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拿到季志耀先生“和园丛书”之《寸心容香》新书，我感到特别温馨，因为18年前我采访过季先生，并写了一则采访记，题目就叫《寸心原不大，容得许多香》。
《寸心容香》是一本耐读的好书，有极浓郁的地方文化味，这与某些涵盖面“广博”的论著的寡淡形成鲜明对比。书的内容以古陶瓷考古与古建筑考古为主，兼蓄书画鉴赏与作者的书画代表作。我特别看重前者，因为这些都是作者亲身经历的经验之谈。
季先生1961年考入浙江美院，毕业正逢“文化大革命”，被分配在衢县新华书店当营业员，其实那时候也无甚图书可卖。1979年，他调入衢县博物馆，总算从事了与自身学业多少有点关联的文博与考古工作。1992年，他调入衢州市书画院“回归本行”，专心于美术创作，成绩颇著。2000年起，他任书画院院长直至退休。
季先生参加了20世纪80年代衢州市的文物普查与文物鉴定工作，并参与了对全旺古窑址、云溪古墓葬的发掘。十余年间，他写出了不少有分量的科研学术报告，如《漫谈衢州古瓷窑》《试论衢州市全旺古窑址群的新发现及彩绘瓷的绘画工艺》等。由于季先生是受过高等美术教育的国画家，对于彩陶的研究，其功力非一般考古人员可比。同样，对于作为历史文化名城的衢州的城乡遗存的一些明、清时期古建筑（民居、祠堂、戏台、寺庙、庵堂、宝塔、牌坊、城墙）的介绍，他除了配之以按比例的缜密图纸说明其构造，并用画家独特的观察力绘形绘色，连细微的构件也描写得惟妙惟肖，在科学严肃的基础上给人以形象的导读——艺术感染。
对于古建筑和古窑址的断代或确定事主，季先生不仅从有关史书中旁征博引，还从世家大户的谱牒中寻找线索，结论严谨。尤其值得称道的是，对于一些异常现象，季先生有自己独特的判断，如在《六朝及隋代陶瓷》一文中，作者对越人的墓葬中至今未发现陶俑现象，推断“如果是没有杀殉奴隶的葬俗，那么，以后的朝代也就无须用象征活人的陶俑来代替了”。我很赞同作者的这一观点。作为一种史实，这一现象，很值得史学家们探索和研究。又如《明清衢州戏台略考》一文，作者在对江山、龙游、衢江等县（市、区）现存于宗祠、厅堂和庙宇中古戏台进行考古研究的同时，参考大量古籍与民间唱本，旁征博引，再现汤显祖、洪昇、李渔等戏剧家在衢州留下的踪迹，描绘出一幅明清时期衢州城乡“演戏迎神遍市圜”“乡风贪看乱弹班”的戏剧繁荣景象。而一席“有关中国古建筑鉴赏问题答记者问”的谈话，更显露出作者考古文化的涵养与渊博的学识。
《寸心容香》衢州味浓，不仅浓在丰富的古陶瓷遗址和多彩的古建筑实物散发着衢州的乡土气息，还浓在作者对衢州的名胜古迹如数家珍地娓娓道来。如衢州府城的城墙与龙游石窟的关系，如弘一法师驻锡莲花和弘一法师遗物的征集，如陈鹏年诗碑的发现，如为何建在水路要津的海神庙天妃宫，在陆路通道上的衢州南乡大洲镇会有两座……翻看书页，一个个“衢州话题”纷至沓来，读者犹如行走在山阴道上，目不暇接，美不胜收。
20世纪80年代末，季先生曾约我与几位朋友去参观位于衢州城西下营街的一座明代民居。这房子经历400余年的风雨沧桑，木构架还在顽强地负载着岁月沉重的压力，现在只剩下前后两楹。原来这里是长方形的布局，占地273平方米，朝东偏南；临街有台门，台门内即小厢房，小厢房西有一偏门，进入便到前厅；前厅面对一长形小园；后楹与前厅紧相连接，只隔一层板壁；后楹南北两边各有一个天井；再后又是一小园。季先生带着我们边看边解说。我至今还记得他说的话：中国古代建筑，即使平常的民居，往往也富有园林气息，这在世界建筑史上非常独特。
附带说一下季先生鉴赏书画的眼力。对唐宋以降书画界的名家名作，季先生有选择有代表性地加以介绍与评价。我最为欣赏的是，对于有些事情，季先生从不人云亦云，能亮出自己的看法与观点。如在谈到宋代画家李成《寒林骑驴图》时，季先生认为“此画的线条用笔与宋画大相径庭……尤其是画面左侧那个枯树干，将光的效果染出来了，（这是）只有在清代郎世宁后才会出现的画法。更令人疑惑的是画里有类似弯曲的竹竿和枯枝却无竹……这些是否是竹子令人诧异。我不可能相信它是一张宋画。”
（本文图片由作者提供）
The moment I saw Ji Zhiyao’s new book Cunxin Rongxiang sitting on my desk， my mind went back to the interview with the man 18 years ago.
