君子不器 依仁游藝
——憶饒宗頤先生

文王岳川 WANG Yuechuan

被稱之為“南饒北季”的饒宗頤先生于2月6日去世，無疑是中國文化界的一大損失。

饒宗頤學術藝術道路非常廣闊，可謂達到了孔子所說的“君子不器”的理想高度。季羨林說“心目中的大師就是饒宗頤”，錢鐘書說他是“曠世奇才”，金庸說“有了饒宗頤，香港就不是文化沙漠”。饒先生學貫中西，獲譽多多：曾獲多項獎譽、榮譽博士及名譽教授銜，包括法蘭西學院“儒蓮獎”、法蘭西學院外籍院士、巴黎亞洲學會榮譽會員、法國高等研究實踐學院首位華人榮譽人文科學博士、香港政府大紫荊勛章、香港藝術發展局終身成就獎等，足見學界評價之高！

饒先生的學術藝術境界高邁出塵——出經入史、博大精深、詩文書畫、著作等身。一個學者在101年的壽命中能寫出60多部著作、 500多篇論文，還精通六七門外語，再加上書法、繪畫，令人匪夷所思。我認為饒先生的成就可以概括十個方面：敦煌學、甲骨學、詞學、史學、目錄學、楚辭學、考古學、金石學、書法繪畫和詩學美學。這十個方面，饒先生以一人之力，做出了可貴的貢獻。

國學精神 天人互益

學術界有一個基本共識：“南饒北季” ，即南方有香港的饒宗頤先生，北方有季羨林先生。這兩位學術大師都精通數門外語，著作等身，學術上達到相當高的境界。但他們沒有關門做學問，而是心系天下——關注全球化中的中國文化命運！饒先生治學的方法論，對我們做學問，包括做書法學、美術學研究的都很有啟發：

其一，勇于推陳出新。推陳出新強調方法新、觀點新、材料新。我注意到王國維先生的“二重證據法”：出土文物加上紙上的文獻。文獻是文字的，出土文物是實物的，二者可以佐證史實的真實性。饒先生又加了一個新東西——甲骨文。甲骨文既是地下出土的，但是它的價值不是看甲骨，而是甲骨上的文字，所以它又是文獻。我認為這是繼王國維之后的一大學術推進。

其二，饒先生非?？粗貒鴮W與中國傳統的意義，在方法論上注重“中西佐證”。有些學者僅僅是拿中去比西，或拿西去比中，這都有很大的問題。饒宗頤先生認為，中國文化的主體是經學，國學就是本國的文化，每個國家都有本國的文化，把中華文化稱為國學，放到世界上就不通了，因此他主張更準確應該稱為“漢學”或“華學”。就此而言，他對古經史深懷難以表達的敬意，強調研究國學不能褻瀆“國本”，要愛惜敬重“古義”，順著中國文化的經絡本義闡發經史，并用“大文化”的眼光看中國的材料并佐以西學脈絡，從這一點來講，在學問上是深情冷眼地“中西匯通”。

其三，學術理性的懷疑和創新精神。這是作為一個學者最重要的品格。他對疑古派過分地懷疑中國歷史提出批評，包括對疑古派學者把中原地盤越說越小提出不同意見。他的研究應該是對中國文化深層結構和遠古精神的揭示。對世紀學術各家各派，皆是取長補短，獨出機杼。饒宗頤說：“正如魯迅先生所講，近代學者往往受哪個國家、哪個學派影響，我則盡量多些接觸各國、各學派的學者，包括在美國1年，日本4年，新加坡5年，英、法、西班牙、印度等地幾個月。到那里潛下心來研究當地的課題，決不一知半解就以為窺見全豹，自鳴得意?！?/p>

其四，文學研究上大膽運用比較文學方法。季羨林認為：饒宗頤教授運用比較文學的方法，探討中國古代文學的源流，對于我們研究中國古代文學史也有很多啟發。饒先生在《漢字與詩學》一文中認為關鍵就是漢字——中國漢文詩的特點與漢字有緊密的聯系。饒先生在他的文章中探討了一些與詩的形式有關的問題，韻律也在探討之列。所有這一切都是從漢字這個特點出發的。

