn)，畫(huà)家致力于捕捉湖山的瞬息之美，從而誕生了南宋的“抒情山水”。比如馬遠(yuǎn)的《踏歌圖》，筆法自然靈動(dòng)，似乎是畫(huà)家驚鴻一瞥看到的景象，視角更低更近，觀眾仿佛一抬手就會(huì)觸碰到畫(huà)面里的那根枝丫。

除了山水畫(huà)外，這一板塊的花鳥(niǎo)、人物和華藏寶相部分也很有看點(diǎn)。觀眾在欣賞宋代繪畫(huà)“諸法皆備”的一流藝術(shù)水準(zhǔn)之外，更是可以透過(guò)這些作品領(lǐng)略?xún)伤螘r(shí)期的世情風(fēng)物。

宋代繪畫(huà)對(duì)后世影響深遠(yuǎn)。二戰(zhàn)之后，中外學(xué)者為“重新發(fā)現(xiàn)宋畫(huà)”做了長(zhǎng)期而艱苦的努力，由浙江大學(xué)和浙江省文物局共同出版的《宋畫(huà)全集》正是這一努力的集中體現(xiàn)。此前，《宋畫(huà)全集》的打樣稿已經(jīng)隨著“盛世修典—‘中國(guó)歷代繪畫(huà)大系’成果展”在全國(guó)多地展出，收獲好評(píng)如潮。這次宋畫(huà)精品出版打樣稿再次在杭州展出，又得以讓觀眾有機(jī)會(huì)在半天時(shí)間里“閱盡千年”。

刻古傳今 細(xì)品物質(zhì)與視覺(jué)文化的精雅

這一板塊，是可以用放大鏡細(xì)細(xì)探究的。

由隋唐五代傳至宋代，版刻扛起了傳播知識(shí)的大旗。除了官府主持的版刻，民間的刊書(shū)業(yè)也趨于繁榮，最終形成了以浙江、福建、四川為基地的三大刊書(shū)業(yè)中心。這一時(shí)期的版刻，繼承了手抄書(shū)的審美，無(wú)論是選紙、用墨、板式的設(shè)計(jì)還是“復(fù)制”的工藝都十分考究，堪稱(chēng)藝術(shù)品。而物質(zhì)與視覺(jué)文化的精雅，以杭州為中心的“浙刻”可稱(chēng)為其中的翹楚。

展廳最中央的柜子里展出的宋刻本《資治通鑒綱目》五十九卷（存卷四十五）是浙江大學(xué)圖書(shū)館的鎮(zhèn)館之寶。該藏本由南宋著名藏書(shū)家鄭寅任吉州（廬陵）知州時(shí)捐俸刊刻，主持校刻者為朱熹門(mén)生饒誼，是宋版中尤其值得珍視的官刻初印本，也被后人稱(chēng)為廬陵本。

“廬陵本傳世稀少，現(xiàn)僅存十五卷?！闭憬髮W(xué)圖書(shū)館古籍特藏部程惠新副研究館員介紹說(shuō)，此書(shū)原為著名實(shí)業(yè)家和古籍收藏家袁滌庵先生舊藏，1986年，袁氏后人袁紹文、袁紹良等將21種31部296冊(cè)宋元明清善本捐贈(zèng)給浙江大學(xué)，圖書(shū)館專(zhuān)程將其中兩種最珍貴的古籍送至上海，請(qǐng)版本目錄學(xué)家顧廷龍先生鑒定。顧先生在 《袁氏贈(zèng)書(shū)記》中寫(xiě)道:“其中最珍貴者，一為宋刻《資治通鑒綱目》……《綱目》雖屬殘本，而字大悅目，刻印精良，紙質(zhì)亦瑩潔，實(shí)為希世之珍?！?/p>

翻開(kāi)這卷流傳近千年的版刻，我們可以看到上面有很多朱筆圈點(diǎn)，還有“朱升之印”“滌庵藏書(shū)之印”“康生”“袁紹良印”“袁一誠(chéng)印”等藏印。如果你用放大鏡來(lái)看，就會(huì)發(fā)現(xiàn)墨色非常均勻，既不會(huì)漏白，也不會(huì)過(guò)黑，一切都是恰到好處。

