文/ 徐子衿

晉鷗（左三）在日本東京參加由浙江省文化和旅游廳主辦的“來詩畫浙江，為亞運喝彩”文旅交流展。Jin Ou delivers a speech at an calligraphy exchange event commemorating the 40th anniversary of the friendly relations between Zhejiang province and Shizuoka prefecture.

日語里有個詞叫“一期一會”，意思是表演茶道的人會在心里懷著“難得一面，世當珍惜”的心情來誠心禮遇面前每一位品茶客人。其實，最早這個日語詞匯前面還有一個佛教禪語的中文譯詞叫“會者定離”，可以通俗解釋為世事無常，聚散總相隨。“會者定離，一期一會；勿懷憂也，世相如是?！边@兩個詞連在一起組成的這一句禪語，提醒人們要珍惜生命中每個瞬間的機緣，并為人生中可能僅有的一次相會付出真心。

人們常說，篆刻是最被賦予“一期一會”意義的藝術形式之一，因為在治印過程中，刀與印料之間的碰撞會產(chǎn)生無數(shù)細小的崩裂紋理，沒有規(guī)律可尋，憑的是藝術家的天賦、功底、敏感度、創(chuàng)造力和審美情操，這讓篆刻藝術充滿了未知的魅力，每一方印章都是獨一無二的。

在積極響應并全力協(xié)助杭州國家版本館展開海外版本征集工作的名單里，就有一位旅居日本三十年、一直活躍于中日書法篆刻界而久負盛名的浙江籍藝術家—晉鷗。

晉鷗是西泠印社會員、中國書法家協(xié)會會員、日本產(chǎn)經(jīng)國際書展評委，同時也是日本華人文聯(lián)主席、全日制本華人印社社長、全日本華人書法家協(xié)會名譽主席，他的書法篆刻在日本擁有眾多忠實粉絲，在國內(nèi)深受許多藏家青睞。幾十年來，他為中日書法篆刻的文化藝術交流發(fā)展作出了杰出貢獻。走近晉鷗，發(fā)現(xiàn)他至今走過的人生之路充滿關于緣分、情義和淵源的故事，能讓人不自覺地聯(lián)想到“一期一會”禪語中蘊藏著的精妙深意—相逢是緣，不負流年不負卿。

這緣，是他和篆刻之緣，和東瀛之緣，和收藏之緣；將這三個緣加在一起來讀，便能更加深刻地理解他對推動中日藝術文化交流的殷殷之情和拳拳之心。

與篆刻之緣

1957年，晉鷗出生于浙江桐鄉(xiāng)烏鎮(zhèn)，從小受其父親熏陶，酷愛文學和藝術。20歲以前，都是自學，機緣巧合下得以師從錢君匋、劉江、韓天衡、陳舜今等書畫篆刻名家。其中，與錢君匋先生相識的緣分來自錢老在桐鄉(xiāng)一位學生的介紹，后來他到上海向錢老請教，錢老經(jīng)常拿出一些名人字畫讓其觀賞，并作細心講解。赴日之前，晉鷗一直在桐鄉(xiāng)君匋藝術院專職研究篆刻和書法。

當初，在學藝的路上總有人說他是“一根筋”。“的確是這樣，沒有人能阻擋我的創(chuàng)作熱情，跟老婆談戀愛時，她父親也無奈地說，‘這個人什么都好，就是喜歡練書法，練書法又不能當飯吃’。”晉鷗笑道。錢君匋先生在86歲時回憶起這位學生，仍對其孜孜矻矻的鉆研精神和日漸精進的藝術成就記憶猶新：“青年書家晉鷗，兼工各體，篆書整飾雄峻，隸書豐滿多姿，行書巧拙互見，草書清麗流暢，小楷師法晉唐大家，倜儻無館閣味?？逃〖颜哳H多，入秦出漢，刀韻石味，苦追天然?！?/p>

回首往事，晉鷗還曾得到過沙孟海老先生的指點。當時，他先后去杭州拜訪沙老很多次，前3次都吃了閉門羹，又去了第4次。那天非常冷，晉鷗搭了別人單位的卡車來到沙老家門前，保姆看他凍得可憐便讓他進了屋，并告訴他下周三來，沙老會在家。后來終于和沙老見上了面，沙老鼓勵他說，只要持之以恒，一定會功夫不負有心人。

此后，晉鷗的書法、篆刻作品曾在全國大賽獲得20多個大獎，并在上海舉辦個人書畫篆刻展，出版?zhèn)€人書畫篆刻作品集，成為國內(nèi)書畫篆刻界冉冉升起的一顆新星。

