◇| 文本刊記者 陳科龍 圖 | 受訪者提供

立春后的一天，陽光透過層層疊疊的樹葉，鉆進了龍鴻的書房。

書案上，名家字帖疊得老高，墻角堆滿了臨過碑帖的舊報紙、毛邊紙。自15歲學習書法起，筆墨成了龍鴻而后幾十年人生里無法割舍的部分。舊報紙也好，兒子的舊習題集也好，他都拿來臨帖摹碑，不管多忙，每天都會抽出時間與筆墨為伴。書法創(chuàng)作的成就光環(huán)下，是對恩師的追思，是其一生學養(yǎng)的凝練。

The day after the beginning of spring, sunshine leaked into Long Hong’s study through layers upon layers of leaves.

In the study, on the desk pile up high copybooks of famous calligraphers, at the corner lade with old newspapers he had used for calligraphy practices. Since Long Hong learned calligraphy at 15 this art has been an indispensable part in his later dozens of years. He takes everything usable, like old newspaper or his son’s scrap books to practice calligraphy by copying the model calligraphic masterpieces. And every day he would spare some time for it no matter how busy he is. Long Hong’s accomplishment in calligraphic mark-making is the recollection of his teachers and the condensation of his ceaseless learning and cultivation.

書寫對恩師的追思Respect and Affection for Teachers

龍鴻家客廳里“養(yǎng)拙齋”三個字力透紙背，很是醒目。他雙手合十將我迎進客廳，告訴我，那是他健在的博士研究生導師張道一先生所書，當時先生已經(jīng)目不能視。

而把龍鴻引進門、讓他今后有幸與名師結(jié)識的，是他的啟蒙老師繆孝成。1982年，15歲的龍鴻在重慶第一師范學校讀書。學校圖書館管理員繆孝成書法造詣極高，每日晚自習前，學校便安排繆孝成教授學生書法。

“繆老師教了我們兩年，受益匪淺?！蹦菚r，龍鴻常常在市級書法比賽中獲獎，繆孝成夸他字寫得很“活”。

畢業(yè)后，龍鴻保送至西南師范大學（今西南大學）中文系。在北碚，龍鴻師從著名書法家、教育家徐無聞、荀運昌、秦效侃諸教授。

51歲的龍鴻留著一頭精神的短發(fā)，侃侃而談中流露出一股書卷氣。談到徐無聞先生，龍鴻走進書房，取出了他珍藏已久的恩師墨寶。

龍鴻小心翼翼展開卷軸，先生的詩作躍然紙上：

桃園初創(chuàng)日，我正值青年。才見一花放，遽遭風雨殘。園荒花不發(fā)，我亦點無言。春秋有代序，世事亦推遷。桃園花今再，白發(fā)滿我顛。白發(fā)何須嘆，青年在眼前。新篇勝舊作，真見百花繁。詩筆留春住，今朝莫棄捐。

“1957年，西師的文學雜志《桃園》擬創(chuàng)刊，先生曾在雜志上寫過文章。1991年5月，《桃園》復刊。先生當時60歲了，又寫下了這首發(fā)自肺腑的五言古詩?！蹦菚r，龍鴻是西師書社社長，蒙徐無聞先生教誨。27年來，他常常取出徐老的墨寶臨帖追摩。

In Long Hong’s living room there is an eye-catching calligraphy work “養(yǎng)拙齋” (nurturing stupidity) wrote in powerful and vigorous stroke. He welcomed me into the living room with his palms pressed together and told me that was a piece of work of his doctoral supervisor who had lost his sight when wrote it.

At first the one who introduced calligraphy to Long Hong and broaden his opportunity later is his mentor Miu Xiaocheng. In 1982 when Long Hong was 15, he studied at Chongqing First Normal School. Before the self-study class at night the school assigned Miu Xiaocheng the librarian there who had high attainments in calligraphy to teach students the art.

“Mr. Miu taught us calligraphy for two years. We all learned a lot.” At that time Long Hong often won prizes in Chongqing’s calligraphy competitions and received praises from his teacher that his calligraphy was pretty natural.

After graduation Long Hong was recommended for admission to the Department of Chinese Language under Southwest Normal University (now Southwest University). There he learned calligraphy of renowned masters and professors including Xu Wuwen, Xun Yunchang and Qin Xiaokan.

Though at 51 years of age, Long Hong looks very energetic with short hair and presents a touch of scholarliness during conversation.When speaking of Mr. Xu Wuwen,he walked into the study and took out a scroll of calligraphy work by his teacher which he treasured long.

Long Hong carefully unfolds the scroll, on which writes Mr.Xu’s poem:

When Peach Garden started I was still in my youth. Only seen a single blossom then it was destroyed by a heavy storm!Deserted garden had no flowers in eye, speechless as I was to see the bleak sight. Time went by and things changed a lot. Now the Peach Garden came back and I’m in grey all. But there’s no need to sigh for the aging since we have hope in the new generation, whose articles bloom and exceed the old. Hope the magazine live for good and history never repeat.

“Taoyuan (Peach Garden) is our SWU’s literary magazine.When it was firstly published in 1957, Mr. Xu once wrote articles on it. And till the magazine eventually resumed publication in 1991,he was 60 years old and then he wrote this heartfelt poem.” Long Hong was the chief of SWU Book Community then and Xu Wuwen was a mentor to him. For 27 years he has often taken out Mr. Xu’s calligraphic work for copying and practice.

