趙丹寫生大過畫癮

1977年6月下旬，著名藝術(shù)家趙丹上了廬山。他早些時應(yīng)江西省的邀請，到江西話劇團(tuán)指導(dǎo)復(fù)排大型話劇《八一風(fēng)暴》并和編劇—起將話劇本改為電影劇本。因改劇本勞累加之天氣炎熱，江西有關(guān)部門安排趙丹上廬山療養(yǎng)一段時間。

趙丹下榻廬山河西路447號別墅。他一上廬山，當(dāng)?shù)匚幕賳T便給他請來30多歲的畫家楊豹陪他畫畫。當(dāng)楊豹第一次忐忑不安地走進(jìn)趙丹下榻的別墅時，趙丹馬上拿出一盤花生米和半瓶白酒來，高興地說：“小老弟，來，來，來，我們邊喝邊聊?！贝笏囆g(shù)家的熱情、真誠，馬上消除了楊豹的緊張感。當(dāng)趙丹得知楊豹畢業(yè)于江西師范大學(xué)美術(shù)系時，頓時瞇縫著眼睛說：“好，好！我們是同行，一定會有共同語言，我也是學(xué)美術(shù)出身的，畢業(yè)于上海美專。我對美術(shù)、書法一直有強(qiáng)烈愛好，以前拍電影再忙，也要擠出時間畫幾筆?！壁w丹接著又嘆了口氣，搖著頭說道：“可大家只承認(rèn)我是演電影的，不提我的書畫，有什么辦法呢！這次來廬山我可要好好畫畫，你是“老廬山”了，可要幫我。”

幾天后趙丹約楊豹—起去五老峰寫生。站在五老峰上，趙丹縱目遠(yuǎn)眺遠(yuǎn)方流淌的長江、鄱陽湖和四周的山巒，不由感嘆地說道：“一千多年前，李白就是在此放聲高歌‘廬山東南五老峰，青天削出金芙蓉’。光陰似箭，多少風(fēng)流都被雨打風(fēng)吹散，唯有這江山依舊，風(fēng)景依舊呀！楊豹不由輕聲說道：“趙老師，現(xiàn)在您又可以大有作為了?！薄皩Γ瑢?！”趙丹又笑了。他告訴楊豹，他有兩個心愿，一是演周總理，二是演魯迅，他有信心演好這兩個偉人。

兩人正在說著，突然趙丹驚呼一聲：“快看，快看！”只見峽谷中涌上層層云霧纏繞著對面的漢陽峰，時濃時淡，時聚時散，“啊，太美了，太美了！快畫，快畫！”趙丹邊說邊取下畫板飛快地畫了起來。過了好一會兒楊豹看看手表已快12點了，便說：“該回去吃飯了?！壁w丹連忙說：“不急，不急，吃飯事小，畫畫要緊。”他從口袋里掏出兩個饅頭，分給楊豹一個說：“我們有福同享，有難同當(dāng)，再堅持一會兒。”

7月中旬的一天，趙丹又約楊豹去松樹路寫生，楊豹把5歲的兒子也帶了去。夏季的廬山老天說變就變，楊豹看見濃厚的黑云從錦繡谷飛速涌來，山風(fēng)倏地大作，忙叫道：“趙老師，快收攤，快收！”趙丹卻興奮地大叫：“黑云壓城城欲摧，山雨欲來風(fēng)滿樓。今天終于趕上了，我要將它趕快畫下來?！痹挍]說完大雨點早已砸在身上了。兩人趕緊合上畫板，連十幾米外的民居都來不及趕，只能閃進(jìn)路旁一塊凸出的巨石下，趙丹把楊豹的兒子護(hù)在最里面。暴雨扯天連地傾瀉，一片混沌，雨霧撲面，并在巨石前端垂下一道厚厚的水簾。趙丹說：“太好了，大自然真是太奇妙了。這樣的情景在房間里怎能想象得出來，怎能體會得到。搞藝術(shù)就是要深入生活，觀察生活呀！以后我畫山雨欲來或者演這種情景的電影就能找到感覺了?！北┯赀^后，云散日出，綴滿水珠的松林閃閃爍爍。趙丹對雨后山景贊嘆不已，畫了一幅雨后廬山圖并題上楊豹兒子的名字送給了小朋友。