一同亮相的還有浙江大學(xué)所藏宋元本古籍，以及浙江古籍出版社出版的“兩宋浙刻叢刊” 部分品種和“鐵如意館稿抄本叢刊”所收張宗祥先生部分影宋本樣稿。其中，“兩宋浙刻叢刊”第一輯原貌仿制的國(guó)家圖書(shū)館藏《唐女郎魚(yú)玄機(jī)詩(shī)》，無(wú)論文字、刻版，抑或印刷、用紙，堪稱(chēng)宋刻之翹楚，是后世書(shū)籍刊刻的標(biāo)桿。

展廳三內(nèi)的《東坡詩(shī)卷》。Dongpo’s Poetry, on display in exhibition hall 3.

此外，該單元還精選了21件金石拓本，以碑刻、墓志為主，講述拓本作為一種承載古代文明的獨(dú)特形式，何以深植于中國(guó)人的文化與心靈世界，金石因此成為真正的不朽之物。

翰墨流芳 體味書(shū)法藝術(shù)的演變與意蘊(yùn)

說(shuō)到宋代版刻業(yè)，就不得不提中國(guó)古代刻帖的冠冕《淳化閣帖》。如果你是書(shū)法愛(ài)好者，肯定也對(duì)這部“法帖之祖”不會(huì)陌生—也許你小時(shí)候就曾對(duì)著它臨摹學(xué)習(xí)。

《淳化閣帖》成書(shū)于宋太宗淳化三年（992），是匯編、復(fù)制內(nèi)府所藏的歷代法書(shū)而成的，共分十卷，卷一為歷代帝王書(shū)，卷二至四為歷代名臣書(shū)，卷五為諸家古法帖，卷六至八為王羲之書(shū)，卷九至十為王獻(xiàn)之書(shū)，共收103位書(shū)家、420帖墨跡。

《淳化閣帖》代表了我國(guó)古代圖像機(jī)械復(fù)制的巔峰。這次展覽就展出了浙大出版社正在影印出版的兩種《淳化閣帖》。

其中的一種是非常珍貴的南宋初年的“國(guó)子監(jiān)本”。這個(gè)版本被珍藏在國(guó)內(nèi)外兩個(gè)不同的文博機(jī)構(gòu)，雖屬同源卻難以“相見(jiàn)”。浙江大學(xué)“中國(guó)歷代繪畫(huà)大系”團(tuán)隊(duì)在編纂“大系”的時(shí)候，將分藏于上海博物館與美國(guó)弗利爾美術(shù)館的宋拓《淳化閣帖》匯為全帙，使這一沉埋千年的宋韻古刻，得發(fā)潛光于盛世。

另外一種是浙江圖書(shū)館藏《淳化閣帖》刻石。據(jù)專(zhuān)家論證，無(wú)論是《淳化閣帖》的“懋勤殿本”還是“潘祖純本”，都是從同一批原石上拓下來(lái)的。而這批石頭存世的一部分，就在浙圖孤山館區(qū)的碑廊里。在展覽中，觀眾們可以看到這些原石的高清圖片。

浙江大學(xué)中國(guó)古代書(shū)畫(huà)研究中心副主任張鈺霖介紹說(shuō)：“今年剛好是《淳化閣帖》刻成1030周年，我們影印出版兩種《閣帖》，既是傳承、紀(jì)念，也是希望能有更多觀眾了解書(shū)法演變的歷史，進(jìn)一步弘揚(yáng)中華傳統(tǒng)文化?！?/p>

細(xì)看《淳化閣帖》不同卷冊(cè)的書(shū)法作品，觀眾們可以明顯感受到漢晉書(shū)法即興與自然的風(fēng)格，而唐代書(shū)法講究的是平衡穩(wěn)重，帶有一點(diǎn)“儀式感”，這種風(fēng)格一直延續(xù)到北宋初期，而后的宋代書(shū)法家開(kāi)始追求個(gè)性化的表達(dá)，將自己的意趣、心情甚至是一呼一吸都付諸筆端。

