——致中國(guó)當(dāng)代著名作家張從安2025年度優(yōu)秀作者獎(jiǎng)賀辭
原創(chuàng)賀辭/柴永紅
盤(pán)古開(kāi)天的筆墨，華夏文脈里淬成星河，江淮大地的靈氣，平仄間凝成驚雷，三十載孤燈映雪的堅(jiān)守撞碎時(shí)光的壁壘，兩千卷丹青藏鋒的豪情掀翻文苑的蒼穹——公元二〇二五年十二月三十日，名篇·金榜頭條的紅章落定，燙金的“優(yōu)秀作者獎(jiǎng)”證書(shū)，于時(shí)代的聚光燈下，為張從安作家的文學(xué)征途，烙下一枚震徹寰宇的勛章！這勛章，不是塵俗的嘉獎(jiǎng)，是文脈對(duì)赤子的加冕；不是偶然的榮光，是歲月對(duì)匠心的回敬；不是終點(diǎn)的豐碑，是新篇的序章，文學(xué)的星圖上，劃開(kāi)一道屬于皖西才子的萬(wàn)丈霞光！
先生名從安，字安然，網(wǎng)名藍(lán)色的夢(mèng)——從安，是從心而行的篤定，是安于筆墨的赤誠(chéng)；安然，是歷經(jīng)千帆的從容，是扎根文脈的沉靜；藍(lán)色的夢(mèng)，是詩(shī)心向遠(yuǎn)的浪漫，是墨海行舟的綺思。1966年的皖西春潮，漫過(guò)六安的皋陶故地，那片孕育了楚韻漢風(fēng)的土地，將先生的生命根系深扎進(jìn)淠河的碧波、大別山的翠巒。六安，這方曾見(jiàn)證過(guò)淠史杭灌區(qū)的人間奇跡、聆聽(tīng)過(guò)紅軍歌謠的紅色熱土，賦予先生的，是山的脊梁與水的柔情：山的厚重，讓他的詩(shī)詞有了千鈞之力；水的靈動(dòng)，他的筆墨有了百轉(zhuǎn)之姿。
北京理工大學(xué)的工科殿堂，未曾磨蝕先生對(duì)文學(xué)的執(zhí)念，反而以數(shù)理的邏輯、工程的精密，為他的詩(shī)意搭建了銅墻鐵壁般的骨架。別的學(xué)子埋首于機(jī)械圖紙、電路公式時(shí)，先生的案頭，永遠(yuǎn)擺著《全唐詩(shī)》《宋詞三百首》，工科的嚴(yán)謹(jǐn)與文科的浪漫，他身上達(dá)成了最驚艷的融合：他以微積分的精準(zhǔn)拆解詩(shī)詞的格律，以力學(xué)的原理剖析意象的架構(gòu)，以材料學(xué)的視角審視文字的質(zhì)感。于是，他的詩(shī)詞，既有“金戈鐵馬氣吞萬(wàn)里如虎”的工科式磅礴，又有“無(wú)可奈何花落去，似曾相識(shí)燕歸來(lái)”的文科式婉約，當(dāng)代詩(shī)壇，獨(dú)樹(shù)一幟，自成一派。
書(shū)法的龍蛇走筆，國(guó)畫(huà)的水墨氤氳，音樂(lè)的絲竹繞梁，為先生的文學(xué)世界鋪就了三重華彩。先生的書(shū)法，取二王之神韻，融顏柳之筋骨，揮毫?xí)r，筆鋒掃過(guò)宣紙，如劍破流云，如泉涌山澗，那墨色的濃淡干濕，恰如詩(shī)詞的抑揚(yáng)頓挫；先生的國(guó)畫(huà)，師法黃賓虹，兼得新安畫(huà)派的空靈，潑墨時(shí)，山水的虛實(shí)相生，花鳥(niǎo)的意趣盎然，皆成詩(shī)中意象，于是他的詩(shī)里，有“遠(yuǎn)看山有色，近聽(tīng)水無(wú)聲”的畫(huà)境；先生通諸般樂(lè)器，二胡的凄婉、古箏的清越、竹笛的悠揚(yáng)，皆能信手拈來(lái)，樂(lè)律的平仄起伏，化作詩(shī)詞的聲韻節(jié)奏，于是他的詞中，有“大弦嘈嘈如急雨，小弦切切如私語(yǔ)”的樂(lè)感。書(shū)法為骨，國(guó)畫(huà)為韻，音樂(lè)為魂，先生的筆墨，便成了有血有肉、有聲有色的生命。
