朱明堯

2017年夏，浙江文博界舉辦了紀(jì)念本省已故著名古書畫鑒定家、省博物館資深研究員黃涌泉先生的專題活動(dòng)。在浙江博物館展出了他的生平業(yè)績和研究成果圖片及翰墨作品，舉行了專題座談會(huì)，并在《金石書畫》和《西泠藝叢》等專業(yè)刊物發(fā)表了多篇弘揚(yáng)和研究黃老的文章。

黃涌泉立足于實(shí)踐及研究，為浙江的文物鑒定作出了巨大貢獻(xiàn)，并有許多學(xué)術(shù)成果傳世。幾十年來，全省各地經(jīng)他過目的書畫作品多達(dá)十多萬件，鑒定出宋朝至清朝的珍貴字畫有上千件之多。在此基礎(chǔ)上，他撰寫發(fā)表了許多學(xué)術(shù)論文，并編輯出版專集，如《八大山人雙鳥圖考辨》、《書畫鑒定淺談》、《吳鎮(zhèn)繪畫作品真?zhèn)慰急妗?、《杭州元代石窟藝術(shù)》、《浙江歷代畫家作品選集》（與王伯敏合編）、《浙江近代書畫選集》等，尤其是他編的《陳洪綬年譜》深受國內(nèi)外學(xué)者推崇。他的學(xué)術(shù)視野和鑒定實(shí)踐立足于浙江，延伸于華東，并影響于國內(nèi)的文博界。

黃涌泉涉足浙江古書畫鑒定后，幾乎跑遍了浙江的東南西北。上世紀(jì)七十年代后期，他帶領(lǐng)幾位門生先后赴嘉興、湖州、寧波、紹興、臺(tái)州和舟山等地區(qū)的縣市，鑒定古書畫數(shù)以萬計(jì)，悉心研究，從中搶救出了重要書畫和古籍一千余件，定為不同級(jí)別的文物，例如，1973年他在紹興的嵊州進(jìn)行鑒定時(shí)，從一堆當(dāng)時(shí)“抄查”來而被遺棄的廢舊書畫中發(fā)現(xiàn)了一幅《蘇武牧羊圖》。這幅作品被鑒定為明代著名浙派畫家、號(hào)稱酒仙的陳子和所作（陳原籍為福建浦城），存世作品極為罕見。

當(dāng)代中國古書畫鑒定泰斗、故宮博物院資深研究員徐邦達(dá)先生（浙江海寧人1911—2012），于眾多古書畫鑒定的門生中自認(rèn)為“最得意”的一位是浙江博物館資深研究員、古書畫鑒定名家黃涌泉先生（浙江嘉善人，已在2003年作古，終年78歲）。

紀(jì)念黃涌泉先生，我檢看了徐老致我的信函12通、詩文墨寶3件、黃老致函2件及黃老應(yīng)我之約請(qǐng)而撰的5000字遺文（黃老學(xué)生周永良之綜合整理稿），探索疏理了黃老在藝術(shù)鑒定的長途跋涉中，與他的業(yè)師徐邦達(dá)之虛心求教和誠意往來，不禁想起了徐、黃師生情誼之佚事。

早在1997年夏，徐老曾客居南京金陵飯店二月余，時(shí)在為他于當(dāng)年7月7日舉辦的書畫個(gè)展創(chuàng)作作品及鑒定當(dāng)?shù)夭仄?。黃涌泉過往，晤談甚歡。徐老有感，寫下了贈(zèng)黃先生六首七絕詩，詩之小序中記敘了兩人的情誼。

徐邦達(dá)和黃涌泉兩位先后走上國家、地方的古書畫鑒定之崗，自然源于他們?cè)缒甑乃囆g(shù)喜好和功底，當(dāng)時(shí)客觀上也是新中國成立初期文物事業(yè)復(fù)興的需要。徐老應(yīng)鄭振鐸之召，1950年先至國家文物局后轉(zhuǎn)故宮博物院；黃涌泉?jiǎng)t是在1953年8月調(diào)到浙江省文物管理局（后轉(zhuǎn)省博物館）。