趙丹在廬山即使遇上其他游客，話題也離不開繪畫。一天，趙丹正在含鄱口寫生，旁邊一位游客對他左看右看，不由對同伴說道：那個畫畫的好像是演電影的趙丹，這么一說在含鄱口游覽的游客都圍了上來，親熱地向趙丹問候。一位游客好奇地問道：“趙老師，您是演電影的，還會畫畫呀？”這時旁邊一位操著上?？谝舻睦险哒f道：“趙先生本來就是學(xué)美術(shù)的，畫畫是趙先生的本行?！壁w丹連忙點頭說道：“老先生說的是，看來老先生是丹青行家里手。請問老先生一個問題：古往今來第一個畫廬山的畫家是誰？”老者不假思索地脫口而出：“是顧愷之?！壁w丹忙一把握住老先生的手說道：“謝謝您的指點。顧愷之好像是南北朝的人吧？”老者點點頭說：“趙先生記得大抵不錯，但嚴(yán)格說來顧愷之應(yīng)是東晉晚期人，出生于公元346年，405年亡故?！薄芭叮瓉硎沁@樣?！壁w丹拍了拍額頭，十分滿意自己獲得了新的知識。

這次在含鄱口與游人的相遇，令趙丹十分激動。是啊，他離開銀幕、離開觀眾已經(jīng)很久了，但廣大觀眾并沒有忘記他，這是對演員的最高獎賞，不想正當(dāng)他準(zhǔn)備大顯身手時，卻又被病魔擊倒，1980年他帶著未能出演周恩來、魯迅的遺憾、帶著“解放”后未能拍一部電影的遺憾離開了人間。1986年，筆者陪同趙丹夫人、著名演員、作家黃宗英游覽含鄱口時，黃宗英在說到趙丹臨死前對生活的熱望、對文藝界的期盼、對個人命運(yùn)的不平時，仍不免愴然淚下！

嚴(yán)風(fēng)英草坪上演《天仙配》

1958年5月的一個清晨，廬山含鄱口的望鄱亭上忽然傳來一陣優(yōu)美動聽的黃梅戲聲。不少游人尋聲踏上含鄱亭一看，在邊唱邊舞的女子中突然看到了著名的黃梅戲表演藝術(shù)家、全國政協(xié)委員、中國文聯(lián)委員嚴(yán)鳳英。

游人們熱烈地鼓起掌來，越來越多的人把望鄱亭擠得水泄不通。嚴(yán)鳳英笑著說道：“我們馬上要去植物園和全國勞模聯(lián)歡，請大家和我們一塊去吧！”游人們立即發(fā)出一陣歡呼聲，簇?fù)碇鴩?yán)鳳英等演員向含鄱口植物園走去。

這是嚴(yán)鳳英第二次上廬山。1955年6月中旬嚴(yán)鳳英隨同《天仙配》電影攝制組曾專程來廬山，在含鄱亭拍攝“七仙女”乘著云霧從天宮飄下人間的鏡頭。攝制組整整等了三天，終于捕捉到了理想的鏡頭：在云纏霧繞之中，畫棟雕梁的含鄱亭仿佛是仙宮瓊閣，隨著一聲“飄飄蕩蕩下凡來……”的婉轉(zhuǎn)歌聲，扮演“七仙女”的嚴(yán)鳳英舞姿翩躚，揮著長袖，騰云駕霧般從望鄱亭冉冉而下，飄向人間……

三年后安徽黃梅劇團(tuán)應(yīng)邀來廬山演出，廬山有關(guān)部門特意安排劇團(tuán)主要演員與在廬山療養(yǎng)的勞模們在植物園大草坪聯(lián)歡。嚴(yán)鳳英和姐妹們提前出發(fā)來到含鄱亭重溫三年前的舊情，她面對波光瀲滟的鄱陽湖，面對屹立在湖邊的五老峰，陶醉中情不自禁地地歌舞起來。