皋蘭山寫生（中國畫）饒宗頤Sketching of Gaolan Mountain, (Chinese Painting) Jao Tsung-i

書法超邁 獨出機杼

饒宗頤幼年從唐顏真卿入手，臨寫《顏勤禮碑》《顏氏家廟碑》《麻姑仙壇記》；然后，為強健腕力轉而寫《張猛龍碑》《爨寶子碑》；后為求結構森嚴精準，對唐歐陽詢《化度寺碑》下過苦功；為求書法意趣之美，轉而對宋蘇、黃、米三家行書刻意臨寫，領略其中意趣。中年以后，因為學術研究所及敦煌學和甲骨學，著有《戰國楚簡箋證》《編鐘銘釋》《居延零簡》《日本所見甲骨錄》《巴黎所見甲骨錄》《長沙出土戰國繒書新釋》《海外甲骨錄選》《殷代貞卜人物通考》，這無疑影響到他的書法趣味和風格，故而形成中年變法，對甲金、簡帛及漢隸情有獨鐘，朝夕臨習不輟。饒宗頤在《論書十要》中說：“新出土秦漢簡帛諸書奇古悉如錐書，且皆是筆墨原狀，無碑刻臃腫、斷爛之失，最堪師法。觸類旁通，無數新蹊徑，正待吾人之開拓也?！?/p>

醫學教育作為衛生健康事業的重要基礎，是高等教育的重要組成部分，也是教育強國建設和健康中國建設的重要內容。將繼續積累和總結教學經驗，在實踐中不斷改進完善教學改革內容，為我校培養更多具有“仁心妙術”的高素質醫學人才。

進入晚年，他對敦煌書法長期專攻，選取巴黎所藏敦煌經卷精萃編為《敦煌書法叢刊》29冊，化所有學術和書法養料而成就自我書法風格，終于形成不同于各家各派的古文字書法風格。他既不走民間書法的道路，也不走西方抽象畫書法道路，而是堅定地走熔鑄傳統、匯通碑帖的大美之路，廣泛涉獵帖學、簡牘、甲骨、魏碑等，融會貫通而自成面目。

饒先生的書論思想有自己的美學原則。他在《論書十要》里主張書體要“重”“拙”“大”而拒絕“輕佻、嫵媚、纖巧”，行筆避免熟滑、甜俗而要厚重耐看，臨帖習碑要手摹心迫，細讀深思，不可只求形似；書道講求“墨色酣暢，線條淋漓，人天湊泊”等。在我看來，中國的書家不少，學者很多，但是書法能寫到饒先生這樣精到、自成面目、學古不泥古的，實不多見。這與饒宗頤先生的書法態度很有關系——不屑于書法山頭主義、流派主義，他日課臨帖與常常獨處，甚少出門，幾乎不應酬。重視精神的獨處和生命的修煉，才能有書法的無言大美。

文人繪畫 沉勁老辣

饒宗頤先生在中國文人畫創作上傾注了巨大的精力并獲得公認的藝術高度。他在文人畫創作上新法迭出，行內外人士公認，其成就絕不在學術之下。

文人畫到了饒宗頤先生這里，有了新的變化。他不再熱衷于對摹原作的形似，而在自己的山水畫寫景或造景山水中浸透著對古人精品的深刻洞悉，以他郁勃的學術之氣和生命感悟在筆墨情趣中散發出山川之魂。畫家黃苗子認為，饒宗頤繪畫之所以“落筆便高”，是和他廣博的學問分不開的。美術史家萬青力認為，饒宗頤繪畫已超越傳統“文人畫”，是中國繪畫史上極其罕有的“學者畫”。

到了晚年，饒宗頤形式的創作力勃然迸發，尤其在他熱愛的敦煌題材的繪畫上，以一種天老地荒、沉勁老辣的筆勢，一大塊的漲墨和枯潤相間的大寫意筆法描繪敦煌壁畫的畫意，透過形似而達到神似，進而直追北魏、隋唐，為敦煌繪畫開了新的文人畫的美學路徑。21世紀初，饒宗頤不滿足中國繪畫史論中的“南宗”“北宗”之爭，獨辟蹊徑地提出中國山水畫“西北宗”之說，并特立獨行用自我獨創的筆法墨法和天風浩蕩的結構氣象，為西北雄奇山水寫神，實踐著山水畫“西北宗”的美學原則。

歷史會銘記饒宗頤這位君子不器、依仁游藝的大學者！

①鑄古今異字（書法）饒宗頤Unique characters of ancient and modern China (calligraphy) Jao Tsung-i

②壽（書法）饒宗頤Longevity (calligraphy)Jao Tsung-i

③福（書法）饒宗頤Blessing (calligraphy) Jao Tsung-i

④萬古不磨意 中流自在心（書法）饒宗頤Unchangeable Willingness, Durable Faith (calligraphy) Jao Tsung-i