就在那時，又一個機緣悄然而至，并從此改變了晉鷗的人生軌跡。1990年，晉鷗在杭州西泠印社參加篆刻大賽時，日本著名篆刻家、全日本篆刻聯(lián)盟會長小林斗盦帶了一批學生來浙江做藝術交流，其中就有日本篆刻家三圭出版社社長三井雅博。三井雅博在學習中文，也非常喜歡晉鷗的書法篆刻，兩人一見如故。三井回國后兩人仍一直保持書信往來。三井對晉鷗說：“現(xiàn)在日中文化交流頻繁，晉先生若能掌握日語，對中日文化交流一定會有很大幫助。如果你想來日本學習，我可以幫你辦理留學手續(xù)?！?/p>

與東瀛之緣

抱著“走出國門看一看”的想法，在家人和單位的支持下，1992年春，晉鷗來到日本，一切從零開始。從就讀語言學校到考上東京學藝大學研究生，求學之路異常艱辛和孤獨，為了賺取學費和支付9平方米住房的房租，他不得不同時打兩份工。

時來運轉發(fā)生在1996年，在一位日本朋友的幫助下，晉鷗進入日本著名的三越百貨店刻章，雖然只有一周，卻成為他的篆刻進入日本藝術界視線的“敲門磚”。當時，一個刻章并不能賺多少錢，但占據(jù)了他一天中的大部分時間，最長的一天刻了16個小時。

這過程中還發(fā)生了一件事，至今仍深深地影響著他。當時有一位80多歲的日本老太太拄著拐杖，手上挽著布包，找到了晉鷗的篆刻臺，拿出10多方印章對他說 ：“這是我丈夫年輕時去中國觀光時買的，由于時間緊來不及刻，保存至今，現(xiàn)在他已經(jīng)過世了，但我想委托您幫我刻好這些印章，以了卻他的心愿?！崩咸贸鲆粡埣垼厦鎸懼辶鶄€名字，除了名字，她還拜托晉鷗在剩余的印章上刻上中國的成語名言。這對晉鷗觸動很大，他初次意識到日本民間對于中國傳統(tǒng)篆刻藝術和文化是如此的推崇?！叭毡救藢χ袊幕臒釔哿钗腋袆?，中國博大精深的文化能在海外如此深入人心，我感到很驕傲，很想做點什么。”晉鷗說。

后來，當從東京學藝大學碩士畢業(yè)時，晉鷗的篆刻藝術已經(jīng)得到了日本各大博物館、美術館、百貨店畫廊的認可。在日本最初的10年里，他刻了2萬多方印章，為了不負各種有緣人的不同期待，必須想方設法在方寸天地之間謀篇布局、痛下功夫。

正是因為這些難忘而寶貴的磨練和際遇，晉鷗的篆刻藝術造詣不斷攀登上新的高峰并且吐故納新、自成一格，他借鑒了日本浮世繪、埃及壁畫，以及畢加索、梵高繪畫中的抽象造型，在創(chuàng)作上進入了一種隨心從容的自由境界。如今在日本，由他篆刻的印章成為近百家博物館、美術館等各大藝術場所爭相銷售的寵兒。

2002年，晉鷗在千葉縣野田市成立了“晉鷗藝術學院”，教授日本人書法、篆刻和繪畫。在日本，幾乎所有老師都把書、畫、篆刻分為三個門類，很少有人會像晉鷗一樣，一個人同時教授三種藝術，并且注重因材施教、教學相長，因而吸引眾多書畫、篆刻愛好者從日本各地慕名前來學習。

與收藏之緣

1997年秋，中國歷史博物館文物展在京都高島屋美術館舉辦，晉鷗剛好在會場刻印。有一天，美術館館長帶來一個60多歲的人介紹給他說：“這是以前日本大畫家橋本關雪之孫橋本歸一先生?！痹诘弥獣x鷗來自浙江時，橋本的話匣子一下收不住了：“我爺爺生前一共去了中國一百多次，浙江是我爺爺最愛去的地方，因為那里有西泠印社，在那里我爺爺結識了很多書畫篆刻界的朋友，其中交往最深的是錢瘦鐵先生。從前錢瘦鐵先生還在我家住過好幾年呢?！?/p>

