是書(shū)家更是學(xué)者

劉楊

2020年是沙孟海誕辰120周年。為了紀(jì)念沙孟海為中國(guó)書(shū)法事業(yè)作出的卓越貢獻(xiàn)，研究其學(xué)術(shù)理念和方法，弘揚(yáng)其藝術(shù)精神，追尋一代藝術(shù)巨匠和高等書(shū)法教育先驅(qū)的風(fēng)范，“碧血丹心——紀(jì)念沙孟海誕辰120周年系列活動(dòng)”于2020年11月底舉行。

一

紀(jì)念活動(dòng)分為三個(gè)板塊：沙孟海書(shū)法篆刻藝術(shù)大展暨學(xué)術(shù)文獻(xiàn)展;傳承、跨越與典范：紀(jì)念沙孟海誕辰120周年座談會(huì);全國(guó)“書(shū)法學(xué)”學(xué)科建設(shè)與發(fā)展學(xué)術(shù)研討會(huì)。其中，沙孟海書(shū)法篆刻藝術(shù)大展暨學(xué)術(shù)文獻(xiàn)展于11月28日在北京中國(guó)美術(shù)館開(kāi)展。

這次展出，反復(fù)甄選了沙孟海先生各個(gè)時(shí)期最具代表性之書(shū)法、篆刻作品以及文獻(xiàn)、遺物300余件（組），其中不乏首次面世的珍貴手稿。

展覽分“翰墨千秋”“金石永壽”“積健為雄”“百年樹(shù)人”四個(gè)板塊，彰顯先生窮源竟流、精益求精的治學(xué)態(tài)度，臨池不輟、厚積薄發(fā)的藝術(shù)精神，投身文博、書(shū)法教育事業(yè)的滿(mǎn)腔熱情，及其對(duì)中華民族文化自強(qiáng)的堅(jiān)定信念，全方位地展示沙孟海先生作為文人學(xué)者的崇高理想、作為藝術(shù)家的卓越成就、作為教育家的時(shí)代擔(dān)當(dāng)。

二

沙孟海（1900～1992年），原名文若，字孟海，號(hào)石荒、沙村、決明。出生于浙江鄞縣（今浙江省寧波市鄞州區(qū)），曾任浙江大學(xué)中文系教授、浙江美術(shù)學(xué)院（現(xiàn)中國(guó)美術(shù)學(xué)院）終身教授、西泠印社社長(zhǎng)、西泠書(shū)畫(huà)院院長(zhǎng)、浙江省博物館名譽(yù)館長(zhǎng)、中國(guó)書(shū)法家協(xié)會(huì)副主席等職。

沙孟海先生是中國(guó)高等書(shū)法教育的先驅(qū)。20世紀(jì)60年代初，沙孟海應(yīng)潘天壽之邀，與陸維釗等諸位先生在浙江美術(shù)學(xué)院（現(xiàn)中國(guó)美術(shù)學(xué)院）籌辦并成立了全國(guó)首個(gè)書(shū)法專(zhuān)業(yè)。此舉開(kāi)創(chuàng)了書(shū)法的高等教育之路，于現(xiàn)代學(xué)院體系中重新建立起了道藝會(huì)通、學(xué)養(yǎng)相成的書(shū)法教育“通人之學(xué)”。

中國(guó)美術(shù)學(xué)院的書(shū)法教育，自1963年至今，不僅代表著中國(guó)高等書(shū)法教育的發(fā)展歷程、發(fā)展方向，亦勾勒出學(xué)科建設(shè)、教學(xué)設(shè)置、人才培養(yǎng)的基本框架與前景規(guī)劃，開(kāi)辟了中國(guó)高等書(shū)法教育和當(dāng)代書(shū)法發(fā)展的嶄新格局。直至今日，全國(guó)已有200余所高校開(kāi)設(shè)有書(shū)法專(zhuān)業(yè)。

回溯這超過(guò)半個(gè)世紀(jì)的漫漫長(zhǎng)路，“敢為天下先”的開(kāi)拓精神和“含弘光大”的責(zé)任擔(dān)當(dāng)，始終貫穿在書(shū)法專(zhuān)業(yè)各時(shí)期的發(fā)展之中，體現(xiàn)在一代代師生教學(xué)的點(diǎn)滴之間，是高等書(shū)法教育得以不斷發(fā)展和完善的不竭動(dòng)力與源泉。

而高等書(shū)法教育之開(kāi)創(chuàng)，不僅依靠著前輩們的責(zé)任感與使命感，更離不開(kāi)他們嚴(yán)謹(jǐn)?shù)闹螌W(xué)態(tài)度與卓絕的學(xué)術(shù)眼光——沙孟海先生認(rèn)為：“作為一個(gè)書(shū)法家，一方面要了解文字的結(jié)構(gòu)和書(shū)體源流，借鑒名跡，熔鑄古今，推陳出新，自成風(fēng)貌。另一方面還得轉(zhuǎn)益多師，要有字外功夫，諸如文學(xué)、文字學(xué)、史學(xué)、哲學(xué)等學(xué)問(wèn)修養(yǎng)，更要有崇高的人格修養(yǎng)。”

