独而不孤的水墨修行

● 张 玫

中国著名画家傅抱石之女傅益瑶在东京办画展

展览现场，《端午颂》俨然成了日本观众洞察中华文明的一扇窗。现场有观众表示，日本也有端午节，日本的端午节和中国的端午节有所不同，但是看到《端午颂》所表现出来的生动场景，依然觉得十分亲切，可见中日文化相近相通。

傅益瑶向大家推荐本刊。A recent photo of Fu Yiyao with a 2019 May copy of Cultural Dialogue in her hands

2019年8月8日，在东京池袋著名文化地标——东京艺术剧场，傅益瑶穿着修身礼服，胸前别着圣洁的白色礼花，像新娘子一样神采奕奕。一辈子没有结婚的她感慨说，正在举行的“傅益瑶日本祭绘画作品大展”就是她最盛大的“婚礼”。

本次展览共展出傅益瑶30多年来潜心创作的“日本祭”主题绘画的代表作80多幅，同时还有《端午颂》这样专为中国节气所创作的绘画。展览于8月17日结束。

这场长达30多年的水墨修行，不仅让她继承了身为国画大师的父亲傅抱石的衣钵，亦在日本形成自己的风格，将中国的水墨文化发扬光大。

“日本祭”画作开展，以水墨点燃东京奥运

傅益瑶被东京奥组委选定为2020年东京奥运会奥运文化支持艺术项目的艺术家。此次展览中有一幅她的重要作品《那智火祭》，描绘的是日本三大火祭之一——有着1700年历史的那智火祭。画中，人们为了祈求幸福和安乐，在熊熊火焰之中翩翩而舞。这里的烈火是生命力的象征，与奥运圣火在本质上产生了一种奇妙的呼应。

傅益瑶此次画展，是经过36道评审程序，力克群雄，才进入奥运文化支持工程名单的。但是，日本民间对于这个中国画家的入选，并不感到意外。似乎只要是日本祭主题作品的画家入选，傅益瑶就是不二人选。

“日本祭”，即日本各地每年于特定日期举行的民间传统庆典，有着两千多年的历史。这是傅益瑶在日本“捡”到的一个主题，并逐渐形成自己的一个独特绘画门类：“那些数百上千年的历史，如此鲜活地留存在这些民间祭中。”

在傅益瑶眼里，“日本祭”是日本风土的产物，却又蕴藏着华夏文化的精髓。但她在潜心创作这些大画的时候，从未想过有朝一日要将这些作品呈现于奥运会的艺术圣殿。不过现在回想起来，她与奥运会之间确有一份难以割舍的情愫。在她看来，“日本祭”中所展现的那种平等、拼搏、向上的人类精神，与奥林匹克精神不谋而合。

1986年，在瑞士洛桑，傅益瑶接受瑞士国宝级大师、毕加索的好友汉斯·埃尔尼的邀请，联合举办二人展“神州相逢”。在国际奥林匹克委员会总部，傅益瑶见到了一幅汉斯创作的奥运主题壁画。壁画的内容是奥林匹斯山诸神的故事，汉斯以一种极其恢宏和富有动感的笔法来展现人类运动竞技的历史。这极大震撼地了傅益瑶的心。从此，她默默走上了创作“日本祭”巨画之路。

一幅长卷《端午颂》，生动体现文化交流

在80多幅作品中，唯一一幅表现中国传统节庆的长卷《端午颂》成为全场最受瞩目的作品。这幅长达14米、高1.8米的巨制，是傅益瑶在端午节进入联合国教科文组织“人类非遗代表作品名录”之后，应中国艺术研究院的邀请所作。

“傅益瑶日本祭绘画作品大展”在东京艺术剧场举行。A view of Fu's solo art show at Tokyo Cosmopolitan Theater in Tokyo

《端午颂》局部。A detail of Ode to Duanwu, a huge painting by Fu Yiyao, on display at her solo exhibition at Tokyo Cosmopolitan Theater in August, 2019

傅益瑶坦言，她与《端午颂》的缘分，从出生时就开始了。“爸爸对屈原有着非常深厚的感情，他对《楚辞》能够倒背如流，年轻时取名‘抱石’，乃‘屈子抱石’之意。我家几个孩子的名字，全都是从《楚辞》中来的。”

跟每个中国孩子一样，在她记忆深处，最快乐的也是端午节。“一到端午，爸爸就会流连在《云中君》《大司命》《屈原》等画作前。这是沉淀在他灵魂里的诗歌，有一种初恋般的感情。”