徐、黃師生緣啟于1955年。當(dāng)年7月，黃涌泉奉派赴京參加文化部、中國科學(xué)院、北京大學(xué)聯(lián)合舉辦的“第四屆考古人員訓(xùn)練班”。到達(dá)北京辦好報(bào)到手續(xù)后，他便懷揣著沙孟海先生的推薦信，去故宮博物院拜訪徐邦達(dá)先生。那時(shí)他不過二十多歲，參加文物工作才兩年，而徐先生已是蜚聲文博界的書畫鑒定專家。他站在傳達(dá)室旁，內(nèi)心未免有些緊張。只見徐先生緩步出來，他迎上去呈上沙老便函，徐看了以后，面帶微笑將他引至辦公室敘談，談得很契合。那一次黃涌泉在北京兩個(gè)多月，培訓(xùn)班課余時(shí)間，就到故宮皇極殿，寧壽宮及東西廡仔細(xì)參觀繪畫館數(shù)以百計(jì)的古代珍品，看不懂的就向徐先生請(qǐng)教。

自此以后，黃涌泉與徐先生多有交往。1962年4月，徐先生到杭州參加有關(guān)“中國繪畫史”的研討會(huì)。早在1954年故宮繪畫館開放不久，徐先生就發(fā)表了《從繪畫館陳列品看我國繪畫的發(fā)展史》一文，徐先生在這次杭州會(huì)議上，更加詳盡地表述了自己的論點(diǎn)。會(huì)議結(jié)束后，徐先生應(yīng)邀為浙江美術(shù)學(xué)院圖畫系作鑒定書畫的學(xué)術(shù)報(bào)告，黃涌泉與學(xué)生們一起聽課做筆記，當(dāng)時(shí)的記錄至今還保存著。

1979年9月，徐先生自北京飛抵杭州，故宮楊伯達(dá)先生結(jié)伴而至，徐先生這時(shí)已年近七十了，依然精神矍鑠，鶴發(fā)松姿，黃先生安排他們住到西子湖畔新新飯店。次日，沙孟海先生與黃涌泉在杭州酒家宴請(qǐng)徐先生。這次徐老來浙，鑒定了浙江博物館書畫數(shù)十件，又去杭州市文管會(huì)等有關(guān)單位鑒定所藏書畫。徐先生還常領(lǐng)楊新和黃先生到杭州橫紫城巷余任天先生家，鑒定他的書畫藏品，得見明黃克晦《金陵八景圖冊(cè)》及黃道周《草書軸》。在杭州期間，黃涌泉又向徐師請(qǐng)教有關(guān)明代院畫研究問題。徐先生認(rèn)為明朝宮庭繪畫值得進(jìn)一步研究，隨手取出一本故宮業(yè)務(wù)部書畫組編的《明代院體浙派繪畫資料》油印本借給黃看。黃先生喜閱數(shù)日才歸還。徐先生一行離開杭州赴紹興逗留兩天，然后去寧波天一閣考察、鑒定書畫，慧眼識(shí)珠，鑒定中發(fā)現(xiàn)了元四家之一吳鎮(zhèn)《雙樹圖》軸，定為吳鎮(zhèn)中年的作品。

1983年11月，徐先生至杭州參加西泠印社建社八十周年紀(jì)念活動(dòng)，11月3日上午在學(xué)術(shù)交流會(huì)上，宣讀他的《略談唐宋畫所鈐的公私印記》論文。數(shù)天時(shí)間中，黃涌泉始終相伴著徐老。同年12月，黃涌泉應(yīng)召偕學(xué)生周永良赴福建，隨侍徐先生鑒定書畫。走訪了福州、泉州、廈門等地，先后到福建省博物館、福州市文管會(huì)、泉州市文管會(huì)、廈門大學(xué)人類博物館、華僑博物館、鄭成功紀(jì)念館等處，共鑒定書畫五千余件。半月時(shí)光，師生終朝相處，切磋鑒定技藝及學(xué)問。

徐、黃兩位師生之緣，自是學(xué)問傳授與吸收，但又有“教學(xué)相長”的平等、互補(bǔ)之味。徐先生贈(zèng)黃的六首七絕中，末首后二句“與君磨切甘附驥，師說無虛此典型?！保ù酥柑拼笪膶W(xué)家韓愈《師說》中“弟子不必不如師，師不必賢于弟子”之意）。有例：1983年冬徐邦達(dá)攜弟子五六人去福建鑒定半月余之行中，曾有次發(fā)現(xiàn)一幅陳洪綬絹本設(shè)色秋葉草蟲軸，款署“洪綬寫于溪山”，徐先生開始覺得很好，定為真跡，因黃涌泉對(duì)陳洪綬曾作過很深的研究，對(duì)陳洪綬的作品有特別深厚的感情，看得特別仔細(xì)，反復(fù)地看這幅畫，終于看出了問題，黃先生分析說，署款有問題，前后有矛盾，整幅畫初看尚不錯(cuò)，但細(xì)看紅葉，樹桿筆法不好，草蟲螳螂更劣，雖有幾分老蓮的面目，功力還是不夠，它應(yīng)是清代前期的“紹興貨”，這幅畫可能是郭元宰作的假。后來徐先生又作了細(xì)看，說竹葉畫得最好，但石頭、紅葉細(xì)看的確弱了點(diǎn)，款寫得太肥，認(rèn)為黃先生的分析有道理，當(dāng)即改定為贗品。徐先生當(dāng)著眾晚輩的面，否定自己的結(jié)論，沒有半點(diǎn)不快，黃涌泉為此非常感動(dòng)。endprint

