2021年2月26日 星期五

淡於政治而熱衷藝術的董其昌(1555-1636) 董其昌 By Nelson Wu鹿橋。 《書道全集 第十三卷》;The Metropolitan Museum of Art 特展。 《畫禪室隨筆》 校注二本

淡於政治而熱衷藝術的董其昌(1555-1636) pp. 355-408:  “Tung Chí-cháng: Apathy in Government and Fervor on Art” By Nelson Wu,
儒家三部曲:《中國歷史人物論集》 Confucian Personalities, Confucian Personalities
---

香港文學史家司馬長風先生在他的《中國新文學史》中 把鹿橋的《未央歌》看作抗日戰爭和戰後期間長篇小說的“四大巨峰”之一。另外三部是:巴金的《人間三部曲》、沈從文的《長河》、無名氏的《無名書》。而 《未央歌》“尤使人神往”,“讀來幾乎無一字不悅目、無一句不賞心”。當年,鹿橋是靠朋友找紙張,連鋼筆墨水都得加水調稀。為了躲警報,他的寫作多半是在 防空洞裏完成的。自1945年完成之後,由于戰爭等原因,這部作品分別于1959年和1967年才在香港自印千冊留百冊、臺灣版由商務印書館印行。





The ideogram in the modern Chinese dilemma by Nelson Ikon Wu (Unknown Binding - 1957)

Chinese and Indian architecture: The city of man, the mountain of God, and the realm of the immortals (Great ages of world architecture)
by Nelson Ikon Wu (Author)

  • Unknown Binding: 128 pages
  • Publisher: Studio Vista (1968)
(Hardcover - Jun 1963)這本書四十年前台灣有翻印

Tung ChÊ»i-chÊ»ang, 1555-1636: Apathy in government and fervor in art by Nelson Ikon Wu (Unknown Binding - 1962) 這篇"論文"有台灣翻譯
The intellectual aristocrat and justice in art;: A cautionary story for the West about those Chinese masters who became their own patrons and, over the centuries, their own heroes
The intellectual aristocrat and justice in art;: A cautionary story for the West about those Chinese masters who became their own patrons and, over the centuries, their own heroes by Nelson Ikon Wu (Unknown Binding - 1962)吳訥孫先生可能有不少短篇文章 譬如說為日本二玄社的董其昌的導論


record.wustl.edu/2002/03-29-02/obit.html

Nelson I. Wu, professor emeritus, 82

By Liam Otten

Nelson Ikon Wu, Ph.D., an internationally recognized scholar of Asian art and architecture, died Tuesday, March 19, 2002, of cancer at the Beth Israel Deaconess Medical Center in Brookline, Mass. He was 82.
 Wu, the Edward Mallinckrodt Distinguished University Professor Emeritus of the History of Art and Chinese Culture in Arts & Sciences, came to the University in 1965, becoming a key figure for the promotion of Asian art in St. Louis and, in 1971, a founder of the Asian Art Society. He was named professor emeritus in 1984.
Additionally, Wu was a best-selling author in China and Taiwan, writing under the pen name Lu Ch'iao. His novel Song Never to End (1958), about the friendships between four young people during the Second Sino-Japanese War, has sold more than 500,000 copies and in 1991 was voted most influential book of the 1950s by readers of the Taiwan-based newspaper China Times, the nation's largest daily.
"Nelson was an extremely charismatic figure with a large following on campus and in St. Louis," said Mark S. Weil, Ph.D., the E. Desmond Lee Professor for Collaboration in the Arts and director the Gallery of Art. "Every year around Christmas, he would give a lecture celebrating Pan-Asian spirituality that filled Steinberg Auditorium."
Born June 9, 1919, in Peking, Wu earned a bachelor's degree from the National Southwest Associated University in Kunming in 1942 and came to the United States in 1945. He attended the New School for Social Research in New York before earning both a master's and doctorate in art history from Yale University, in 1949 and 1954, respectively.
While at Yale, Wu met the former Mu-lien Hsueh, a Wellesley College graduate also born in Peking. The couple wed in 1951.
Wu taught at Yale, San Francisco State College and Koyoto University in Japan before coming to St. Louis.
His many honors include a Guggenheim Fellowship and a Fulbright Research Scholarship. In 1998, Washington University and the Saint Louis Art Museum inaugurated the annual Nelson I. Wu Lecture on Asian Art and Culture.
Wu is survived by Mu-lien and four children -- daughter Chao-ting and sons Chao-ming, Chao-ping and Chao-ying.
A small family service was held March 22. Memorial contributions may be made to the Washington University East Asian Library Nelson I. Wu Memorial Book Fund, Campus Box 1061.



看一下紀念他的第6屆講座之簡介

Lothar von Falkenhausen delivers Washington University's Nelson Wu Lecture



****

大雅は董其昌の「万巻の書を読み万里の路を行く」という文人画の方法論に従ったためか、旅と登山を好んだ。

~~池 大雅(いけの たいが 1723~1776)江戸時代文人画家書家




***
相當困難的一本書,即使經注之後。


譬如說:
大慧禪師論參禪云:「譬如有人,具萬萬貲。吾皆籍沒盡,更與索債。」此語殊類書家關捩子。米元章云:如撐急水灘船,用盡氣力,不離故處。蓋書家妙在能合, 神在能離。所欲離者,非歐虞褚薛諸名家伎倆,直欲脫去右軍老子習氣,所以難耳。那叱析骨還父,析肉還母,若別無骨肉,說甚虛空粉碎,始露全身。晉唐以後, 惟楊凝式解此竅耳。趙吳興未夢見在。□余此語,悟之。楞嚴八義,明還日月,暗還虛空。不汝還者,非汝而誰?然余解此意,筆不與意隨也。甲寅二月。1614