雖然當(dāng)時(shí)書(shū)法專(zhuān)業(yè)尚處草創(chuàng)期，書(shū)法學(xué)科遠(yuǎn)未成型，但他們高瞻遠(yuǎn)矚，對(duì)整個(gè)書(shū)法學(xué)科與教育的發(fā)展，以及相關(guān)問(wèn)題都有著超越時(shí)代的遠(yuǎn)見(jiàn)卓識(shí)。

三

沙孟海先生被稱(chēng)為“20世紀(jì)書(shū)壇泰斗”，在書(shū)法篆刻藝術(shù)上取得了極為輝煌的成就。于書(shū)，則化古融今，自成一格，尤其是擘窠大字，有“海內(nèi)榜書(shū)第一”之譽(yù);于印，則清逸醇正，入古出新，所作古璽、漢印到明清流派，甚至隸楷入印，皆能信手拈來(lái)，又極富書(shū)卷之氣。

沙孟海更是學(xué)者，其一生潛心治學(xué)、成果頗豐，于金石學(xué)、文字學(xué)、古器物學(xué)、語(yǔ)言學(xué)、考古學(xué)、博物館學(xué)諸領(lǐng)域均深有研究;沙孟海在同代學(xué)人中，較早地引入近代考古學(xué)視野，對(duì)傳統(tǒng)金石學(xué)進(jìn)行反思，批評(píng)沒(méi)有宏觀視野與系統(tǒng)框架的文獻(xiàn)搜輯與材料羅織;與羅振玉一樣，他也主張改金石學(xué)為古器物學(xué)。沙先生早期的考碑之作以及諸多文獻(xiàn)考證，可謂將書(shū)法與考古融為一體之實(shí)踐，文獻(xiàn)爬梳之外，自有其史學(xué)之目的與見(jiàn)解。他在史學(xué)方面的構(gòu)建與疏通工作，乃書(shū)法之學(xué)會(huì)通經(jīng)史、連接古今的一個(gè)重要象征。

Toward the end of November， a series of events was launched in commemoration of 120th anniversary of Sha Menghai （1900-1992）， an accomplished calligrapher and scholar based in Hangzhou. The events were in three parts. The first was a large-scale exhibition of Shas calligraphy and seal engraving and documents about his artistic brilliance at the National Art Museum of China in Beijing. The exhibition went from November 28 to December 6 showing over 300 exhibits from various heavyweight art and education institutions of Zhejiang. After the opening ceremony of the exhibition， a memorial meeting was held in commemoration of the great calligrapher. Attendees at the seminar reminisced about Shas life and achievement.

The second event was an academic seminar in commemoration of the calligrapher. The third event was an academic seminar about issues in college-level calligraphy education in

Sha Menghai， a native of Yinxian County in eastern Zhejiang， is a key chapter in the 20th-century history of calligraphy in China. He worked as a professor of the Chinese Department of Zhejiang University and tenured professor of Zhejiang Academy of Fine Arts， the predecessor of present-day China Academy of Art; he was president of Xiling Seal Art Society and president of Xinling Academy of Calligraphy and Art， honorary curator of Zhejiang Museum， and vice president of China Calligraphers Association.

Sha was a pioneer in calligraphy education at college level across the nation. In 1963， Sha Menghai and Lu Weizhao set up the calligraphy major at Zhejiang Academy of Fine Arts. It was the first of its kind in China. Thanks to Sha and Lu， calligraphy is now a very successful and mature major at over 200 higher education institutions of China， carrying on the art of traditional calligraphy， which was almost as old as the Chinese civilization， to the future

Sha was engaged to be one of the two founders of the calligraphy studies at the academy for good reasons. An innovative calligrapher of the 20th century， he was a prominent scholar of various fields of calligraphy and was the number one calligrapher who wrote huge-size Chinese characters unlike anyone else of his time. In particular， he was accomplished in the fields of ancient inscriptions on metal and stone， Chinese philology and linguistics， archaeology and museology. He wrote and published a series of books on calligraphy.

Sha contributed a great deal to calligraphy education at college level. He took it as a mission to carry on calligraphy as a tradition.

“As a calligrapher， one needs to understand philology and linguistics， and understand where all the changes in calligraphy came from. In calligraphy education， the past and the present and the future need to be one. Whats new must come from whats old. Calligraphers get to establish their own styles and break away from stereotypes. On the other hand， one needs to study literature， literary style， history， philosophy in order to be a good calligrapher and a good person，” remarked the master about his insight and foresight into calligraphy.

A founder of the calligraphy studies at Zhejiang Academy of Fine Arts， Sha brought his vision to the education course in 1963. His vision still serves as a guideline for college-level calligraphy studies in China.