2015年，傅益瑶赴屈原故里湖北秭归采风。采风中，傅益瑶一直苦恼如何将众多民俗场景在一幅卷轴中呈现。终于，她想到了用民歌式的串联——给孩子洗澡以求“百病皆除”、包粽子、挂艾草、点雄黄、屈原诗会……画中特别用一组“窗式”表现她写生时所见的民俗。“我画民间祭有一个原则，就是自己的审美感受和笔墨与当地居民的情感融在一起。”

而展览现场，这幅《端午颂》俨然成为了日本观众洞察中华文明的一扇窗。在现场有观众表示，日本也有端午节，日本的端午节和中国的端午节有所不同，但是看到《端午颂》所表现出来的生动场景，依然觉得十分亲切，可见中日文化相近相通。

傅益瑶认为，就节庆而言，日本虽有很多自己的独特之处，但也深受中国文化的影响。展览中有一幅《京都祗园祭》，展现的是著名的京都祗园祭的场景。里面山车舞台上的戏文，讲的都是高山流水、三国、二十四孝这样的中国故事。而另一幅《轮岛重藏神社大祭》，画中那三丈高的牌楼上都用汉字书法写着一些孔孟的贤文良句，这都是中国文化影响日本节庆文化的最直接体现。

可以说，这个日本祭主题画展正是中日“文明交流互鉴”最生动最直接的体现。

配合她的巨画创作，日本名寺拆了横梁

事实上，除了在东京展览的民间祭组画，这个骨子里有一种佛性的美丽女子，更在障壁画上建树卓越。

日本寺庙众多，在遍布横滨、京都、群马的众多寺庙中，都有傅益瑶画的障壁画。30多年的吃苦修行，造就了傅益瑶的障壁画事业——常乐寺、宝胜寺、圆满寺、延历寺等日本名寺，都将她的画作当成镇寺之宝。

这次的日本大展，傅益瑶还特地带着笔者开始一段包括圆满寺、延历寺、三千院、三十三间堂的寺庙之旅。

第一站横滨。八月恰逢日本最盛大的盂兰盆节，全日本迎来九天长假，而寺庙，则成为日本民众必须“打卡”的地方。在横滨最有名的圆满寺，夏日阳光正盛，晒得人懒洋洋的，但傅益瑶却穿着高跟鞋噔噔噔地径直爬上了山门。住持西郊良光早早地等候这位“厉害的中国女人”的到来。在圆满寺内，专门设有傅益瑶的禅室，可见其地位。

时间回放到1989年，圆满寺新建大殿需两幅巨画，住持西郊良光经其师傅、天台宗大僧正推荐，找到了傅益瑶。于是，在西郊良光的邀请下，傅益瑶用了大半年时间写生，将山间之气“养”在心中，创作了高4米宽5米的两幅巨作《比叡山延历寺》和《天台山国清寺》。

30年前的傅益瑶，对佛教题材并不熟悉，但西郊良光很有耐心。光佛教天台宗的发源地——浙江天台的国清寺，西郊良光就陪她去了3次；日本最著名的天台宗比叡山，更是陪她去了五六次。“我画中画的松树，都是在国清寺天台大师修行的地方写生而来的。”那时，傅益瑶在沥川的画室距离横滨很远，但西郊良光每周都会准时去她的画室拜访，查看画作情况，并请傅益瑶吃饭。

只是让西郊良光没有想到的是，看起来身材娇小的傅益瑶，画的画却是巨大无比。“当时真没想到她会画得那么大，大到必须拆掉一根横梁。”对于严谨的日本人来说，对建筑临时更改结构简直是不可能的事，但是傅益瑶却很坚持，并表示，如果不拆掉那根梁，坚决不交画。“中国女人厉害得很，漂亮女人更是厉害。”西郊良光笑言。

最后他只能把梁拆了，“你看现在那里还有一个洞，可是为了这两张画，傅益瑶花了好大精力，功夫全都看得见，其他都是次要的。”

傅益瑶在《天台山国清寺》画前回忆当年创作过程。Fu Yiyao reminisces about her creation of The Guoqing Temple in Mount Tiantai decades ago.

藏于圆满寺的《天台山国清寺》。The Guoqing Temple in Mount Tiantai, created by Fu Yiyao, is on display at the Enman-ji Temple in Yokohama, Japan.