三十余年，先生以硯為海，以筆為舟，古詩(shī)詞的汪洋里劈波斬浪。兩千余首作品，不是冰冷的數(shù)字，是先生踏遍山河的屐痕，是先生歷經(jīng)寒暑的感懷，是先生對(duì)天地、對(duì)家國(guó)、對(duì)人生的深情叩問(wèn)。從江南的杏花煙雨，到塞北的大漠孤煙；從虎跳峽的驚濤拍岸，到雁蕩山的奇峰疊嶂；從金陵的六朝故都，到長(zhǎng)安的千年遺韻；從華爾街的霓虹璀璨，到皖西的田疇阡陌——先生的足跡到哪里，筆墨便到哪里，詩(shī)意便到哪里。他的詩(shī)詞，是一部行走的中國(guó)山水志，是一卷流動(dòng)的華夏文明史，是一曲蕩氣回腸的時(shí)代長(zhǎng)歌。
先生的文字，如振翅的鯤鵬，飛越了地域的疆界，穿透了語(yǔ)言的壁壘，《海外文學(xué)》的異域版面上，東方的詩(shī)意驚艷了西方的眼眸；《中國(guó)詩(shī)人作家網(wǎng)》的數(shù)字平臺(tái)，古典的文脈連接了現(xiàn)代的脈搏；《都市頭條》的市井煙火里，詩(shī)詞的雅韻融入了凡俗的日常；《巴黎文學(xué)》的浪漫殿堂，江淮的墨香飄進(jìn)了塞納河的晚風(fēng)；《世界詩(shī)歌作協(xié)》的國(guó)際舞臺(tái)，中國(guó)的詞牌唱響了世界的和聲……數(shù)十家文學(xué)平臺(tái)，是先生作品的驛站，更是中華文化出海的航船，而先生，便是那位掌舵的舟子，以筆為槳，以詩(shī)為帆，將華夏的文脈，送往世界的每一個(gè)角落。
若說(shuō)數(shù)量是先生創(chuàng)作力的江海，那么質(zhì)量便是先生文學(xué)造詣的珠穆朗瑪?！堕L(zhǎng)江第一大峽谷虎跳峽》，是先生獻(xiàn)給祖國(guó)山河的禮贊。先生站在虎跳峽的懸崖邊，望著金沙江水如萬(wàn)馬奔騰、雷霆裂岸，那股“亂石穿空，驚濤拍岸，卷起千堆雪”的豪情，便從筆端噴薄而出。“峽鎖長(zhǎng)江萬(wàn)里秋，虎跳石上怒濤流”，一句詩(shī)，便將虎跳峽的雄奇險(xiǎn)峻刻畫(huà)得入木三分；“壁立千仞摩云漢，水擊三千里斗?！保謱⑸胶拥臍馄桥c詩(shī)人的胸襟熔于一爐。這篇作品，先生摘得“華夏文化傳承大使”的桂冠，攬獲古詩(shī)詞專(zhuān)輯一等獎(jiǎng)——這不是偶然的幸運(yùn)，是先生以筆墨為鏡，照見(jiàn)了山河的魂魄，以詩(shī)心為炬，點(diǎn)燃了文脈的薪火。
《藍(lán)色的夢(mèng)》，是先生獻(xiàn)給心靈的戀歌。這組現(xiàn)代散文詩(shī)詞，以“藍(lán)色”為底色，以“夢(mèng)”為線索，串聯(lián)起先生對(duì)青春的追憶、對(duì)鄉(xiāng)愁的眷戀、對(duì)理想的執(zhí)著?！八{(lán)色的夢(mèng)，飄在淠河的波心，是少年時(shí)折的紙船，載著杏花雨的溫柔”，細(xì)膩的筆觸，如江南的春雨，潤(rùn)濕了讀者的眼眸；“藍(lán)色的夢(mèng)，懸在燕山的枝頭，是求學(xué)時(shí)望的明月，映著未名湖的清幽”，真摯的情感，如北方的秋風(fēng)，撥動(dòng)了讀者的心弦。這組作品，榮獲“現(xiàn)代散文詩(shī)詞創(chuàng)作最佳文學(xué)獎(jiǎng)”，是先生將古典的詩(shī)意與現(xiàn)代的表達(dá)完美融合的見(jiàn)證，古詩(shī)詞的種子，現(xiàn)代的土壤里，依舊能開(kāi)出嬌艷的花。