The book has an enduring， fragrant flavor of concrete local culture that stands in sharp contrast to those self-claimed “monumental， all-compassing” works. In the book， the author talks about porcelain and architectural archaeology and incorporates art appreciation between the lines.
After graduation from Zhejiang Art Academy in the 1960s， Ji Zhiyao worked in a Xinhua Bookstore in Quxian as a shop assistant. In the political tension and chaos at that time， it was not much a bookstore at all. After his wings were clipped for many years， he finally found his place at the Quxian Museum in 1979. In 1992， Ji Zhiyao started his work at the Quzhou Calligraphy and Painting Society， where his artistic cravings were fully satisfied. Ji Zhiyao played an important role in the archaeological exploration of Quzhou in the 1980s. His educational background in traditional Chinese arts gives him a discerning and artistic eye that leaves his peers too far behind to catch up with. His unique perspective as an artist adds a charming flair to poker-faced archaeological studies. Ji Zhiyao is expert in loading pages with convincing references and raising questions， as shown in many of his essays and published books， such as Quzhou Opera in Ming and Qing， a wonderful summary of the lesser-known opera prosperity of Quzhou in the old times.
His new book Cunxin Rongxiang is full of Quzhou flavors， depicting the colorful porcelain and architectural heritages of Quzhou from an angle that not only shows the author’s archaeological attainments but also his talents as an artist and historian. The writing of the book demonstrates his stunning story-telling talents and brings a new life to the magnificent cultural treasures of Quzhou. In the book， the author analyzes the correlation between the city walls of Quzhou and the grottos in Longyou County， depicts the details about the discovery of the poem tablet of Chen Pengnian， and raises interesting questions about why there are two Sea God Temple and Tianfei Temple in Dazhou Town in Quzhou. Reading the book feels like a cultural promenade that ensures endless archaeological and aesthetic surprises.
In the late 1980s， Ji Zhiyao invited me and several friends of mine to visit a folk house in Xiayingjie， Quzhou. The wooden structure that was first built in the Ming Dynasty about 400 years ago has been reduced by the ravage of time into a skeleton of columns. Ji Zhiyao showed us around， trying to bring us into the house’s lavish past by explaining every detail of the sprawling， garden-style premise. The man’s comment remains fresh in my memory even today. “One of the architectural characteristics of Chinese civil dwelling in the old times is the fact that the traditional Chinese garden-landscaping aesthetics are not a luxury reserved for the privileged but can be found in the houses built by commoners.”
Last but not the least， Ji’s ability of art appreciation， especially about the art scene of Tang and Song， is worth mentioning. As an art critic， Ji Zhoyao is never interested in following the herd.
When mentioning a painting believed to be by the Song artist Li Cheng， Ji Zhiyao analyses， “The brushstrokes demonstrate a style that is completely different from that of most of the other artists in the Song Dynasty， for example， the dead tree trunk on the left brings out the effect of lighting， and such a style did not emerge until the times of Giuseppe Castiglione in the Qing Dynasty. Moreover， a more confusing fact about the painting is the absence of bamboo. Whether the crooked deadwood depicted by the painter is bamboo or not is a big question mark， which raises my doubts about the conclusion that it is a Li Cheng work.”