這點(diǎn)在該單元后半部分的“尚意書(shū)風(fēng)”展區(qū)可以窺見(jiàn)一二。通過(guò)北宋四大家蘇軾、黃庭堅(jiān)、米芾、蔡襄，南宋的張即之、陸游、范成大、朱熹，以及宋徽宗、宋高宗的書(shū)法墨跡打樣稿，觀眾們可以體味到宋代書(shū)法作品筆勢(shì)、力度和節(jié)奏的變化，從細(xì)微之處感受千年翰墨的留痕與韻味。

漫步于展廳，觀眾們也借由這樣一次集宋畫(huà)、書(shū)法、宋刻本、宋代碑帖之大成的宋代人文藝術(shù)展覽，全面品讀宋代藝術(shù)之風(fēng)韻、人文氣象之意韻、時(shí)代精神之氣韻。

兩宋浙刻叢刊《唐女郎魚(yú)玄機(jī)詩(shī)》。Poems of Tang Lady Yu Xuanji, engraved in Zhejiang during the Song dynasty.

Appreciating the Song Dynasty Culture

By Wu Yalan

展廳四展出的《竹禽圖》。Proofs of Finches and Bamboo, a painting by Emperor Huizong of Song.

The Song dynasty (960-1279) culture is an important cultural symbol of Chinese style typical of Zhejiang. Chen Yinke (1890-1969), a Chinese historian, said, “The culture of the Chinese nation has evolved for thousands of years, culminating in the Song dynasties.” Qian Mu (1895-1990), another historian, also said, “The most important change in China’s ancient and modern society is in the Song.”

Song paintings, with their complete themes and exquisite techniques, are revered as the visual symbols of the major civilizations of the East and the West, just like Renaissance paintings. Calligraphers began to emphasize meaning in the Song dynasty, establishing a new aesthetic standard. The flourishing of book engravings and stele inscriptions in the Song promoted the dissemination of culture and the change of knowledge structure.When these three treasures of the Song come together, the Song culture that has been flowing for a thousand years is instantly alive.

At the exhibitionParagons Through the Ages: Joyful Reading of Song Yun(“Yun” is a Chinese character that means “charm”or “appeal”) held in the Zhejiang University Museum of Art and Archaeology, some of the color proofs of Song paintings included inA Comprehensive Collection of Ancient Chinese Paintingswere displayed, as well as the proofs of Chunhua Chamber Engraved Stones in Zhejiang Library Collection that will be published soon,the original books published in the Song dynasty, and the prints of Song block editions made in the Ming (1368-1644) and Qing(1616-1911) dynasties. More than 300 exhibits take the audience through time, to read the fine traditional Chinese culture.

Walking into the exhibition hall, you will be greeted by a large transparent screen. When you touch it lightly, a Song painting will slowly bloom on your fingertips: landscape, flowers and birds,pavilions and an empty ferry ... If Song culture is a crown, then Song paintings are the pearl on it. All kinds of themes created in the Han (202 BC-220 AD) and Tang (618-907) dynasties, such as landscapes, flowers and birds, figures, etc., reached their peak in the Song. In particular, the landscape paintings of the Song were exceptionally brilliant achievements. The “monument” landscape paintings of the Song are the precious wealth of human cultural heritage recognized by the international academic circles.

The “Millennium Paintings” section displayed more than 200 published proofs of fine Song paintings, including those by Li Cheng (919-967), Fan Kuan (ca. 960-1030), Ma Yuan(1160-1225) and other “National Treasures”. And if you put the landscape paintings of the Northern Song (960-1127) and the Southern Song (1127-1279) dynasties together, you can clearly see the difference in style. The curator of this exhibition Miao Zhe, professor at the School of Art and Archaeology, said that the painters of the Northern Song were good at using the foreground and background to enrich the layers of the picture. “The strong contrast between big and small highlights the majesty and eternity of the main mountain range, like Fan Kuan’s Traveling through Streams and Mountains, which almost gives people the feeling that Mount Tai is overwhelming.”

