天姥山下一才俊

“東南山水越為首，剡為面，沃洲天姥為眉目。”談到新昌山水之美，離不開唐代詩人白居易的這句話。山川秀麗必有俊彥，新昌青年梁少膺研讀日語而譯著頗豐，繼2003年其書法作品在日本東京亮相后，最近由其翻譯的《日本書法史》《日本美術史》又由北京中國社會出版社出版發行，為國內讀者了解日本文化、為中日文化交流增添燦爛一章。

苦寒中的第一次飛躍

梁少膺，1966年出生于浙江新昌縣一個小山村。他的童年歲月缺少母愛，5歲時母親便離他而去。為了消解兒子的孤獨，身為民辦教師的父親，在昏暗的煤油燈下教他繪畫、寫字，于是很有悟性的他慢慢地對書法、繪畫產生了興趣，一有空就抓起筆仿照父親語文課本上的插圖，認真地涂抹起來。童年時代的梁少膺不僅受到書法、繪畫的啟蒙教育，并且養成了多看、多學、多讀、多思的習慣，這為以后的發展打下了良好的基礎。

1983年，梁少膺高中畢業，因數學成績不理想，被無情的分數線擋在大學門外。于是他改變生活道路，當了新昌印刷廠的一名美工。工作之余梁少膺仍然對書法如癡如醉，所臨寫的經典碑帖以及秦漢書法竟達百種。

1991年，中央電視臺與中國書法家協會共同舉辦五年一屆的“第二屆全國電視書法篆刻大獎賽”，梁少膺的書法作品在七萬多件稿件中脫穎而出，摘取了桂冠。赴京參加頒獎晚會期間，梁少膺的書法得到了書壇巨匠啟功、沈鵬先生的指授。從此，這位青年書法家開始嶄露頭角，為社會所知曉，這是梁少膺書法生涯的新起點。

1992年，梁少膺辭去了山城的工作，自費到原杭州大學外國語學院學習，攻讀日語專業。杭州大學圖書館當時藏書180余萬冊，梁少膺除了上專業課外，每天都泡在圖書館，幾乎翻遍了圖書館中文、史、哲等各類書籍。這期間，他還經常往返于浙江美術學院(現為中國美術學院)圖書館，閱讀有關日文版的書法著述和雜志，拜訪了美院章祖安、王冬齡、陳振濂等教授，從中受益良多。這是他的藝術生涯一次飛躍。

京華書壇見世面

1999年，梁少膺應邀赴京參加了榮寶齋出版社的《中國書法全集》的編撰工作。

《中國書法全集》上迄商周，下至當代，總計108卷。該書是繼宋代《淳化閣帖》、清代《三希堂法帖》之后，中國當代書法學術界對幾千年優秀傳統書法藝術的一次空前整理、研究和評價。如此全面、系統、深入、細致地研究一門藝術，不僅在中國，在世界學術界也是罕見的。梁少膺在京的日日夜夜，接觸到古代書畫真跡達上千件，其中有乾隆時譽為“三希堂”珍寶之一東晉王的《伯遠帖》、我國最早的墨跡本陸機的《平復帖》和唐宋元明清歷代名家的作品以及敦煌寫經、北朝墓志、造像等拓本等等。

學而不倦的梁少膺，利用這難得的機會，如饑如渴地汲取其中的養料。在京的日子里，他還幾乎兩星期去一次老師王鏞先生家請教。王鏞作為中國書法家協會篆刻藝術委員會副主任，曾先后40余次在全國或國際書畫篆刻大展中被聘為評審委員，出版個人專著十余種，創造了個性主義的藝術風格，在文人書法傳統和民間書法傳統方面卓有建樹。

王鏞的家在京郊，每一次來回，路上得花四個小時，故梁少膺非常珍惜這樣的機會，每次他對梁少膺講述的秦漢書史及有關筆法技巧和書法實踐中的心得，他總是一一作筆錄，回來后又再作整理和消化。

經過在北京的多渠道接觸，使梁少膺的書法研究和實踐又有了一次觀念轉變，對一些碑貼中的諸多問題又有了新的認識，肯定了許多，也否定了許多。這是梁少膺書法生涯中的第二次飛躍。

浸淫于多個藝術領域

梁少膺自20世紀90年代初榮獲“第二屆全國電視書法篆刻大獎賽”一等獎后，書藝日進，引起當今書壇的矚目，贏得了國內外書法愛好者的青睞。此后，梁少膺又在“全國第五屆書法篆刻展覽”中榮獲“全國獎”，這是中國書協主辦的各類展覽中的最高獎項。

此后他的作品參展便一發而不可收，先后參加了“中國書法名家精品展”“當代著名書法家代表作展”第六屆中國藝術節“國際書法大展”、香港中文大學“中國獲獎青年書法展”“2000海內外著名書法家創作邀請展”等等。此外，作品還赴日本、新加坡、韓國、歐洲及臺灣等地展出。

