和園主人與和園叢書

阿土

知識改變命運

和園主人汪賢林，一位儒雅的中年人，衢州太和藝田裝潢工程公司的經理。

“文革”期間，汪賢林畢業于浙江常山兩年制農村初中。改革開放后，16歲的他離開家，獨自走向陌生的世界。從福建的建筑工地、江西的農貿市場、上海的廣告公司、江蘇的商業機構、山東的信息部門，到廣東的專業市場，汪賢林走南闖北，風風雨雨，備嘗艱辛，不斷勝出，積累起相當的經驗與一定的資金。

1992年，汪賢林在衢州開辦了工藝標牌廠，不久擴展為裝潢工程公司。多年來，這公司已有相當知名度，無論公建的標志性項目，還是家居的私人空間，從創意設計到技術施工，汪賢林與他的伙伴們都作為藝術作品來打磨。

汪賢林闖蕩“江湖”30多年，深知知識的價值。他學歷不高，可自我學習從未間歇過。夜深人靜，他如饑如渴地閱讀文學、哲學、歷史、社會、藝術諸類書籍，并臨帖習書。如是，他不僅開闊了視野、開啟了智慧，而且逐步形成了他對事物、對經濟、對市場、對文學藝術獨有的價值判斷。學，然后知不足。他廣交文友，拜訪師長，曾連續三年每周到杭州“恒廬講堂”聽名家講座以“充電”。小時候他夢想成為一個像他外公那樣的文化人。他有了一個美滿的家庭：妻子周慧娟，在衢州日報社工作，愛好書法，曾兩次獲得省里書畫展的獎項；兒子在外地上大學。

多年前，他將含辛茹苦大半輩子的父母接來衢州同住，共享天倫，而不必如某些成功人士那樣追悔“子欲養而親不在”而自責；雖然去年母親駕鶴西去，但得到了兒子的孝、享到了兒子的福，亦可含笑九泉了。

汪賢林的成才與成功，是知識改變了他的命運。

用喜歡的方式回報社會

和園，是汪賢林購買的三間三層樓商品房裝修成藝術館式的住宅，位于商業鬧市地段。太和藝田裝潢工程公司就在馬路對面。

和園的一樓與二樓很寬敞，四圍排滿了接頂的大書櫥，若在這些書櫥外面鑲上薄板，即可懸掛大幅書畫，舉辦小型書畫展。中間擺有原生態的樟木桌凳，古樸雅致，宜三五友朋喝茶閑聊，聽不到市聲，是一方鬧中取靜的藝術天地。三樓是餐廳與臥室。公司的辦公人員就在和園用工作餐。汪賢林自稱“和園班長”。

因為和園，汪賢林已經在衢州文化人圈中頗有名氣。2012年至2016年間，汪賢林出資為一些世人所不太知曉、漸漸遺忘的老去或已逝的文化人，或出版或印行了“和園從書”十種，為的是用他自己喜歡的方式回報社會。

說起這事，汪賢林很有感慨。他告訴我，2011年暑假，他帶兒子到西安旅游，在陜西歷史博物館，被一幅《狩獵出行圖》吸引住了。觀這幅從乾陵章懷太子墓中割取出來的長12米、寬3米的壁畫，汪賢林似乎聽到了古代畫家在粗糙的石壁上筆走龍蛇的沙沙聲。那一刻，他想起了衢州烏溪江山區那位已故的柴汝梅老先生寫在農具、家什以及村居門楣上的大字，覺得與唐代壁畫有異曲同工之妙。柴汝梅（字石松）原是衢州一中教師，1957年被遣送回鄉當了一輩子農民。然而，艱辛的生活并未磨滅柴老師熱愛書法的雅興。他為鄉鄰寫春聯，號籮筐（衢縣農村語，“號”即寫），題門楣上的“紫氣東來”或“南極生輝”……汪賢林以前在一位曾經學書于柴老師的朋友畢全林那里，讀過很多柴老師寫在糙紙上的詩詞，對之書品人品敬佩至極。汪賢林覺得，像柴汝梅的書法形體與品位，遠遠超越某些書家，應在衢州書壇有一席之地。于是，由汪賢林主編、畢全林副主編的《石松存稿》，作為“和園叢書”的第一種，由人民教育出版社出版，一切費用由汪賢林承擔。

流淌的鄉愁與鄉情

“和園叢書”的社會反響很大，大家稱賞不已。其中，《和園》即介紹“太和藝田”這個團隊的概況、設計理念和裝潢樣板。《寸心容香》介紹老畫家季子耀的考古成就。《壟上行營》介紹常山六名自由結合的“玩”書法的普通人。《厚石齋吟稿》介紹老畫家梅谷民的詩詞與書法。《人文眾園》介紹一座民間博物館。