在植物園寬大的草坪上，劇團(tuán)的演員們?yōu)閬碜匀珖鞯氐膭谀：陀稳俗骶时硌荩合仁茄荨斗蚱抻^燈》《打豬草》《藍(lán)橋會》等幾個傳統(tǒng)小戲，接著，在觀眾的期盼下嚴(yán)鳳英和王少舫走到草坪中央，為觀眾演出《天仙配》的精彩片斷，當(dāng)28歲的嚴(yán)鳳英一張嘴：“大哥休要淚淋淋，我有一言奉勸君……”四下里立刻響起叫好聲。嚴(yán)鳳英那清甜柔美的嗓音早已通過電影、廣播為人民所熟悉和喜愛，今天人們能親耳聆聽這宛如天籟的歌聲，能不格外興奮！當(dāng)最后兩人情意綿綿地唱起“樹上的鳥兒成雙對，綠水青山帶笑顏”時，全場沸騰了，所有人員都跟著高唱起來。

安徽黃梅劇團(tuán)原計劃在廬山演出兩場《天仙配》、三場《白毛女》，后因觀眾強(qiáng)烈要求，又加演了兩場《天仙配》，場場爆滿，盛況空前。廬山劇院只有900多個座位，為滿足觀眾要求每晚還多售200多張票，但劇院門口還是圍滿了人。很多“嚴(yán)迷”因買不到票，便坐在劇院兩側(cè)的山坡上豎著耳朵聽?wèi)?，以捕捉從窗口飄出來的時大時小的嚴(yán)鳳英的聲音，過一下“戲癮”。

嚴(yán)鳳英在廬山演出期間，正在建設(shè)中的廬山水電站有幾百名工人因日夜加班搶建大壩而沒時間來看戲，嚴(yán)鳳英當(dāng)即決定去工地慰問演出。工人們聽到喜訊奔走相告，當(dāng)嚴(yán)鳳英來到工地，工人們來不及脫去沾滿泥土的工作服，里三層外三層簇?fù)碇R時搭建的簡陋戲臺，欣喜地欣賞起《天仙配》來。

熊十力仙人洞避難

著名愛國哲學(xué)家熊十力青年時參加反清斗爭，經(jīng)歷頗為傳奇，廬山還當(dāng)過他的避難所，幫他躲過一次生死劫難。

民國二年（1913年）初夏，一位英姿颯爽的青年軍官來到廬山仙人洞，向道徒們恭恭敬敬地行了一個道禮，問道徒們是否還認(rèn)識他？道徒們看著面熟但又似乎未曾打過交道的青年軍官，不敢貿(mào)然相認(rèn)。軍官一把摘掉軍帽，大笑著說道：“我就是7年前在這里掛過單的‘廬江道人’呀！”道徒們這才醒悟過來，原來他就是熊十力！但隨即又感到奇怪：“這位‘廬山道人’什么時候又變成軍官了？”說來，這里面有個頗不尋常的故事。

熊十力1884年生于湖北黃岡，家境極為困窘。13歲時父母相繼去世，長兄將他送入鄉(xiāng)村學(xué)校讀書，半年后因無力繳納學(xué)費而輟學(xué)，以后全靠勤奮自學(xué)。熊十力深受梁啟超、譚嗣同等維新志士論著的影響“慨然有革命之志”，決心加入反清的革命行列。為了策動軍隊造反，18歲的熊十力于1902年投入湖北新軍第三十一標(biāo)當(dāng)兵。他白天操練，不管多苦多累晚上都要堅持讀書，并積極撰寫文章向報館投稿，倡導(dǎo)革新現(xiàn)實，救亡圖存。后來他結(jié)識了宋教仁、劉靜庵、張難先等革命志士，共同創(chuàng)建了革命團(tuán)體“科學(xué)補(bǔ)習(xí)所”，并組織黃岡軍學(xué)界講習(xí)社聯(lián)絡(luò)各方志士，為發(fā)動起義作準(zhǔn)備。光緒三十二年秋（1906年），江西、湖南瀏醴一帶爆發(fā)大規(guī)模起義，孫中山派胡瑛、朱子奇等人到武昌策動響應(yīng)，已加入同盟會的熊十力積極策劃刺殺統(tǒng)制張彪，發(fā)動部隊起義。誰知事情泄露，總督張之洞和張彪下令搜捕革命黨人，胡瑛、劉靜庵、張難先等人先后被捕，熊十力聞訊后在朋友的幫助下逃脫。張彪到處張貼告示懸賞通緝熊十力，熊十力在城鎮(zhèn)無法躲藏，便喬扮道人潛上廬山，在仙人洞內(nèi)避難。

