董其昌情有獨(dú)鐘是杭州

孫雯?王梁裕子

390年前的1629年，也就是明崇禎二年二月初三，75歲的董其昌與友人同游西湖。

此時(shí)，他已經(jīng)9年未到杭州了。又見西湖，董其昌感慨于自己辜負(fù)了這片湖光山色，回到松江后繪寫意山水并題《西湖曲》——

“林杪不可分，水步遙難辨。

一片山翠邊，微茫見村遠(yuǎn)。”

其實(shí)，董其昌與杭州的緣分非常深。中國(guó)美術(shù)學(xué)院教授任道斌先生根據(jù)董其昌《畫禪室隨筆》、《容臺(tái)集》和李日華《味水軒日記》、陳繼儒《妮古錄》等文獻(xiàn)的記載發(fā)現(xiàn)，董其昌一生曾到過杭州達(dá)18次之多。

這18次杭州之行，董其昌在哪里游覽，又見了哪些名流，進(jìn)行了怎樣的交談和創(chuàng)作？

浙江攝影出版社新推出的《風(fēng)流蘊(yùn)藉 董其昌系年》，對(duì)此梳理得清清楚楚。

31歲首次“浪跡杭州”

剛剛過去的3月份有不少關(guān)于董其昌的活動(dòng)，比如——

3月10日，為期3個(gè)月的“丹青寶筏：董其昌書畫藝術(shù)大展”在上海閉幕，上海博物館特別策劃了“董其昌和他的江南”閉幕之夜活動(dòng)。

3月8日晚，在杭州南山路上的南山書屋，《風(fēng)流蘊(yùn)藉 董其昌系年》的編著者任道斌有一場(chǎng)講座，題為《董其昌的“暢神”畫旨》。任道斌說，這場(chǎng)講座竟是他所有的講座中人最多的一次。之所以這么火爆，既是因?yàn)槎洳彩且驗(yàn)槿蔚辣蟊环Q為“比董其昌還了解董其昌的人”。

而此前一天，在北山路杭州國(guó)畫院的“抱青風(fēng)雅夜”上，中國(guó)美術(shù)學(xué)院的教授曹增節(jié)先生開講“古書畫鑒定的困境——從‘董其昌大展說起”。

可見，董其昌與杭州，自300多年前至今，一直有著相當(dāng)“親密”的關(guān)系。

如同今天的上海一樣，對(duì)于晚明時(shí)期的董其昌來說，杭州一樣是他的熱門打卡地。

在文獻(xiàn)記載的18次杭州之行中，1585年秋，是31歲的董其昌首次來到杭州。

在今天的人看來，這一次出行，多少有些尋求“治愈”的意味——因?yàn)椋诖酥暗哪暇┼l(xiāng)試，董其昌名落孫山。當(dāng)年的9月30日，他出現(xiàn)在了杭州——任道斌先生在《風(fēng)流蘊(yùn)藉 董其昌系年》中用了“浪跡杭州”一詞。在西湖舫齋中，董其昌觀賞了米芾的草書九帖，這次，與董其昌同行的還有好友陳繼儒——他也同樣落榜了，心灰意冷。

再赴杭州，已是11年之后，此時(shí)董其昌已是進(jìn)士，春風(fēng)得意馬蹄疾。

縱觀董其昌的18次杭州之行，內(nèi)容差不多，無非是看山水、乘畫舫、與同好交游創(chuàng)作。但對(duì)西湖，董其昌真是看不夠。

比如1610年正月，56歲的董其昌離開福建返回江南時(shí)途經(jīng)杭州，一場(chǎng)連綿的風(fēng)雨阻滯了他的歸途。你猜怎么著？干脆住下來看雨西湖！于是，他寓居在當(dāng)時(shí)的德清吳禮部的來青樓——這里正好盡攬湖山。纏綿于西湖以及南北高峰的空濛奇幻、山色秀潤(rùn)，董其昌一住就是半個(gè)月，還仿米芾父子的筆意繪了山水長(zhǎng)卷。

見到西湖的董其昌，總是按捺不住歡喜之情。任道斌說，有一次，董其昌在昭慶寺，也就是今天西湖邊上的少年宮附近，當(dāng)時(shí)天光云影造成恰好的景致，董其昌禁不住臨湖歡呼。

杭州山水畫了一生

董其昌為什么對(duì)杭州情有獨(dú)鐘？

先來看看董其昌所處的年代——1555年（明嘉靖三十四年），董其昌生于上海董家匯。這一年，文徵明83歲，李時(shí)珍38歲，徐渭35歲，張居正31歲，湯顯祖6歲，利瑪竇4歲……這些教科書中的名人，可以讓我們作為參照，去領(lǐng)略董其昌所處的時(shí)代。