這里特別要提一提《人文眾園》。眾園，是衢州企業家嚴春元“燒錢”建造在衢州北鄉九華的一座內有20幢徽派建筑的仿古園林，并將幾十年來收藏的“百床”“千瓷”“萬玉”展示在古建筑中，儼然一個規模宏大的民間博物館。“眾園”籌劃時，汪賢林亦參與其中。汪賢林之所以這樣做，一是欣賞嚴春元的鄉愁鄉情——再現一個浙西山鄉百姓祖祖輩輩賴以生存和生活的和諧的民居環境，二是他夢想有一天自己也能建起一座仿古庭園，就像當年外公家被充公的那座老房子一樣，那里面有前廳后院、天井廂房，有雕梁畫棟、花窗牛腿，過蒔花種竹、養魚蓄禽的怡然自得的慢生活。汪賢林曾對我說過，嚴春元這座“眾園”，現在是衢州的一道風景，百年以后還是衢州的一道風景。正是出于這樣的想法，汪賢林編著了這一種圖書：流淌著他這個從常山走出來的農村少年的濃濃鄉愁與鄉情。

還有《瑰意琦行》，是為衢州杜瑰生先生出版的，也值得說一說。杜老先生在文藝的諸多方面均有造詣，且經歷豐富，友朋如云，影響也大，后來卻只過著“老客賦閑五十年”、“汲水引煤兼數米”的日子。2011年，汪賢林得到一本朋友贈送的瑰生先生與其父親、弘一法師的友人寶光先生的詩文合集《詩是吾家事》，初覽就愛不釋手，立即萌生了新編一種集子，留住衢州曾經的文化的想法。汪賢林兩次拜望九旬高齡的瑰生先生，與其公子新一先生接洽，從散亂的稿本中，整理出這包含詩詞、書畫、篆刻、音樂、自傳（上）以及藏品的合集，于2014年交給西泠印社出版社出版，由他出資。

汪賢林出書不媚俗、不趨時、不帶功利目的，他只是想以自己的微薄力量，盡量保持、傳續衢州民間的文脈。

Wang Xianlin is a successful businessman in Quzhou， a key city in southwestern Zhejiang. He left home at 16 with only two-year education of junior high school in a rural region. He had been around the country for a long while before he came back to Quzhou and started a business that made plaques in 1992. He soon stepped into decoration business. Nowadays， the business is a success. Wang hasnt tried to expand. For years， he has just maintained his business at a certain level and given his time to cultural undertakings. Fortunately， his employees see eye to eye with him with business stability. Over the past 20 some years， most employees have stayed with him.

Wang， though with an inadequate school education， is a reader in his spare time. He devours books on philosophy， literature， history， art， sociology. And he practices calligraphy.

His wife， a journalist and calligrapher， and he live in a three-story house across the street where his business is located. The home is called Harmony Garden. The reputation of the residence has spread among local cultural circles in Quzhou largely because he has published ten books in Harmony Garden series.

The inspiration came from a visit with his son to a history museum in Xian， the capital city of northwestern Chinas Shaanxi province in the summer 2011. He saw a mural which measures 12 meters long and 3 meters high. The mural was unearthed from a mausoleum of the Tang prince. The ancient wall painting awed him and reminded him of Chai Rumei， a calligrapher of Quzhou whom he had met years before. He found something familiar in the wall painting. Chai was sacked from a middle school in Quzhou in 1957 in a political chaos. The former teacher lived as a farmer all his life， but he left his calligraphy writings all over the villages in the mountain region where he lived. Wang remembered that Chai was even much better than some so called calligraphers of modern times. He had seen some calligraphy works by Chai， which were in the collection of a local calligraphy friend named Bi Quanlin. So Wang felt that Chais calligraphy should be remembered. Back home， he and Bi Quanlin worked together and compiled a collection of Chais calligraphy. Wang published the book at his own expense. This was the first of the long series and he named the series after his residence.

The launching of the Harmony Garden series caused a sensation in Quzhou. Pretty soon， more books followed. So far， Wang has funded the publishing of ten books of the series. One book focuses on the archaeological studies of Ji Ziyao， a local artist. Another book introduces six amateur calligraphers in Changshan County， a rural part of Quzhou. Another book is a collection of poems and calligraphy works of Mei Gumin， a veteran artist of Quzhou. One book covers an open museum of ancient architecture by Yan Chunyuan， a local business tycoon. The museum has 20 houses all erected in the architectural style of Anhui， a neighboring province west to Zhejiang. These twenty houses provide adequate space to display the antique beds， porcelain and jade artworks Yan has spent several decades to collect. Wang worked as an advisor when the museum was in the preparatory phase. Wang wanted to publish such a book largely because the book recreates the 20 houses on the paper and because he himself nourishes a similar dream of building such a house. The museum is now a cultural phenomenon of Quzhou and will remain so for a long time to come.

One book in the series is worth special mentioning. Du Gui is a local cultural celebrity. He is a scholar. In his younger years， he made a lot of friends and was influential. In 2011， Wang received a book from a friend. The book is a collection of poems and essays by both Du Gui and his father who once befriended Master Hongyi. Wang went through the book and thought it was his responsibility to include the works of Du Gui in the series. So he paid two visits to Du Gui in his 90s. In collaboration with Du Guis son， Wang went through the scholars manuscripts and put together a collection of Dus works including poems， calligraphy， paintings， engraved seals， music and an autobiography and some photos from his antique collection. The book was printed by the publishing house of the Xiling Seal Art Society in 2014. Wang Xianlin footed all the bills.