藝術應當是激情的產物，生命的律動。梁少膺的草書屬于逸筆草草、隨心所欲型。欣賞其作品，有一種強烈的生命律動和掩不住的才情與盎然之生機，他筆下的線條總是抑制不住激動與狂想。他最喜歡李白的《夢游天姥吟留別》，寫來激情飛揚，歪歪斜斜，一任自然，大有“天臺四萬八千丈，對此欲倒東南傾”的大氣與趣味。他草書作品中的章法，有時大開大合，猶如莎士比亞的戲劇；有時高潮迭起，好像莫泊桑的小說，其結字簡練，甚至簡練為一個個不能再簡的符號，然后用迂回的節奏，一氣貫穿，汨汨滔滔，莽莽蒼蒼，真氣彌滿。

除書藝外，梁少膺還精于美術史、音樂史與戲劇史。從1989年至今，已發表論文30余篇，其中有對史料的梳理鉤沉，有對個案的深入評析，有對流派的思索，又有對技法的講述……。尤其是他精通日本國語言，為日本書法史的研究、創作和翻譯做出了貢獻，發表了《日本奈良、平安江戶期流傳的中國書學典籍》《日本書道史述》《王國維的“二重證據法”與日本中國甲骨學形成》等，并翻譯了日本青山杉雨、中田勇次郎、田宮文平、外山軍治、桃山草介、鈴木春彥等學者的著述達20余篇，為國內讀者了解日本書學盡了努力，也為中日文化交流增添了光彩的一筆。

A Bilingual Calligrapher's Brilliant Career

By Huang Zhiyi

Liang Shaoying is a preeminent calligrapher. He staged his first Tokyo solo exhibition in 2003. Recently， his translations of A History of Japanese Calligraphy and A History of Japanese Art have been published in China. These two books provide Chinese readers with an insight into the Japanese culture and add a brilliant chapter to cultural exchanges between the two neighboring countries.

Born in a mountainous village in Xinchang， Zhejiang Province， Liang began to learn how to read and write at age five from his father， a village school teacher. Fascinated by illustrations in his father’s textbooks， the boy practiced himself into copying them. His strong interest in drawings and calligraphy grew with him.

In 1983， he graduated from high school， but his poor mathematics score disqualified him in the college entrance examination. He started working as an art designer at a local print shop. During this period he devoted his spare time to practicing calligraphy after models of ancient masters. In 1991， his calligraphic work won him the top prize at the 2nd National TV Calligraphy and Seal Carving Awards. More than 70，000 candidates participated in the contest. While in Beijing， he found time to visit top-class calligraphers such as Qigong and Shen Peng for advice and knowledge.

If Liang’s winning of the first prize marked a brilliant beginning of his career as a calligrapher， the first turning point of his career came in 1992 when he resigned from the print shop and started studying the Japanese language at Hangzhou University. In addition to the language studies， he spent a lot of time at the university’s library reading literature， history and philosophy. And he also frequented the library of the Zhejiang Academy of Fine Arts (today’s China Academy of Fine Arts) where books and magazines of calligraphy in Japanese were available. He visited professors at the academy and enjoyed the great benefit from their advice.

The second turning point of his career came in 1999.

At the invitation of the Rongbaozhai Publishing House， he went to Beijing and worked as an editor for Complete Works of Chinese Calligraphy. The 108-volume collection was designed to showcase the calligraphic art from the Shang (C.1600-C.1100 B.C.) and Zhou (C.1100-221B.C.) dynasties down to the present time. It was the third effort in the Chinese history to sum up calligraphic masterpieces. Such a complete， systematic， thorough， and painstaking study of an art is rare not only in China but also in the world.

Working as such an editor provided Liang with a golden opportunity of a thorough exposure to calligraphic masterpieces. He was able to review more than 1，000 original antique masterpieces. Every two weeks， he paid a visit to Wang Yong， a top calligrapher and knowledgeable theorist in the field. From the master， Liang absorbed both the history of calligraphy in the Qin (221-206B.C.) and Han (206B.C.-220A.D.) dynasties and skills and tips of the calligraphic art.

After winning his first top award in the early 1990s， Liang Shaoying as a calligrapher became more masterly and gradually established himself as a master in the field. Later he won the National Award at the 5th National Calligraphy and Seal Carving Exhibition. The award is the top award of all awards issued at exhibitions held by Chinese Calligraphers“Association. His artworks have been exhibited in Japan， Singapore， Korea， Taiwan and some European countries.

Liang Shaoying is also well versed in histories of music， art， and theater. Since 1989， he has published over 30 treaties on case studies， techniques， historical trends， and artist groups. What is more， he has published articles on Japanese calligraphy and arts， and translated over 20 articles by Japanese scholars.

(Translated by David)