原文請見《大佛頂首楞嚴經譯解》卷二

正文 阿難,汝咸看此諸變化相,吾今各還本所因處。云何本因?阿難!此諸變化,明還日輪,何以故?無日不明,明因屬日,是故還日。暗還黑月,通還戶牖,壅還牆宇,緣還分別,頑虛還空,鬱孛還塵,清明還霽,則諸世間,一切所有,不出斯類。
譯文 阿 難!這些各種變化現象,你都是看見的。我現在各還它們所發生的本因所在。什麼是本因呢?阿難!這些變化現象中,明還於日輪。為什麼呢?沒有日就沒有光明。 發生光明的原因屬日,因此還於日。暗還於月黑,通還於門窗。塞還於牆屋,一切事物還於分別。無所有還於虛空。昏濁還於塵。清明還於霽。如此世間一切所見現 象,不出此八類。
正文 汝見八種見精明性,當欲誰還?何以故?若還於明,則不明時,無復見暗;雖明暗等,種種差別,見無差別。
譯文 你能見這八種現象的「見精明性」,又應當還於何處呢?為什麼呢?假若還於明,那麼在不明時,就不應當再見著暗。雖然見明見暗見種種差別現象,然而你能覺能知的「見」,是沒有差別的。
正文 諸可還者,自然非汝,不汝還者,非汝而誰?
譯文 所有這些可以還之於本所因處的,自然不是你。而這個從來沒有離開你無所還處的,不是你是誰呢?



維基文庫,自由的圖書館


畫禪室隨筆
作者:董其昌 明

明董其昌撰。其昌有《學科考略》,已著錄。是編第一卷論書,第二卷論畫,中多微理,由其昌於斯事積 畢生之力為之,所解悟深也。第三卷分記遊、記事、評詩、評文四子部。中如記楊成以蔡經為蔡京之類,頗涉輕薄,以陸龜蒙白蓮詩為皮日休之類,亦未免小誤。其 評文一門,多談制藝,蓋其昌應舉之文與陶望齡齊名,當時傳誦,故不能忘其結習也。四卷亦分子部四,一曰雜言上,一曰雜言下,皆小品閒文,然多可采,一曰楚 中隨筆,其冊封楚王時所作,一曰禪悅大旨,乃以李贄為宗。明季士大夫所見,往往如是,不足深詰,視為蜩螗之過耳可矣。


晉唐人結字,須一一錄出,時常參取,此最關要。吾鄉陸儼山先生作書,雖率爾應酬,皆不茍且。常曰:「即此便是,寫字時須用敬也。」吾每服膺斯言,而作書不 能不揀擇。或閑窗游戲,都有著精神處。惟應酬作答,皆率易茍完,此最是病。今後遇筆研,便當起矜莊想。古人無一筆不怕千載後人指摘,故能成名。因地不真, 果招紆曲,未有精神不在傳遠,而幸能不朽者也。吾於書,似可直接趙文敏,第少生耳。而子昂之熟,又不如吾有秀潤之氣。惟不能多書,以此讓吳興一籌。畫則具 體而微,要亦三百年來一具眼人也。



(2016.12.19,以屠友祥校注本和網路版本互校第一卷末幾則,發現標點、錯字等問題不少。)

畫禪室隨筆《畫禪室隨筆》 校注二本
  • 作者:[明]董其昌
  • 周遠斌 點校纂注出版社:山東畫報出版社 2007/ 屠友祥校注, 江蘇教育出版社, 2005

董其昌畫禪室隨筆

www.geocities.jp/qsshc/cpoem/shulun/huachangshi.html

世所傳者,右軍臨本耳。 ... 此本定從真跡摹取,心眼相印,可以稱量諸家禊帖,乃神物也。 ...... 此本余已丑所書,亦從館師韓宗伯借,褚摹縮為蠅頭體第非定武本耳
跋禊帖小本 
  定武禊帖,唯賈秋壑所藏。至百餘種,令其客廖瑩中,縮為小本。或 云:唐時褚河南已有之。此本余已醜所書,亦從館師韓宗伯借,褚摹縮為蠅頭體,第非定武本耳。

    屠友祥校注 :亦從館師韓宗伯借褚摹,縮為蠅頭體
跋禊帖小本 
  定武禊帖,唯賈秋壑所藏至百餘種,令其客廖瑩中縮為小本。或 云:唐時褚河南已有之。此本余已丑所書,亦從館師韓宗伯借褚摹,縮為蠅頭體,第非定武本耳。


董其昌《畫禪室隨筆》凡有四卷,卷一為書法論,分為“論用筆”、“評法書”、“跋自書”和“評舊帖”四部分;卷二為畫論,分“畫訣”、“畫源”、“題自 畫”和“評舊畫”四部分;卷三是合卷,包括“記事”、“記游”、“評詩”和“評文”四部分;卷四也是合卷,包括“雜言上”、“雜言下”、“夢中隨筆”和 “禪悅”四部分。《畫禪室隨筆》唯有卷二畫論,故本書僅將卷二作為校詁的內容;卷四也有個別語段屬畫論,因不多,故不單作校詁,而收在“附錄一”中。

其繪畫理論中需要重點說明的有兩點︰一是提出了“以畫為樂”、“寄樂于畫”的繪畫功用觀。載道是中國古代正統的文藝觀,繪畫自然也與“道聯系在一起,作畫 應追求“成教化,助人倫”,“指鑒賢愚,發明治亂”的社會作用。二是提出了學畫當以“古人為師”,“進此當以天地為師”的學習觀。董其是學畫,是通過“仿 古”而集其大成的,因此有不少擬古的言論,而“淺學之流”不知變通,發揚董氏之言,而墜入隨古人亦步亦趨的“復古主義”。

沒有留言:

網誌存檔