A series of commemorative events were held in Zhejiang in the summer of 2017 to honor Huang Mingyao （1927-2003）， an art appraisal master based in Zhejiang. In the 1970s when the political tumult began to wane and culture began to prosper again， Huang and a group of art appraisers， all being his disciples， traveled across Zhejiang and examined more than 10，000 artworks of painting and calligraphy. They authenticated about 1，000 artworks created in the ancient dynasties. In his lifetime， he examined over 100，000 ancient artworks. Based on his work， he published research papers and jointly compiled art collections of ancient masters.

Xu Bangda （1911-2012）， a native of Zhejiang， was one of Chinas best art appraisers in the 20th century. He considered Huang as his best pupil. In my possession are 12 letters to me from Xu， three artworks as gifts to me from Xu， two letters to me from Huang， and a 5，000-word memoir written by Huang at my request and eventually edited by his protégé Zhou Yongliang. Having read these texts carefully， i am under the impression that Huang worked hard at appraisal， that he learned a great deal from Xu， and that there was a great friendship between the two.

In the summer of 1997， Xu Bangda stayed at Jinling Hotel in Nanjing for over two months. He was there for such a long period for two reasons. In July， he attended an exhibition of his artworks of painting and calligraphy in Nanjing. And he appraised artworks brought to him by local collectors. Huang went to Nanjing to visit Xu. The visit was delightful for the two appraisers. They chatted. Xu wrote six short poems to commemorate the reunion.

The two first met in July 1955. In 1950， Xu became a national appraiser based in the Forbidden City in Beijing and Huang was employed by Zhejiang Administration of Cultural Relics in August 1953 and soon was transferred to Zhejiang Museum as an art appraiser. In 1955， he came to Beijing to attend an advanced study course for young archaeologists. Sha Menghai， a prominent calligrapher based in Zhejiang， wrote a letter of referral for Huang. Huang brought the letter to Beijing and visited Xu Bangda. In Xus office， the two had a long talk and the master liked the young scholar. During the 2-month course， Huang found time to visit the Forbidden City and viewed hundreds of artworks in the imperial collection thanks to the arrangement by Xu. If he had some difficulty understanding the artworks he was viewing， Huang consulted the master and got answers.endprint

In September 1979， Xu Bangda and Yang Boda， another scholar working for the Forbidden City， came to Hangzhou. They had come to appraise dozens of artworks in the collection of Zhejiang Museum. In the accompaniment of Huang， they visited Yu Rentian， a local collector， and examined his private collection. Huang consulted Xu on some key issues in his study of the imperial art academy of the Ming Dynasty and Xu let Huang read a booklet on the Zhejiang-style paintings in the academic style during the Ming. The booklet had been published and circulated within a small circle of scholars and experts.

In the following years， Huang and Xu traveled together several times on appraisal missions in Zhejiang and Fujian. Huang learned a lot from Xu. And Xu also absorbed some ideas from Huang. Judging from what they did together on these missions， it can be said that the two enjoyed a teacher-student relationship.

In December 1983， Xu Bangda and Huang went to Fujian on an appraisal mission for about half a month. One of the works they examined was a painting in color on silk. Xu thought it was an authentic masterpiece by Chen Hongshou （1599-1652）， a painter of the Ming Dynasty. With a profound expertise on the Ming painter and passion for the artists artworks， Huang scrutinized the artwork many times and then spotted some wrong details. He suggested that it was a painting faked by an artist in the early decades of the Qing （1644-1911）. Xu found Huangs analysis was convincing and agreed frankly that it was a fake in front of his students. Huang was touched by his masters candor and integrity in admitting that he had been wrong.endprint