仙人洞道觀對熊十力作了細(xì)心的照顧，使他安心在廬山躲避風(fēng)險。

過了半年多，追捕革命黨的風(fēng)聲小了一些，熊十力便告別仙人洞道觀潛回黃岡、武漢等地，繼續(xù)進(jìn)行反清活動。1911年熊十力參加了震驚中外的武昌起義，起義成功后任湖北督軍府參謀，他沒有忘記曾幫助過自己的道友們，特意專程回廬山，以一身戎裝出現(xiàn)在仙人洞道觀。

到了1919年，熊十力再訪廬山時已是長袍馬褂、一副學(xué)者派頭。他專程去拜謁了廬山西麓的“濂溪書院”。“濂溪書院”是北宋著名哲學(xué)家周濂溪（敦頤）所建，熊十力對他極為敬慕，他在濂溪書院的墻壁上十分自負(fù)地題道：“數(shù)荊湖過客，濂溪而后我重來”。

1965年，熊十力辛亥革命時的摯友董必武請熊十力上廬山養(yǎng)老，他欣然同意，后因“文革”爆發(fā)未能遂愿。1968年，時任北京大學(xué)哲學(xué)教授的熊十力在“浩劫”中自盡，終年84歲。1985年12月，北京大學(xué)、武漢大學(xué)、湖北省政協(xié)等單位聯(lián)合在湖北黃岡舉行紀(jì)念熊十力先生誕辰一百周年國際學(xué)術(shù)討論會，來自蘇聯(lián)、美國、日本、加拿大、法國、澳大利亞等國家和香港、臺灣地區(qū)的學(xué)者和國內(nèi)學(xué)者近百名出席了盛會。

Lushan Mountain and Cultural Celebrities

By He Wei

Lushan Mountain is a great picturesque tourist attraction by the Yangtze River zigzagging through Jiangxi Province. Over centuries， artists and men of letters have created numerous artworks to record their visits to the mountain and express their appreciation of the gorgeous beauty of the solitary towering mount by the famous river. The following are three brief accounts of three Chinese cultural celebrities' visits to Lushan Mountain.

Zhao Dan

In the late June 1977， Zhao Dan (1915-1980)， a famed film artist， came to Lushan Mountain. At the invitation of the provincial government， Zhao had worked in Nanchang， the capital city of the province， directing a play by the Jiangxi Drama Troupe and working with the playwright to adapt it to a film. After a long period of work， a short vocational tour was arranged so that Zhao could take a break in Lushan Mountain.

Zhao stayed at Villa 447. The host engaged a local artist named Yang Bao to take Zhao around scenic spots on the upcoming sketching jaunts. A rapport was soon established between the two as soon as they met. Zhao got out half a bottle of liquor and a plate of peanuts and the two sat down chatting over drink. Zhao confessed that he was an art graduate before choosing his silver-screen career. He sighed that his movie works were recognized but his paintings were regrettably not. Zhao said that he regarded this trip as an opportunity to claim his art talent and create some good paintings. He asked Yang to help him.

The first sketching trip was made to the Five-Old-Men Peak， presumably the best scenic vantage spot on the mountain to allow a view of the distant panorama. While sketching， Zhao chatted about his ambition to translate the late Premier Zhou Enlai and the great writer Lu Xun in movies. And he expressed relief and joy about his comeback as a movie actor after the fall of the Gang of Four in 1976 which marked the end of the tumultuous Cultural Revolution (1966-1976). That day， Zhao was so much into painting that he did not have time for lunch. So Zhao and Yang each had just one steamed bread.