如今，经过30年的沉淀，这两幅巨制山水更是呈现出一种旷古的味道。每一个局部，都有当年难忘的场景。在《天台山国清寺》里，画有一块王羲之写“鹅”的字碑，这是国清寺的名景之一。相传，王羲之跟随灵墟山中的向白云先生学书，每日观察水中嬉戏的白鹅。一日，王羲之见一白鹅振翅，笔随心动，大书一“鹅”字。“当时在写这个字的时候，一点都没有想要模仿的意思，因为想模仿也没辙，王羲之什么人？根本模仿不来。”但傅益瑶在写生时观察到，这块碑因为时间久远，碑面黑了，字反而是白的。“于是我就用反水写，写完以后旁边用墨染掉。结果出来之后，如有神助，笔头特别有韵味。”

五年构思一年作画，成就延历寺的国宝

如果要说傅益瑶的代表作，那么，位于滋贺县比叡山延历寺国宝殿收藏的《佛教东渐图》，绝对属于最重要的瑰宝。

延历寺是世界文化遗产。伴随着车在盘山公路行驶，你就能遥遥望见山下的琵琶湖。

这幅傅益瑶20多年前创作的《佛教东渐图》，是延历寺为天台大师智者大师1400周年诞辰纪念大典所用。“天台宗在日本是最重要佛教源生地，当年佛教就是从中国传到了这里。曾经，天台大师在浙江的国清寺丢出一把‘钥匙’——他说，至此以后，佛教东渐。”就因为这句话，当时延历寺大方丈小林隆彰问傅益瑶，能不能以佛教东渐的历史创作成一张障壁画。

“天哪！这可是整整2600年的佛教历史。”为了这个浩大的工程，傅益瑶开始了长达5年的构思。“我到处去采访，甚至去了印度，光佛教史就读了5大本。”

值得注意的是，在操作期间，应随时观察液硫池空气入口的流通情况，若液硫池空气入口处有气体冒出，应首先降低鼓泡空气量，确保现场处于安全状态，然后调整抽空器蒸汽量，或加开备用抽空器，再逐步增加鼓泡空气量。

傅益瑶画了整整一年，最终在敲定的期限前，落笔完成。傅益瑶笑言，生活中她是一个永远迟到的人。“我跟男朋友约会没有准时过，开会没有准时过，我什么都没有准时过，就是交画准时。这一点像我爸爸，我爸爸每次画完就在本子上打一个勾。”

有意思的是，这幅长12米、宽2.7米的巨作中，还有朝鲜天台宗第一人义天在杭州修行的场景。原来，这个高丽王的第4个王子11岁出家，在南宋杭州修行的时候，曾在杭州天竺寺研习天台教观。为了再现这个场景，傅益瑶还加入了西湖和三潭印月。“巧得很，这个梭子型的构图，很好地与画中其他场景做了融合。”

此次再度拜访，小林隆彰的传人、其孙子小林隆真在看到傅益瑶之后，格外亲切。当年，他才是小学生，在一旁看着傅益瑶创作这幅作品。他表示：“绘画是唯一不需要翻译的，从这幅画，可以看到佛教东传的精神，每年都有超过50多万人来这里观看。”

在傅益瑶看来，任何事情要有意义才有地位。“为了画这张画，我不断旅行学习。我把中国人内心的和平、幸福、慈悲都融入进来，所以大家看了后才会感同身受。”

这种精神与奥林匹克精神也是不谋而合的。“好运不可能从天上掉下来，一定是一步一步走，积累能量，忽然碰到一个可以攀登的山，才有力量攀登过去。”这个一辈子与绘画作伴的奇女子，内心丰盈，“玩味自己，独而不孤。孤是一种寂寥冷漠；而独，是无论身处人群中还是荒野里，都能保持清醒理智，不被外界所左右，拥有属于自己的独特人生。”

（本文图片摄影：李晓龙 张玫）

Fu Yiyao Holds Art Exhibition in Tokyo

By Zhang Mei

August 8, 2019 witnessed the opening of an exhibition of artworks by Fu Yiyao, a 72-year-old Chinese artist, at Tokyo Metropolitan Theatre, a cultural landmark of Tokyo, capital of Japan.Dressed in glory, Fu attended the opening ceremony, feeling as if it had been her wedding, though she has stayed single all her life. The show ended on August 17th. About 80 artworks, created a period of over 30 years, essentially presented a theme of Japanese rituals.

Fu has firmly established herself as an artist who outstandingly depicts Japanese rituals in huge-size paintings and murals for religious venues. In fact, she has been picked as an artist who provides cultural support for 2020 Tokyo Olympic Games. She came out as the winner through a 36-step selection procedure. The Japanese public was not surprised by the final choice. No one in Japan outshines her in portraying Japanese rituals in art.

The subject came gradually to her in her sojourn in Japan. The history of these rituals goes back to more than 2,000 years in Japan.The lifestyle and customs of hundreds years even more than 1,000 years have managed to look vivid in these rituals. She considers Japanese rituals as a pure product of Japanese life which, however,ref l ects the essence of Chinese culture.