過了幾天，晉鷗應邀去橋本家做客，走進大廳便能看見橋本父親的6折行書屏風，書學顏真卿。橋本的書房里，有一些中國篆刻家的印章，以錢瘦鐵先生的居多，其中還有兩方是錢老用櫻花木刻的印章。據(jù)晉鷗回憶，橋本當時又拿出用黃布包著的兩方紫檀盒裝硯臺，兩方硯臺上都有吳昌碩銘款，邊用手擦硯臺邊感慨地說：“這是《沈氏研林》中的名硯，以前家里有一百多方，現(xiàn)在只剩下這兩方，算是傳家寶了?！?/p>

1.晉鷗篆刻藝術館。2.晉鷗在浙江省·靜岡縣友好城市40周年紀念書法交流展上致辭。3.晉鷗（后排右四）與華人學生們在日本晉鷗藝術館前合影。1.Jin Ou Seal Carving Art Museum. 2.Jin Ou delivers a speech at an calligraphy exchange event commemorating the 40th anniversary of the friendly relations between Zhejiang province and Shizuoka prefecture. 3.Jin Ou (fourth on the right on the second row) takes a photo with overseas Chinese students in front of the Jin Ou Art Museum in Japan.

后來有一次，橋本和晉鷗相約到杭州拜訪錢瘦鐵先生的親戚錢大禮先生，不巧的是錢先生出差在外，又逢周日，西泠印社的骨干和社員們大多在休息。“我本想打電話通知他們，被橋本先生阻止了，說不必驚動大家。至今我還在后悔，當時怎么就沒有和大家聯(lián)系，一起見個面，留下幾張有意義的照片呢？”晉鷗感慨道。

沒想到的是，那一次的遺憾再也無法改寫，某一天，晉鷗收到橋本家族寄來的明信片：“先生已在一個月前謝世，為了不打擾你工作，故至今才通知你，請見諒?！?/p>

直到去年年底，他還在自己的專欄中寫下關于《沈氏研林》中各方名硯的故事。雖然一想起便有很多不舍，但或許恰恰是與橋本先生結下的這一段藝術緣，為晉鷗的藝術生涯打開了另一扇窗。從最初在友人處單純學習鑒賞到受人委托、為藝術藏品尋找買家，再到后來經(jīng)濟寬裕后開始自行收購各類藏品；直至今日，除了精于書畫篆刻，晉鷗在日本收藏圈也是位名人。

逐漸地，晉鷗意識到藝術品收藏不僅僅是個人的事情，藝術應該是社會共有、穿越時空的寶貴精神遺產(chǎn)。5年前，晉鷗還向桐鄉(xiāng)君匋藝術院捐贈了自己收藏的王一亭《松鶴圖》，以回報藝術院的培育之恩。曾經(jīng)，晉鷗的心愿是在家鄉(xiāng)設立一座美術館，讓自己收藏的400余件珍貴字畫、印章能夠回歸故里，其中讓他頗感自滿的藏品有 ：吳昌碩作品近20件，王一亭作品50多件，還有王鐸、董其昌、文徵明等名人的書法作品，有黃賓虹、張大千、傅抱石等大家的字畫等，具有一定的質量和規(guī)模?！叭松疃嗄芑畹揭话贇q，藝術品卻是永恒共有的，所以將來希望自己收藏的藝術品，能有一個好歸宿?！边@便是一個浙江赤子良善樸素而令人敬佩的愿望。

以書法凝心

現(xiàn)在，在桐鄉(xiāng)建造晉鷗藝術館的期盼即將達成。晉鷗談到：“我想把這個藝術館作為浙江與海外文化交流的一個窗口。通過這個平臺，可以將日本的優(yōu)秀文化引進來，把中國的文化、藝術傳播出去。作為身在海外的游子，把中華優(yōu)秀傳統(tǒng)文化傳播到海外，讓世界人民能更好地了解中華文化，是我的責任與使命?！笨上У氖牵瑫x鷗藝術館裝修好了，但受困于新冠肺炎疫情，他至今沒能回去著手開館工作；晉鷗篆刻藝術館已經(jīng)開館一年多了，也一直無法親眼去看看。

即使如此，疫情卻仍擋不住他對傳播中華優(yōu)秀傳統(tǒng)文化、推動中日藝術文化交流的熱忱。去年，在中國駐日本大使館的支持下，他成功組織并主持了在日華僑慶祝建黨百年書畫展，吸引了眾多日本政要、中日友好人士和日本民眾來到現(xiàn)場參觀一幅幅寫滿祝福和熱愛的翰墨丹青。此外，他還在東京參加了由浙江省文化和旅游廳主辦的“來詩畫浙江，為亞運喝彩”文旅交流展活動，并以日本華人文聯(lián)主席身份致詞：“我看到很多日本民眾在現(xiàn)場體驗書法、篆刻和剪紙，心里自豪又欣慰。杭州是歷史文化名城，希望日本能更多地與浙江進行文化、體育方面的交流?！?/p>