此時(shí)的杭州，是一個(gè)經(jīng)濟(jì)發(fā)達(dá)的東南都會(huì)。西湖、名寺、運(yùn)河、錢塘江……這些不僅僅是自然景觀，它們還在漫長(zhǎng)的歲月中，積聚了深厚的人文意蘊(yùn)。地靈人杰，杭州非常自然地成為書畫藝術(shù)傳統(tǒng)的文化名城，唐宋元的大家，都曾在杭州進(jìn)行過創(chuàng)作，留下佳作名篇。

任道斌說，董其昌美術(shù)思想之一是“開心是硬道理”，他認(rèn)為，董其昌受王陽(yáng)明思想影響深遠(yuǎn)，認(rèn)為為人作畫都需從心出發(fā)，在此基礎(chǔ)上，再“讀萬(wàn)卷書，行萬(wàn)里路”。

這樣的董其昌，自然無法抵御杭州對(duì)他的誘惑。

杭州對(duì)于董其昌的“贈(zèng)予”也是非常豐厚的。任道斌曾寫過《董其昌與杭州》，其中總結(jié)了董其昌與杭州的18次因緣中獨(dú)有的收獲：他交往了大批收藏家，參與了很多名書畫的欣賞與鑒定;會(huì)見東南文友、法友，談文論藝，增加學(xué)養(yǎng)，激發(fā)禪機(jī)，以豐富“胸中丘壑”;以“天地為師”，啟發(fā)創(chuàng)作靈感;提升審美觀，有助于自身書畫創(chuàng)作及美術(shù)理論的形成。

從作品說起，是最直觀的方式——

西湖山水對(duì)董其昌的創(chuàng)作有很大的啟發(fā)。“據(jù)記錄，董其昌在杭州臨北宋趙大年《江鄉(xiāng)消夏圖》，繪有《三竺溪流圖》：《十月江南圖》、《積鐵千尋圖》《西溪圖》，并作《西湖圖》長(zhǎng)卷，又仿董源筆法作《山水圖》于西湖‘樂志園以贈(zèng)友人。64歲時(shí)作《山水圖》于‘香月堂，又作《煙樹茅堂圖》于西湖藍(lán)若。75歲作《山水圖》，并題《西湖曲》于圖上;77歲時(shí)游黃鶴山，作《山水圖》并題詩(shī)以發(fā)思念古賢王蒙之幽情。此外，董其昌對(duì)杭州山水念念不忘，又有不少回憶杭州的山水作品，如今藏北京故宮博物院的《林杪水步圖》和《平林秋色圖》等。”

不過，董其昌的“實(shí)名山水”與當(dāng)?shù)氐木坝^往往對(duì)不上號(hào)。

任道斌說，董其昌畫的是心中的山水，可以用四個(gè)詞來形容——中得心源，自來山水;筆墨造境，天馬行空。這是超越時(shí)代的。

正因如此，董其昌很早就受到了西方藝術(shù)界的的重視。任道斌說，1992年，他受邀參加美國(guó)納爾遜·艾京斯藝術(shù)博物館召開的董其昌藝術(shù)研討會(huì)，當(dāng)時(shí)現(xiàn)身的董其昌作品有100多件，在納爾遜·艾京斯藝術(shù)博物館、紐約大都會(huì)博物館和洛杉磯博物館各展出了一個(gè)月。

董其昌為什么這么深受西方重視？

任道斌說，因?yàn)槎洳侵袊?guó)的表現(xiàn)主義大師，而西方表現(xiàn)主義的出現(xiàn)比他要晚得多。西方學(xué)者認(rèn)為董其昌的畫，畫的是他心里的印，他們把董其昌稱為獨(dú)來獨(dú)往的“天馬”。

任道斌還記得，那次研討會(huì)，從機(jī)場(chǎng)到博物館，一路上都掛著董其昌的書法“天馬”。

董其昌（1555～1636）

松江華亭（今上海市）人，晚明杰出的書畫大家，集前人之大成，融會(huì)貫通，洞察畫壇時(shí)弊，以禪喻畫，及時(shí)明智地提出與倡導(dǎo)“南北宗論”，并在實(shí)踐上充分加以印證，創(chuàng)中國(guó)文人畫理論史上又一高峰，翻開了文人畫創(chuàng)作的新篇章。

其后，諸如清初四高僧、四王吳惲、金陵畫派、新安畫派等，乃至晚清、近代三百余年的畫壇，大都在其理論輻射下而成就，形成了一個(gè)群體性的文人畫創(chuàng)作高潮。

元代以降，具備自出機(jī)杼、承上啟下地位的唯趙孟頫與董其昌二人，故稱“畫史兩文敏”。

Dong Qichang：Artists Intimate Bond with Hangzhou

By Sun Wen， Wang Liang Yuzi

Dong Qichang （1555-1636）， an artist living in the last decades of the Ming Dynasty （1368-1644）， is a key chapter of Chinas art history. His influence can be seen in the 300 years and more since he passed away. Art historians agree that Zhao Mengfu and Dong Qichang are the greatest artists as of the Yuan Dynasty （1279-1368） for their originality and their key links with the past and the present. Some art historians even go so far as to say that the 300 years after Dongs demise can be called the Era of Dong Qichang.