既要雕蟲更要雕龍Integration of Calligraphy and Writing

在古代，書法叫“雕蟲”，寫文章叫“雕龍”，意在比較兩者技藝的高低。龍鴻則把書法看成實用性很強的文人副產(chǎn)品，而他的文人生涯也不止囿于書法創(chuàng)作。

“我是由中文專業(yè)轉(zhuǎn)入藝術(shù)，由書法篆刻而入美術(shù)設計，最終歸結(jié)至藝術(shù)學理論研究?！?004年，龍鴻考入東南大學，師從張道一先生攻讀藝術(shù)學博士。談興正濃，龍鴻拿出他的博士論文，一本厚厚的綠色封皮書冊——《大足石刻藝術(shù)研究》。

1999年，大足石刻被列入世界遺產(chǎn)名錄。在張道一指導下，龍鴻最終將這一家鄉(xiāng)的文化瑰寶定為研究對象。當時，大足石刻研究館老館長郭相穎得知龍鴻來意后，高興極了，“因為大足石刻的研究以考古學為主，缺乏藝術(shù)學的觀照?！?/p>

龍鴻白天泡在唐宋時期的宗教摩崖石刻與銘文中，晚上回招待所梳理研究線索，漸漸對佛教神話傳說與有關圖像創(chuàng)造之間的關系產(chǎn)生了濃厚興趣。

修完博士學位后，他步履不停，北上清華大學美術(shù)學院，做進站博士后。在清華美院，龍鴻筆耕不輟，完成了《古老心靈的發(fā)掘——中國古代造物設計與神話傳說研究》課題報告。

In ancient times, calligraphy was called Diaochong (carving insects) and writing Diaolong(carving dragon) to compare the two kinds of skills.Long Hong, on the other hand, deems calligraphy as a practical byproduct of the literati, and he himself is never confined to the calligraphic circle.

“I changed my major from Chinese language into art. First it’s calligraphy and seal cutting, then art, and in the end art theory research.” In 2004 Long Hong was enrolled in Southeast University as a doctor in art theory under the supervision of the great artist Zhang Daoyi. In talkative mood, Long Hong fetched out his doctoral paper, a bulky greencovered volume titled with Art Research on Dazu Rock Carvings.

Dazu Rock Carvings was listed as a World Heritage Site in 1999. Under the guidance of Zhang Daoyi, Long Hong eventually chose such a cultural treasure in his hometown as a subject of research. Guo Xiangying, the previous director of Research Institute of Dazu Rock Carvings was terribly glad to see that, “because researches on Dazu Rock Carvings are mainly based on archeology, but lacks the touch of art.”

By day Long Hong was engaged in the religious carvings and inscriptions on the rocks, at night he went back to guest house combing the clues of research. In this way he gradually became obsessed with the relationship between Buddhist legends and related image creation.

After graduation of doctor, he continued his study as a postdoctoral researcher at the Academy of Arts of Tsinghua University. There Long Hong stuck to writing ceaselessly and in the end completed the book Exploration of Ancient Mind: Research on Ancient Chinese Design and Legends.

以學鑄人以學養(yǎng)書Cultivation by Learning

藝術(shù)理論研究的精進，又反哺著龍鴻的書法創(chuàng)作。

李硯祖教授，龍鴻的博士后指導教師，對龍鴻知之甚深，“作為一名教師和研究者，龍鴻君雖因讀書而廣涉多科，但對書法藝術(shù)研究興趣一直未減，其研究上自先秦下至當代，多有涉獵，亦有諸多創(chuàng)建和發(fā)人深省之處。他的作品以篆、隸、行草為多，不僅功力深厚，而且充滿書卷氣。功力深厚謂之有骨氣；書卷氣，謂之文雅、無火氣。”

骨氣與書卷氣既源于為學的滋養(yǎng)，也發(fā)自一朝一夕的苦練。

在龍鴻書房的一角，放著一大堆中學生習題集，初見難免詫異。翻開一看，里面竟寫滿了毛筆字。習題集是龍鴻兒子的舊書，龍鴻不愿當廢品賣掉，便在這廢棄的書本上練字，前前后后差不多寫了上百本。

藝術(shù)評論家楊力斌先生曾這樣評價，“書家龍鴻善于行書、隸書、章草、草篆等多種書體，作品古典醇和，樸茂自然，清新怡人，呈現(xiàn)出一種隨意大方的書卷氣線性書寫美感濃郁，也彰顯出書家瀟散雅拙的書學線性審美情趣和優(yōu)雅意境表現(xiàn)。”

Advance in art theory research in turn nurtures Long Hong’s calligraphy creation.

Professor Li Yanzu, advisor of Long Hong in his post-doctoral period,knows deeply about his student. “As a teacher and researcher, Long Hong has gone on to experiment widely, but his enthusiasm with calligraphy art research never compromises.His researches have touched upon from the pre-Qin period to the modern times and are very much though-provoking. His works are mostly seal script,clerical script and cursive script, full of integrity and elegance.”

All this should be deeply rooted in the nourishment of ceaseless learning and practice as well.

One might be surprised to see the big pile of middle school students’ workbooks in the corner of Long Hong’s study. It turns out that on the books are all practices of calligraphy. These are the used books of Long Hong’s son. He did not want to sell them to junk yards, so just kept them as calligraphy papers. Till now there have been more than 100 workbooks altogether.

“Calligrapher Long Hong is adept at multiple styles like running script, clerical script, etc. His works are archaic and gentle, natural and casual,presenting with beauty and artistic flavor too,”remarked art critic Mr. Yang Libin.