⑤長樂延年（書法）饒宗頤Longevity with joy (calligraphy) Jao Tsung-i

With a most broad path in both academy and art, Mr. Jao is considered to have reach the ideal height of what the Confucius called the “exemplary persons are not mere vessels”.Mr. JIXianlin said that “the great master in his mind is Mr. Jaotsung-i”, Mr. QIAN Zhongshu called him a “matchless genius” and Mr. Louis Cha said that “Hong Kong is not a cultural desert with the presence ofMr.Jao Tsung-i”. Having learned from both the Chinese and Western cultures, he has won many reputation: receiving a number of awards, honorary doctorates and honorary professorships,including “Julien Award” of Institution of France, Foreign Academician of Institution of France, Honorary Member of the Asian Society of Paris, First Chinese Doctor of Humanities and Humanities of France Higher Institute of Research and Practice,Grand Bauhinia Medal from Hong Kong Government, Lifetime Achievement Award of Hong Kong Arts Development Council, etc.,reflecting the high commendation from the academic community.With unprecedented and in-depth academic and artistic realm,Mr. Jao had profound knowledge in history, poetry, calligraphy,works and others. It was truly incredible that a scholar could write more than 60 books and over 500 dissertations in his life span of 101 years. He was also proficient in six or seven foreign languages, together with achievement in calligraphy and painting.Mr. Jao’s accomplishments, in my opinion, can be summed up in 10 aspects: Dunhuang studies, oracle bone studies, studies of words,historiography, bibliography, Chuci studies, archeology, philology,calligraphy, painting and poetry aesthetics. In these ten aspects,with the strength of an individual, Mr.Jao has made a valuable contribution.

Mutual Benef i t of Sinology Spirit

There is a basic consensus in the academic community: “Jao of South and JI of North”, indicating Mr.Jao Tsung-i from Hong Kong to the south and Mr. JI Xianlin to the north. The two academic masters are proficient in several foreign languages and literature works etc., reaching a very high academic level. However, they didn’t only cast attention to learning, but showing their concerns to the whole world---paying attention to the Chinese cultural destiny in globalization! The methodology for scholarship of Mr.Jao inspires for us to learn, including the study of calligraphy and fine arts:

Firstly. Courage for innovation. It highlights the new methods,ideas and materials. I have noticed Mr. WANG Guowei’s Double Evidence Method: unearthed cultural relics and paper documents.Literature is literal, and unearthed cultural relics are physical objects that can support the authenticity of historical facts. Mr.Jao has added another new perspective–oracle bone inscription,which were unearthed underground. However, its value is not to research the oracle bones, but the text on it, which is also a document accordingly. I think this is a major academic advancement after the achievement of Mr. WANG Guowei.

Secondly. Mr. Jao highly valued the significance of sinology and Chinese traditions, casing attention to the Evidence of both Chinese and Western in methodology. Some scholars simply compared the Chinese connotation to Western connotation or reverse, which is of large problem. According to Jao Tsung-i, the main body of Chinese culture is Confucian studies. The sinology is the culture of China. Each country has its own culture. And it is unreasonable on a global scale when calling the Chinese culture the sinology. Therefore, he advocated more accurately that it should be called “Han School of Classical Philology” or “Chinese learning". In this regard, he expressed his deepest esteem for the Confucian classics and history, stressing that the study of sinology should not desecrate the Fundamental Principles of Country,but to cherish the respect of "ancient meaning", interpret the Confucian classics and history along the origins of the Chinese culture, preserve all the materials concerning China with view of Big Culture partially supported by the context of Western culture.From this point of perspective, he was a man Understanding All Issues from East and West with a cold eye.

Thirdly. Academic rationality and innovation. This is the most important character of a scholar. He criticized the suspiciousancient-school for excessively suspicion of Chinese history,including disagreement with scholars of such school to make the area of China’s central plains smaller and smaller. His research should reveal the deep structure and ancient spirit of Chinese culture, learning from every academic faction of the century academics. Mr. Jao said: "As Mr. LU Xun spoke, modern scholars are often influenced by countries and schools. I try to make more contacts with scholars from various countries and schools of thought, including 1 year in the United States, 4 years in Japan, and 5 years in Singapore and months in France, Spain, India, and other places, thoroughly committing myself to research of local topics".Fourthly. The bold use of comparative literature in literary studies.According to Mr. JI Xianlin: Professor Jao uses the methods of comparative literature to explore the origins of ancient Chinese literature, inspiring us to study the history of ancient Chinese literature. Mr. Jao believes that the Chinese characters play the key role in the article of "Chinese Character and Poetics" - the characteristics of Chinese poetry are closely related to Chinese characters.In his article, Mr. Jao discussed some issues related to the form of poetry, and rhythm as well,all of which is based on the characteristics of Chinese characters.