After the Song capital was moved to Hangzhou, the mountains and rivers had spirits, inspired by the smoke and clouds of the West Lake. The painters were devoted to capturing the fleeting beauty of the lakes and mountains, thus giving birth to the “l(fā)yrical landscape”of the Southern Song. For example, Ma Yuan’s pictures had natural and agile brushwork, which seemed to be the scene that the painter saw at a glance. The angle of view was lower and closer, and the audience seems to touch the branch in the picture as soon as they raise their hands. In addition to landscape paintings, the flowers and birds, figures and Buddhist paintings in this section are also interesting. Appreciating the first-class artistic level, the audience can also feel the conditions and customs of the Song.

Paintings in the Song dynasty had a profound influence on later generations. After World War II, Chinese and foreign scholars made long-term and arduous efforts to “rediscover Song paintings”. The A Collection of Song Dynasty Paintings jointly published by Zhejiang University and Zhejiang Provincial Cultural Relics Bureau is a concentrated expression of this effort. Previously,the proofs had been exhibited in many places across China and received rave reviews.

This section can be explored carefully with a magnifying glass.Passed down from the Sui to the Song dynasty, block engraving carried the banner of disseminating knowledge. In addition to the government-sponsored printing, the private publishing industry also prospered, and finally three major publishing centers formed in Zhejiang, Fujian and Sichuan. The engravings of this period inherited the aesthetics of hand-copied books. Whether in selection of paper and ink, block design or “copying” technology,they were all sophisticated and artistic. As for the elegance of material and visual culture, Zhejiang’s blocks centered in Hangzhou are the most outstanding.

The fifty-nine volumes (with forty- five volumes still extant)of the Song engraved edition of Summery of the Comprehensive Mirror for Aid in Government displayed in the cabinet in the center of the exhibition hall are the treasure of Zhejiang University Library. This collection was published by Zheng Yin, a famous bibliophile in the Southern Song dynasty who donated his salary when he was the magistrate of Jizhou (Luling).

“The Luling edition is rare, and there are only fifteen volumes left,” Cheng Huixin, deputy research librarian of the Ancient Books and Special Collections Department of the Zhejiang University Library, said that this book was originally in the old collection of Yuan Di’an, a famous industrialist and ancient book collector. If you look at it with a magnifying glass, you will find that the ink color is uniform, neither white nor too dark, and everything is just right.

《淳化閣帖紹興國(guó)子監(jiān)本》。Calligraphic Inscriptions in the Secret Chamber of the Chunhua Period.

In addition, this section also displays 21 rubbings of stone inscriptions, mainly from steles and epitaphs, and tells how rubbings as a unique form of carrying ancient civilization are deeply rooted in the cultural and spiritual world of Chinese people, and thus they become truly immortal.

When it comes to the engraving industry in the Song dynasty,we have to mentionChunhua Chamber Models, the crown of ancient Chinese engraving blocks. If you are a calligraphy lover,you must be familiar with this ancestor in calligraphy — maybe you have copied it when you were a child.

TheChunhua Chamber Modelswere compiled in the year of Chunhua (992), copied from the previous model books collected by the government, with a total of 420 models by 103 calligraphers. This represents the pinnacle of mechanical reproduction of ancient Chinese images. This exhibition includes two kinds of models which are being photocopied and published by Zhejiang University Press. Viewers can see high-resolution pictures of the rough stones conserved in Zhejiang Library, which are the original of the rubbings collected in the forthcoming Models.

The calligraphy in different volumes ofChunhua Chamber Modelsshows the impromptu and natural style of calligraphy in the Han and Jin (266-420) dynasties, while the calligraphy in the Tang dynasty emphasized balance and stability, with a little“ceremonialism”, which lasted until the early Northern Song, and then the calligraphers of the Song began to pursue individualized expression, putting their own interest, mood and even their breath into their brushstrokes. This can be glimpsed in the second half of this section. Through the calligraphy and ink proofs of famous painters and scholars in the Song dynasty, the audience can appreciate the changes in strength and rhythm, feel the traces and charm of millennium calligraphy.