自序-易斌凱

                      只在此山中·雲深不知處

    打從幼稚園起,便被父親硬逼上架練習毛筆字,每日要練上百字且持續一兩個小時,那時候覺得大家都可以出去玩,而我必須坐在這裡,在小小心靈中有著無言的抗議。當不寫字時就會玩起了爸爸書房案頭上的幾方印章來,有方章、亦有橢圓形者,上有名字,又有號,又有詩句,好不新鮮,好不新奇。為什麼一個人要用那麼多印章呢?到了高中、大學、一路沉迷其中,除了在美國念研究所的那幾年之外,其餘基本上每個月都要摸摸,碰碰這些我喜歡的石頭、雕件以及印材。
 
    大部分東亞文化,多少都有接觸過印章、印材或者是印石,畢竟那是生活中不可或缺的一部分。中華文化的印章在戰國時期已趨成熟,成為貴族或者是統治階級,作為威權統治及道統傳承的權力象徵,更代表了一定程度的授信標誌。
 
    從 1980 年代初,開始接觸壽山石後,便進入了這座文化大山。我國現在傳統的四大印石,包括福建的壽山石、蒙古的巴林石、浙江青田石以及昌化雞血石,巧色優雅,各有不同,其中又以壽山石為最。田黃被稱為石帝,芙蓉被稱為石后,且有女媧煉五色石補天之神話傳說,都令我痴迷沉醉。以「山月江風共客船」為例,和我們一起在客船上的豈只是當時山月和江風了?前人無數努力研習雕琢,成就了今日美麗的薄意文化,無論誰是主?誰是客?雕刻家是主?收藏家是客?抑或是收藏家是主?欣賞的人們是客?我們都不知不覺地一同在這個美麗的中華文化大船中間,薰香陶醉。
 
    印石薄意浮雕不僅如畫,印情印景,寫意寫境,更勝妙筆;更如歌笙,吟應我心,境生音梵,是謂石韻,揭諦如頓悟,不只了解文字敘述的解釋,更要魂應石靈。當目光接觸,雙手把玩,肌膚親理,方感石性,刀刃削蕪,才塑魂夢……。揭諦也只是開悟,開始領悟到真正完全真實的自己,離成道、成賢、成聖、成佛還有一條漫長的道路,我們只是看到前途光明的一條大道,也知道通過這條道路,可以達到我們終究追尋的真理,但仍要不斷地努力修持,才能進一步達到「證悟」,並透過研讀書本理論,親自把玩、下刀來和專家所言相印證。
 
    中華印石的文化大山,爬爬走走,歇歇停停,走了快 50 年,在松下問了無數的童子們……,即盡我玖愚半世紀之力,也只能說:「只在此山中,雲深不知處」。









                                                                                                                                                                                                                                                                                                                                                 玖餘晨星



    As I can recall, my father began forcing me to spend most of my childhood days on practicing Chinese calligraphy when I entered kindergarten. Unlike the happy and worry-free childhood days for most kids, I had to stay in the study room and spend hours after hours writing hundreds of Chinese characters every single day. As a young kid, refusing to do what I was told was the only passive-aggressive way that I could protest against my father. Still having to spend hours sitting at my father’s desk yet not doing what I was supposed to do, my attention was soon caught by the Chinese seals displayed in front of me. They were cubic or oval in shape, and they were all carved with names, titles, and verses. I was so attracted to these artworks as I began to discover the fun and beauty in them. Why would anyone need so many seals? I became obsessed with these artworks during my high school and college years. Except for the years that I spent in the United States obtaining my master’s degree, I always held them in my hands and played with them at every opportunity I had, praising and admiring the elegance of the stones and exquisite carving skills performed on them.
 
    In the East Asian culture, signature seals (name seals) have always played an important role in people’s lives; they are so common that people see them and use them on a daily basis. The use of these seals in Chinese culture began to reach its peak in the Warring States Period (5th century BC - 221 BC). They were used as a symbol of power for royalty or for the governing class to show their authoritarian regimes and orthodox heritage. Chinese name seals also served as a form of identification, and this tradition still continues today.
 
    In the early 1980s, I came into contact with Shoushan stone and entered this attractive field of Chinese culture. From a traditional perspective, the Shoushan stones from Fujian province, the Balin stones from Mongolia, the Qingtian stones from Zhejiang Province, and the Changhua Chicken-Blood stones are together known as “the Four National Stones” of China. Each of these stones has its own unique color and elegance. Tianhuang stones, being the finest type of Shoushan stones ever discovered, are worshipped as “the King of Stones,” whereas the Furong stones are praised as “the Queen of Stones.” In ancient Chinese mythology, Nüwa the Goddess of Creation used approximately 36,500 blocks of five-color stones to patch up the holes in the sky as heaven collapsed. This story along with my past memories have made me even more obsessed with the undeniable beauty of stones. Quoting Wang Cheng, a poet during the Southern Song Dynasty, “We’re all sailing in the same boat along a windy river under the moonlit mountain.” The question is, is it really just you and I who are on the journey to passing on this cultural heritage and its beauty? For centuries, sculptors and artists have devoted time and efforts to achieve the greatness of what we see today. One may ask, how do we define who and what the object and subject—the collectors, the viewers, the and artworks—are in terms of its artistic perspective? No matter what your answer is, we are all riding on the same boat down the passage of passing on this magnificent cultural heritage.
 
    The thin-surface carving technique incorporates more than just the scenery on the sculpture. The depiction is full of imagery from poetry, and it surpasses even the intelligent art of calligraphy. It is like a melodic tune created by the stone—or the sound from Heaven—that reflects my heart, giving me the feeling of suddenly being inspired and enlightened. It is more than just an interpretation of the true understanding of life. In fact, it takes more to feel it from the heart than to reply to the spirit of the stone. When I look upon the stone, touch it with my hands, feel the texture of it, and appreciate its delicate craftwork, I can then wholeheartedly embrace the true essence of the stone.“To experience” is just the beginning of enlightenment as well as the start of understanding who one really is. It is a long journey to understand the way of life, to become a sage, and to achieve enlightenment. All we see in front of us is a bright path with a promising ending. We know that we will eventually find out the true meaning of life at the end of the journey, yet we also know that self-cultivation requires endless efforts and practices so that one will be able to reach the state of enlightenment. We need to go beyond merely understanding of the theories from books; instead, feeling the nature and divineness of the stones by heart and appreciating the breathtaking skills performed on them shall allow us to perceive what true masters really see in the stones.
 
    I have spent nearly 50 years exploring the expansive ocean of knowledge regarding Chinese seal stones. Along my journey, I have had my ups and downs as I have turned to countless masters and experts for insights and guidance. Quoting Jia Dao, a poet from the Tang Dynasty, “The Master is somewhere in the mountain, but I don’t know his whereabouts in the misty fog.” After putting in half a century of efforts and time, one thing I know for sure is that the answer I have been seeking is somewhere out there down this path. All in all, the story of my journey is to be continued...






                                                                                                                                                                             

时间

2017-10-27 10:59


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作者

易玖愚


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