In the middle of July， Zhao took another short break and came to Lushan to sketch again. Yang came and took his five-year-old son along. They were sketching on the Pine Road while Yang spotted thick black clouds surging up a valley rapid. Knowledgeable about the weather changes in the mountain， Yang immediately urged Zhao to pick up everything and run for shelter. Without realizing the imminent danger of a storm， Zhao looked at the surging clouds and decided to paint the overwhelming scene. But before he could utter his decision， the huge raindrops slashed down. In a hurry， they picked up the easels. But they did not have time to run to the closest house only about dozens of steps away from them. A huge rock nearby served as an emergence shelter. They rushed to the rock， and put the five-year-old in the place where the rain could not reach him. The two adults stood providing a shelter for the boy. The rain poured down， forming a curtain of waters in front of them. The sky darkened. Zhao was happy with the experience.

Zhao was recognized by tourists. They looked forward to seeing him in more movies. But Zhao passed away in 1980 before he was able to appear in his first movie after 1976.

Yan Fengying

\"Goddess's Marriage\"， a Huangmei Opera play and the namesake movie adaptation， made the actress Yan Fengying (1930-1968) famous throughout the country in the late 1950s. She came to Lushan Mountain in May， 1958. Tourists first saw her at the Seeing-Poyang-Lake Pavilion. She sang an aria to entertain the enthusiastic fans. Then she asked fans to come to the botanic garden where Huangmei Opera artists were to stage a show to entertain national model workers.

It was not Yan's first visit to Lushan. In June， 1955， Yan and the film production group came to Lushan Mountain to shoot Goddess's Marriage. They planned to shoot a few scenes at the pavilion， a vantage spot for a scene in which the seven goddesses descended in clouds from heaven. The shooting crew waited for three days before clouds appeared and wrapped up the whole pavilion， creating a fantastic view of another world. In 1958， the troupe was invited to stage shows in Lushan Mountain. Yan and her colleagues decided to revisit the pavilion where the unforgettable scene had been shot.

The show at the botanic garden was sensational. The 28-year-old Yan sang a few arias and the audience went wild. The troupe's show at the local theater was a huge box-office success， too. In order to entertain construction workers at Lushan Reservoir who were too busy working to come to the theater for the show， Yan and her colleagues put on a show at the construction site.

Xiong Shili

Philosopher Xiong Shili (1885-1968) was engaged in anti-government activities when the Qing Dynasty was about to collapse. To escape the government's manhunt， he hid himself in Lushan for a long while.

Born into a poor family in 1884， Xiong became an orphan at the age of 13. His formal school education lasted only for half a year due to family financial difficulties. But he did not stop learning by himself. At 18， Xiong joined the government army in Wuchang city， Hubei Province. He continued his self-education and later joined the Chinese Revolutionary League， a secret organization led by Dr. Sun Yet-san. Xiong took part in secret activities for a mutiny. In 1906， insurgences took place in Jiangxi and Hunan provinces. Dr. Sun sent envoys to Hubei to plan insurgences in response to those in Jiangxi and Hunan. Xiong was one of the members who plotted an assassination and a mutiny. But the plot failed and the governor arrested and executed the leaders. Xiong was on the run. He disguised himself as a Taoist and fled to Lushan Mountain where he spent half a year in hiding at a Taoist temple before he resumed his anti-government activities. He took part in the Wuchang Insurrection， which ushered in the 1911 revolution which finally overthrew the Qing Dynasty.

In the summer of 1913， seven years after his refuge in Lushan， Xiong revisited the temple. The monks failed to recognize the young man dressed in the military uniform at first sight. On his 1919 visit to Lushan Mountain， Xiong was already a scholar. He visited the Lianxi Academy founded in the Northern Song Dynasty (960-1127) in the west of the mountain. In 1965， Xiong， then a professor of philosophy with the Peking University， received an invitation from Dong Biwu， a veteran Communist and high-ranking government official， to retire in Lushan Mountain. An intimate friend of Xiong， Dong and Xiong were both soldiers in the 1911 Wuchang armed rebellion. The retirement plan was made impossible by the outbreak of the Cultural Revolution in 1966. Xiong committed suicide at home in 1968. In December， 1985， Peking University， Wuhan University， and some government organizations joined hands to hold a symposium in Lushan Mountain in memory of the 100th anniversary of the birth of Xiong. The international symposium was attended by nearly 100 overseas scholars.

(Translated by David)