30年來，晉鷗先后帶領日本訪問團前往中國近百次，在日本策劃“豐子愷故鄉(xiāng)赴日漫畫展”“西泠印社日本三大展”“浙江青田篆刻藝術展”等大型展覽，還參與協(xié)辦數(shù)十個中日書法交流展，為中日兩國書法篆刻藝術交流傾盡全力。對他有知遇之恩并成為摯友的三井雅博曾這樣談起晉鷗：“經(jīng)常聽他講要成為‘中日文化藝術交流的橋梁’，來日這么多年這一信念至今沒有改變?！?/p>

2004年，晉鷗與幾位在日華僑書法家共同籌建“全日本華人書法家協(xié)會”。他希望可以通過該協(xié)會團結起在日華人書法家，共同進行書法篆刻的藝術創(chuàng)作、研究與交流。同時，通過華僑華人的橋梁作用，促進中國國內(nèi)書法家、書法團體與日本書法篆刻界進行更多更深入的交流與交往。

當年，書圣王羲之在紹興蘭渚山下以文會友，寫下“天下第一行書”—《蘭亭序》，唐代四大書法家中有兩個都和浙江有關系?！叭毡久癖娭杏胁恢垃F(xiàn)任首相的，但沒有人不知道王羲之?！睍x鷗坦言，在海外傳承和發(fā)揚中國書法藝術，是自己下一個十年要做的最重要的事。他曾做過調查和統(tǒng)計，在近100萬在日華僑中，有練習書法習慣的僅有幾百人。對此，晉鷗的心情是急切而焦慮的。為了讓更多華僑華人學習書法篆刻，他每月在東京中國文化中心開辦公益書法教室，指導華僑華人學習書法，書法課不收學生一分錢，完全免費。從幾年前開始，他每年都要舉辦幾場大型公益書法講座。

另一方面，晉鷗認為，藝術文化交流過程中還應該以有容乃大的心態(tài)去研究和欣賞日本書法家的閃光點。他希望，將來能收藏百幅日本名家的書法，向國內(nèi)書法界介紹日本書法的特點，只有知己知彼才能不斷進步?！叭毡镜奈幕醋灾袊?，又有很多自身的創(chuàng)新，中日文化之間有很多共通之處，地域上又是一衣帶水的鄰邦，這其中確實有很多微妙的緣分，兩國在藝術文化交流上需要更加深層次的思考和探索?！睍x鷗補充道。

晉鷗書法作品。Calligraphy works by Jin Ou.

Jin Ou’s Destiny with Art and Culture in China and Japan

By Xu Zijīn

In Japanese, there is a word “ichi-go ichi-e” (for this time only), which means that the tea ceremony performer will sincerely treat every guest in front of him/her. This reminds people of cherishing every once-in-a-lifetime moment.

Seal engraving is considered one of the art forms that are fully endowed with the meaning of “ichi-go ichi-e”, because during the carving process, countless tiny crumbling textures will be created by the knife cutting into the carving material, which, with no pattern to follow, fully depends on the artist’s talent, skills,sensitivity, creativity and aesthetics. That gives seal engraving its mysterious charm, because each seal is unique.

There is a famous Zhejiang artist named Jin Ou, who has lived in Japan for 30 years and has long been active in the Chinese and Japanese calligraphy and seal carving circles. He is among those who have responded positively and assisted the China National Archives of Publications and Culture (Hangzhou) in collecting overseas calligraphy editions.

Jin is a member of the Xiling Seal Art Society, a member of the Chinese Calligraphers Association, a member of the Japan Sankei International Calligraphy Exhibition, as well as the president of the Chinese Literary Association in Japan, the president of the Chinese Seal Society in Japan, and the honorary chairman of the Chinese Calligraphers Association in Japan. Over the decades, he has made outstanding contributions to the cultural and artistic exchanges between Chinese and Japanese calligraphy and seal carving. When we get to know him better, we find that his life is full of stories about how he has been bound with seal carving, with Japan and with collection, which reminds us of the subtle meaning hidden in “ichi-go ichi-e”.

Born in 1957 in Wuzhen, Zhejiang’s Tongxiang city, Jin grew up influenced by his father’s love for literature and art, and he was self-taught until the age of 20. Later he was given the opportunities to study under famous calligraphers and seal carvers such as Qian Juntao, Liu Jiang, Han Tianheng and Chen Shunjin.Before he went to Japan, Jin had been studying seal carving and calligraphy at the Tongxiang Juntao Art Institute.