《寸心容香》是一本耐读的好书，有极浓郁的地方文化味，这与某些涵盖面“广博”的论著的寡淡形成鲜明对比。书的内容以古陶瓷考古与古建筑考古为主，兼蓄书画鉴赏与作者的书画代表作。我特别看重前者，因为这些都是作者亲身经历的经验之谈。
季先生1961年考入浙江美院，毕业正逢“文化大革命”，被分配在衢县新华书店当营业员，其实那时候也无甚图书可卖。1979年，他调入衢县博物馆，总算从事了与自身学业多少有点关联的文博与考古工作。1992年，他调入衢州市书画院“回归本行”，专心于美术创作，成绩颇著。2000年起，他任书画院院长直至退休。
季先生参加了20世纪80年代衢州市的文物普查与文物鉴定工作，并参与了对全旺古窑址、云溪古墓葬的发掘。十余年间，他写出了不少有分量的科研学术报告，如《漫谈衢州古瓷窑》《试论衢州市全旺古窑址群的新发现及彩绘瓷的绘画工艺》等。由于季先生是受过高等美术教育的国画家，对于彩陶的研究，其功力非一般考古人员可比。同样，对于作为历史文化名城的衢州的城乡遗存的一些明、清时期古建筑（民居、祠堂、戏台、寺庙、庵堂、宝塔、牌坊、城墙）的介绍，他除了配之以按比例的缜密图纸说明其构造，并用画家独特的观察力绘形绘色，连细微的构件也描写得惟妙惟肖，在科学严肃的基础上给人以形象的导读——艺术感染。
对于古建筑和古窑址的断代或确定事主，季先生不仅从有关史书中旁征博引，还从世家大户的谱牒中寻找线索，结论严谨。尤其值得称道的是，对于一些异常现象，季先生有自己独特的判断，如在《六朝及隋代陶瓷》一文中，作者对越人的墓葬中至今未发现陶俑现象，推断“如果是没有杀殉奴隶的葬俗，那么，以后的朝代也就无须用象征活人的陶俑来代替了”。我很赞同作者的这一观点。作为一种史实，这一现象，很值得史学家们探索和研究。又如《明清衢州戏台略考》一文，作者在对江山、龙游、衢江等县（市、区）现存于宗祠、厅堂和庙宇中古戏台进行考古研究的同时，参考大量古籍与民间唱本，旁征博引，再现汤显祖、洪昇、李渔等戏剧家在衢州留下的踪迹，描绘出一幅明清时期衢州城乡“演戏迎神遍市圜”“乡风贪看乱弹班”的戏剧繁荣景象。而一席“有关中国古建筑鉴赏问题答记者问”的谈话，更显露出作者考古文化的涵养与渊博的学识。
《寸心容香》衢州味浓，不仅浓在丰富的古陶瓷遗址和多彩的古建筑实物散发着衢州的乡土气息，还浓在作者对衢州的名胜古迹如数家珍地娓娓道来。如衢州府城的城墙与龙游石窟的关系，如弘一法师驻锡莲花和弘一法师遗物的征集，如陈鹏年诗碑的发现，如为何建在水路要津的海神庙天妃宫，在陆路通道上的衢州南乡大洲镇会有两座……翻看书页，一个个“衢州话题”纷至沓来，读者犹如行走在山阴道上，目不暇接，美不胜收。
20世纪80年代末，季先生曾约我与几位朋友去参观位于衢州城西下营街的一座明代民居。这房子经历400余年的风雨沧桑，木构架还在顽强地负载着岁月沉重的压力，现在只剩下前后两楹。原来这里是长方形的布局，占地273平方米，朝东偏南；临街有台门，台门内即小厢房，小厢房西有一偏门，进入便到前厅；前厅面对一长形小园；后楹与前厅紧相连接，只隔一层板壁；后楹南北两边各有一个天井；再后又是一小园。季先生带着我们边看边解说。我至今还记得他说的话：中国古代建筑，即使平常的民居，往往也富有园林气息，这在世界建筑史上非常独特。
附带说一下季先生鉴赏书画的眼力。对唐宋以降书画界的名家名作，季先生有选择有代表性地加以介绍与评价。我最为欣赏的是，对于有些事情，季先生从不人云亦云，能亮出自己的看法与观点。如在谈到宋代画家李成《寒林骑驴图》时，季先生认为“此画的线条用笔与宋画大相径庭……尤其是画面左侧那个枯树干，将光的效果染出来了，（这是）只有在清代郎世宁后才会出现的画法。更令人疑惑的是画里有类似弯曲的竹竿和枯枝却无竹……这些是否是竹子令人诧异。我不可能相信它是一张宋画。”
（本文图片由作者提供）
The moment I saw Ji Zhiyao’s new book Cunxin Rongxiang sitting on my desk， my mind went back to the interview with the man 18 years ago.