Supreme Attainments in Calligraphy

Starting learning from YAN Zhenqing of Tang Dynasty in his childhood, Mr. Jao copied theYAN Qinli Inscription, YAN Shi Jiamiao InscriptionandMaguXiantanji, followed byZhangmenglong InscriptionandCuanbaozi Inscriptionin order to strengthen his wrist force, studyof Huadu Temple Inscriptionof OUYANG Xun of Tang Dynasty for precise and accurate structure,copy of running script of SU Shi, HUANG Tingjian and MI Fu of Song Dynasty for the beauty of calligraphy in order to understand the inner charm. Into his middle age, due to the academic research institute, studies of Dunhuang and oracle bone, Mr. Jao has composed the WarringStates Chujianzheng, Bianzhong Mingshi,Ju Yan Ling Jian, Oracle Archives Seen in Japan, Oracle Archives Seen in Paris, New Interpretation of Warring States Period Books Unearthed in Changsha, Selection of Overseas Oracle Records, andRecords of Divination Figures of Yin Dynasty,which undoubtedly affected his calligraphy interest and style, resulting in the law changes at his middle age. He was keen on characters of Jin dynasty on oracles, bamboo slip and silk, and official script of Han dynasty with much endeavor. Mr. Jao Tsung-i noted in the Ten Musts of Books: newly-unearthed books of bamboo slips and silks of Qin Dynasty are of intact conditions, showing slim structures and unprecedented skills. The new methods embedded are waited to be explored.

In his later years, he had a long-term commitment in Dunhuang calligraphy. He chose the essence collection of Dunhuang scriptures in Paris and composed the “Dunhuang Calligraphy Series”, a 29-volume edition, transforming the entire academic and calligraphy nourishments into his own calligraphy style and finally forming a different style from the various factions, an ancient calligraphy style. He did not take the road of folk calligraphy,nor the road of Western abstract calligraphy. Instead, he firmly adhered to the road of great beauty that melts the tradition and inscriptions, extensively involving in the study of calligraphy copybook, bamboo slips, oracle bones, and Wei Inscription,forming his exclusive style.

Mr. Jao had his own aesthetic principles concerning the book theory. In hisTen Musts of Books,he advocated that the body of the calligraphy should be "Heavy" "Dull" and "Large", but not"Light, Enchanting, Thin", avoiding being slippery and vulgar in writing while focusing on thick and durable, following hands and hearts in copying inscriptions with deep thought and adhering to Bright Ink, Smooth Lines and Natural Combination etc. In my opinion, there are many calligraphers and scholars in China,however, it is truly rare to find someone whose calligraphy capacity is as much as that of Mr. Jao in mastery, unique style and free acknowledgement of ancient tradition. This has a lot to do with his calligraphic attitude — disdain to mountain-stronghold mentality in calligraphy and genreism. He was devoted to daily writing with his own shadow and few social activities. Only through focusing on spiritual solitude and cultivation of life can it lead to the beauty of calligraphy beyond words.

Sophisticated Style in Literati Painting

Mr. Jao Tsung-i has devoted great energy to the creation of Chinese literati painting and attained the art height acknowledged by the public. He has made much new practice in the creation of literati painting, and the pertinent achievements were by no means lower than that of his academic gains, which were recognized by people of all fields.The literati painting generated new changes due to Mr. Jao,who was no longer passionate about the shape of the original manuscript, but holding profound insight of great artworks of ancient times deeply immersed in his landscape paintings or painting of artificial landscapes. According to painter HUANG Miaozi, the reason why Jao Tsung-i's paintings had “great acknowledgement” was inseparable from his extensive knowledge. WAN Qingli, an art historian believed that the painting of Mr. Jao has surpassed the traditional Literati Painting, and was an extremely rare "painting of scholars" in the history of Chinese painting.

In his later years, the creative power of Mr. Jao tsung-i burst out,especially on the paintings of Dunhuang that he loved. With an ever-lasting and sophisticated gesture while using the freehand brushwork with integration of large area of ink together with substantial dryness to depict the artistic conception of Dunhuang murals, he has opened a new aesthetic path of literati paining for the Dunhuang murals via the form of a similarity to realize the genuine likeness so as to pursue the Northern Wei Dynasty and the Sui and Tang Dynasties. At the beginning of the 21st century,due to his discontent over the disputes between the “Southern Bound” and “Northern Bound” in the history of Chinese painting, he proposed a unique way to put forward the theory of“Northwestern Bound” in the field of Chinese landscape painting,and used his unique brushstroke method and magnificent voluminous structural phenomena to paint the majestic landscape of the northwestern part of China, while practicing the aesthetic principles of the Northwestern Bound in the field of landscape painting.

A great scholar of “Exemplary Persons are Not Mere Vessels,Practice by Virtue and Skills”, Mr. Jao Tsung-i will be remembered by the history.

蓮蓮吉慶（中國畫） 饒宗頤Glamour of the lotus (Chinese Painting) Jao Tsung-i