According to Ren Daobin， an art professor with China Academy of Art， Dong Qichang visited Hangzhou 18 times. The professor came to the conclusion after a thorough textual research that combed Dongs essays and poems as well as historical records by his friends and scholars of his time. In a book published in January 2019 by Zhejiang Photography Press， Ren Daobin gives detailed accounts of the scenic spots Dong Qichang visited around the West Lake， the local art celebrities he met， and important conversations he had with fellow artists， and the artworks he created in Hangzhou or in remembrance of the city. The new book is an expansion of a similar book Ren published in 1988. For decades， Rens book on the timeline of Dongs life and artworks was the very reference book for art historians who focused on Dong for case studies.

On March 8， 2019， Ren Daobin held a lecture at a bookstore on South Hill Road in Hangzhou on Dong Qichang. The professor commented in a press interview later that none of his previous lectures attracted so many people. He guesses that it is because people are still interested in Dong Qichang. And the professor is known as “the person who knows more about Dong Qichang than did Dong about himself”.

People of today are indeed interested in Dong Qichang. March 10 saw the curtains descend on “Dong Qichang and His Jiangnan”， a three-month-long exhibition in Shanghai， which started in December 2018. On March 7， 2019， Professor Cao Zengjie began his lecture at a location on North Hill Road in Hangzhou on art authentication with the Dong Qichang exhibition which was to end in Shanghai three days later.

In the autumn of 1585， the 39-year-old Dong first visited Hangzhou. He had just failed in imperial exams at the provincial level. He needed distractions to forget the misery. His friend Chen Jiru came along with him. Chen was also an artist. On September 30， they appeared in Hangzhou. Ren Daobin describes the visit as a wanderlust tour. In addition to sightseeing， Dong also viewed artworks in the collections of his friends. In particular， Dong admired nine calligraphy works by Mi Fu （1051-1107）， an artist of the Southern Song Dynasty.

Dongs second visit to Hangzhou occurred 11 years later. This time， he had already become a ， an honor title for those who came out first in the imperial examination at the national level.

Dongs 18 visits followed a largely consistent schedule： taking sightseeing trips， touring the West Lake on a pleasure boat， meeting fellow artists， and painting. The West Lake simply fascinated the artist. In January 1610， the 56-year-old Dong stopped in Hangzhou on his way northward from Fujian to his hometown in Songjiang， now a part of the greater Shanghai. With his travel plan disrupted by a bad spell of weather， he decided to stay at a friends residence in Hangzhou for a while. During his prolonged stay of 15 days， he painted a long scroll in imitation of Mi Fu and his son Mi Youren.

According to Professor Ren， Dong loved Hangzhou for several reasons. By Dong Qichangs time， Hangzhou had long since stood out as a regional center in Jiangnan. A city of culture and wealth， it boasted a long history， poems and essays and artworks by well known artists and poets of different dynasties， the West Lake， Buddhist temples， the Grand Canal， and the Qiantang River. Hangzhou was home to a great number of art collectors. He came to the city to meet them and view their collections. These collectors were most willing and anxious to invite Dong over to look at their collections for the sake of authentication. Among the people he met and talked with in Hangzhou were men of letters， artists， and Buddhist monks. The inspirational communication certainly helped Dong to see broader perspectives and push back horizons.

Many of Dongs artworks are associated with Hangzhou. Some were inspired by the works he had viewed at the houses of local collectors. Some were created in remembrance when he was not in Hangzhou. Though the artist named his landscape paintings in association with Hangzhou， those who know the West Lake most likely fail to find the landscapes in real world. While in creating these paintings， Dong gave a free hand to his imagination and impressions. Inspired by nature， he created a world out of his imagination， dream， and impression， guided by his understanding of the theories and practices of the masters before him. In short， his art is transcendental and he was ahead of his time， and he was a master of expression.

Professor Ren attended a Dong Qichang seminar in 1992 in the United States at the invitation of the Nelson-Atkins Museum of Art in Kansas City， Missouri. More than 100 works by Dong were on display at the museum. These works were exhibited for a month each respectively at the Nelson-Atkins Museum of Art， the Metropolitan Museum of Art in New York， and Los Angeles County Museum of Art. Some art historians in the west consider Dong Qichang as a master of expressionism and his counterparts in the west came much later. They call Dong Qichang “Heavenly Horse”， which is a phrase whose origin can be traced to Liu Tingzhen of the Yuan Dynasty in a foreword he wrote for a poetry collection. The professor still remembers seeing the posters of “Heavenly Horse” in Dongs handwriting all the way from the airport to the hotel after he landed in Kansas City， Missouri.