The book has an enduring， fragrant flavor of concrete local culture that stands in sharp contrast to those self-claimed “monumental， all-compassing” works. In the book， the author talks about porcelain and architectural archaeology and incorporates art appreciation between the lines.
After graduation from Zhejiang Art Academy in the 1960s， Ji Zhiyao worked in a Xinhua Bookstore in Quxian as a shop assistant. In the political tension and chaos at that time， it was not much a bookstore at all. After his wings were clipped for many years， he finally found his place at the Quxian Museum in 1979. In 1992， Ji Zhiyao started his work at the Quzhou Calligraphy and Painting Society， where his artistic cravings were fully satisfied. Ji Zhiyao played an important role in the archaeological exploration of Quzhou in the 1980s. His educational background in traditional Chinese arts gives him a discerning and artistic eye that leaves his peers too far behind to catch up with. His unique perspective as an artist adds a charming flair to poker-faced archaeological studies. Ji Zhiyao is expert in loading pages with convincing references and raising questions， as shown in many of his essays and published books， such as Quzhou Opera in Ming and Qing， a wonderful summary of the lesser-known opera prosperity of Quzhou in the old times.
His new book Cunxin Rongxiang is full of Quzhou flavors， depicting the colorful porcelain and architectural heritages of Quzhou from an angle that not only shows the author’s archaeological attainments but also his talents as an artist and historian. The writing of the book demonstrates his stunning story-telling talents and brings a new life to the magnificent cultural treasures of Quzhou. In the book， the author analyzes the correlation between the city walls of Quzhou and the grottos in Longyou County， depicts the details about the discovery of the poem tablet of Chen Pengnian， and raises interesting questions about why there are two Sea God Temple and Tianfei Temple in Dazhou Town in Quzhou. Reading the book feels like a cultural promenade that ensures endless archaeological and aesthetic surprises.
In the late 1980s， Ji Zhiyao invited me and several friends of mine to visit a folk house in Xiayingjie， Quzhou. The wooden structure that was first built in the Ming Dynasty about 400 years ago has been reduced by the ravage of time into a skeleton of columns. Ji Zhiyao showed us around， trying to bring us into the house’s lavish past by explaining every detail of the sprawling， garden-style premise. The man’s comment remains fresh in my memory even today. “One of the architectural characteristics of Chinese civil dwelling in the old times is the fact that the traditional Chinese garden-landscaping aesthetics are not a luxury reserved for the privileged but can be found in the houses built by commoners.”
Last but not the least， Ji’s ability of art appreciation， especially about the art scene of Tang and Song， is worth mentioning. As an art critic， Ji Zhoyao is never interested in following the herd.
When mentioning a painting believed to be by the Song artist Li Cheng， Ji Zhiyao analyses， “The brushstrokes demonstrate a style that is completely different from that of most of the other artists in the Song Dynasty， for example， the dead tree trunk on the left brings out the effect of lighting， and such a style did not emerge until the times of Giuseppe Castiglione in the Qing Dynasty. Moreover， a more confusing fact about the painting is the absence of bamboo. Whether the crooked deadwood depicted by the painter is bamboo or not is a big question mark， which raises my doubts about the conclusion that it is a Li Cheng work.”