2019年，晉鷗榮獲產(chǎn)經(jīng)新聞社“書法貢獻獎”。（資料照片）In 2019, Jin Ou received an award from Sankei Shimbun for his contributions to promoting Chinese calligraphy. File photo.

Jin has also received guidance from Sha Menghai (1900-1992).Back then, he went to Hangzhou to visit Mr. Sha, only to be shut out for the first three times. But he didn’t give up and went for the fourth time. Finally he got to meet Mr. Sha, who encouraged him that as long as he perseveres, his efforts would be rewarded at the end of the day.

Since then, Jin’s calligraphy and seal engraving works have won more than 20 awards in national competitions. He has also held his own calligraphy and seal engraving exhibitions in Shanghai and published his own collections, becoming a rising star in the Chinese calligraphy and seal engraving circle.

Just at that time, another opportunity came and changed Jin’s life ever after. In 1990, when participating in a seal carving competition at the Xiling Seal Art Society in Hangzhou, Jin got acquainted with Mr. Mitsui, president of Sankyu Publishing House. Mitsui was studying Chinese and loved Jin’s calligraphy and seal engraving, so the two of them clicked immediately. They kept in touch even after Mitsui returned to Japan. Mitsui once said to Jin, “Nowadays, Japan and China have frequent cultural exchanges. If you could master Japanese, it must be very helpful for the cultural exchange between our countries. If you want to come and study here, I can help you with the procedures.”

Therefore, supported by his family and institution, Jin went to Japan in the spring of 1992 and started everything from scratch.From language school to graduate school at Tokyo Gakugei University, he worked extremely hard and had to do two part-time jobs in order to pay his tuition and house rent.

Another life-changer happened in 1996. With the help of a Japanese friend, Jin entered the famous Mitsukoshi Department Store in Japan to work as a seal engraver, which, although lasted for only a week, became the “door knocker” for his seal carving to enter the Japanese art world. Later, when he graduated from Tokyo Gakugei University with a master’s degree, Jin’s seal carving art had already been recognized by major Japanese museums, art museums and galleries. During his first decade in Japan, he carved more than 20,000 seals.

It is because of these unforgettable and precious trials and encounters that Jin’s artistic attainments in seal carving have constantly reached new heights and he has become a unique artist.Drawing on Japanese ukiyo-e, Egyptian frescoes, and the abstract shapes in Picasso and Van Gogh’s paintings, he has been creating after his own heart freely and calmly. Today in Japan, his seals are a favorite in nearly 100 museums, galleries and other major art venues.

In 2002, Jin established the Jin Ou Art Academy in Noda,Chiba prefecture to teach Japanese people calligraphy, seal carving and painting. In Japan, almost all teachers categorize calligraphy,painting and seal carving into three disciplines, and few teach all three at the same time like Jin does, who focuses on teaching each student according to their abilities, thus attracting many enthusiasts from all over Japan.

Jin’s relationship with Mr. Hashimoto, grandson of the great Japanese painter Kansetsu Hashimoto (1883-1945), opened up another window for his art career. From simply appreciating art pieces, finding buyers for artworks on commission, to acquiring various collections on his own, Jin is now a celebrity in the Japanese collectors’ circle.

Gradually, Jin has realized that art collection is not only a personal matter, but also a valuable spiritual heritage that transcends time and space and is to be shared by the society. Jin once wished to set up an art museum in his hometown, where his proud collection of more than 400 precious paintings and seals could be returned and stored.

晉鷗書法作品。Calligraphy works by Jin Ou.

“People live a finite life up to a hundred years, but art is an eternal common asset. In the future, I hope my collection could be preserved properly.” This is the simple and admirable wish from a Zhejiang artist.

Now, the expectation of building the Jin Ou Art Museum in Tongxiang is about to be ful filled. “I want to use this art museum as a window for cultural exchange between Zhejiang and the rest of the world. Through this platform, we can introduce the excellent culture of Japan and spread the culture and art of China,” said Jin. Although due to the pandemic he has not been able to return from Japan to see another museum — Jin Ou Seal Art Museum, which has been opened for more than a year, Jin has always been enthusiastic about promoting art and cultural exchanges between China and Japan.

“Japanese culture originated from China and has been greatly innovated based on that origin. There are many things in common between Chinese and Japanese cultures, and we are neighbors geographically, which indeed connects us in some subtle way.Therefore, we need to further think and explore in our art and cultural exchanges,” Jin added.