The seed for her choice of the rituals as an art subject germinated in 1986 when she visited the headquarters of the International Olympic Committee in Lausanne, Switzerland and saw a huge mural by Hans Erni (1909-2015) featuring the Olympic motif. She was deeply impressed by the grandeur and splendor of the artwork. Back in Japan she examined Japanese rituals more closely and got inspired.

傅益瑶在画展现场。Fu Yiyao poses for a photo at the opening ceremony at her solo exhibition at Tokyo Cosmopolitan Theater in August 2019.

The most eye-catching artwork at the exhibition, however, had nothing to do with Japan. It was Ode to Duanwu, a masterpiece especially dedicated to a Chinese tradition in honor of Qu Yuan(340-278BC). The 14-meter-long, 1.8-meter-tall magnum opus was commissioned by China National Academy of Arts after the Duanwu Festival was inscribed onto the UNESCO Representative List of the Intangible Cultural Heritage of Humanity. In 2015, she visited Zigui, the hometown of Qu Yuan, for inspiration of creating an artwork about the Duanwu Festival. She wondered how to string together all the folk rituals and festivities on the day in China in one painting. Then she found the solution. This huge artwork at the exhibition gave Japanese visitors in Tokyo a window on Chinese culture. Though Duanwu is celebrated in both Japan and China,there are differences and similarities. Some Japanese visitors felt the affinity between China and Japan.

Some paintings at the exhibition were murals Fu created for religious temples in Yokohama, Kyoto and Gunma. Over the past three decades, Fu has created quite a few murals for some temples in this part of Japan, including some historical ones such as Joraku-ji Temple, Hosyo-ji Temple, Enman-ji Temple, and Enryaku-ji Temple.

《佛教东渐图》局部之西湖三潭印月。This detail of Buddhism Came from China to Japan shows Three Pools Mirror the Moon, one of the scenic highlights of the West Lake in Hangzhou.

《天台山国清寺》中傅益瑶画王羲之“鹅”字碑。This detail of The Guoqing Temple in Mount Tiantai, created by Fu Yiyao, shows a one-word inscription on a stele in a pavilion. The word means “goose” in the handwriting of Wang Xizhi (301-361), the greatest Chinese calligrapher in history.

In August, Fu and I traveled to take a look at the original mural paintings at some Buddhist temples. Our first visit was to the Enman-ji Temple in Yokohama. Our visit occurred during the Obon Festival, which gives the public a nine-day holiday. Abbot Ryoko Nishioka waited for us at the gate to the temple. The temple had a special Zen room dedicated to Fu, “a brilliant Chinese woman” as the abbot describes. Fu first met the abbot in 1989 when Fu was recommended to the abbot by his master. The Enman-ji Temple needed two huge murals for a newly-built hall. Fu spent almost a year doing sketching, familiarizing herself with religious doctrines. The abbot accompanied Fu to visit the Guoqing Temple in Tiantai Mountain in Zhejiang three times where the Tendai School of Buddhism as known and practiced in Japan originated and fl ourished. During that time, the abbot traveled every week to visit Fu at her studio, far away from the Enman-ji Temple in Yokohama.The abbot was astonished to find that the petite Chinese artist dedicated her heart and soul to creating two oversized artworks, each being 4 meters tall and 5 meters wide.The paintings were so huge that one beam in the hall had to be removed to display the paintings in full. This posed an impossible challenge to the abbot. At first, he refused to take the beam out. Fu said she would not deliver the paintings unless the beam made room for them. The abbot eventually gave in to the iron will of the artist. The paintings looked wonderful in my eye.

If the two paintings Fu created for the Enman-ji Temple are enormous, the mural Fu created for the Enryaku-ji Temple on Mount Hieizan in Kyoto is much more enormous.Fu spent five years creating and painting this 12-meter-tall and 2.7-meter-wide mural. She was commissioned to create a mural for the temple so that the whole history of how Buddhism came from China to Japan can be presented in the mural. The mural was scheduled to mark the 1,400th anniversary of the birth of the founding monk of the temple. She traveled and visited many places including India. She read a lot, including five books on the history of Buddhism. Eventually, she delivered the painting on time. I learned during my visit to the temple that more than 500,000 visitors view the mural per year.

In a discussion of the mural with me, Fu Yiyao says that the studies and travels she did for the creation of the mural enriched her. “I introduced Chinese essentials such as spiritual peace, happiness, and grace into this painting so that the mural really appeals to everyone who sees it,” she reveals.