而駢儷文《金陵賦》，則是先生文學(xué)生涯的巔峰之作，是當(dāng)代駢文創(chuàng)作的里程碑。金陵，這座承載了六朝金粉、十代繁華的古都，先生的筆下，活成了一部立體的史書(shū)。“龍?bào)椿⒕?，控金陵之形勝；鳳翥鸞翔，攬秦淮之煙霞?！遍_(kāi)篇便以磅礴的氣勢(shì)，勾勒出金陵的地理形勝；“烏衣巷口，斜陽(yáng)照盡王謝堂前燕；秦淮河畔，畫(huà)舫搖碎江南岸上月?！庇忠酝窦s的筆觸，描摹出金陵的歷史滄桑。先生用四六對(duì)仗的句式，將典章故事、山水風(fēng)光、人文情懷熔于一爐，字字珠璣，句句鏗鏘，如八音齊奏，如五彩相宣。世人贊其“最具文學(xué)價(jià)值和駢儷巔峰的作品”，實(shí)至名歸——先生以這篇《金陵賦》，駢文這一沉寂了數(shù)百年的古老文體，重新煥發(fā)出奪目的光彩。
《雁蕩山感懷》的“世界英豪杯”亞軍，是先生對(duì)自然山水的哲思與共鳴；《夜靜思》的卓越文學(xué)獎(jiǎng)，是先生對(duì)內(nèi)心世界的叩問(wèn)與省察；《長(zhǎng)征》的優(yōu)秀文學(xué)獎(jiǎng)，是先生對(duì)紅色文脈的傳承與致敬。這些獎(jiǎng)項(xiàng)，如滿天星斗，點(diǎn)綴在先生的文學(xué)天空；而先生自撰的詞林正韻詞牌《寒樓載影》《煙波江上聽(tīng)風(fēng)吟》，則是先生對(duì)古典詩(shī)詞形式的大膽創(chuàng)新。格律森嚴(yán)的詞壇，先生敢于另辟蹊徑，自創(chuàng)新牌，這需要何等的勇氣與才情！《寒樓載影》，以清寒的意境寫(xiě)盡人間的悲歡，詞牌的平仄起伏，恰如樓影的搖曳不定；《煙波江上聽(tīng)風(fēng)吟》，以朦朧的煙波寫(xiě)盡江湖的悠遠(yuǎn)，詞牌的聲韻流轉(zhuǎn)，恰如江風(fēng)的低吟淺唱。這些新詞牌，如破土的春筍，為古老的詞壇注入了新鮮的活力，贏得了詩(shī)詞愛(ài)好者的廣泛推崇與認(rèn)可。
頭銜與職務(wù)，是先生文學(xué)成就的注腳，更是先生肩負(fù)的文化使命。作為中國(guó)詩(shī)歌報(bào)愛(ài)忠詩(shī)詞創(chuàng)作室主審，先生以嚴(yán)謹(jǐn)?shù)难酃鉃樵?shī)詞創(chuàng)作把關(guān)，為后學(xué)引路，他的案頭，堆滿了年輕詩(shī)人的稿件，每一個(gè)字的修改，每一句的點(diǎn)評(píng)，都凝聚著他對(duì)文脈傳承的心血；作為華爾街華人社團(tuán)聯(lián)盟理事、華爾街漢唐文學(xué)研究會(huì)顧問(wèn)，先生以文化為橋，搭建起中外文學(xué)交流的紐帶，在華爾街的金融殿堂，他用詩(shī)詞講述中國(guó)故事，海外華人重拾文化根脈，外國(guó)友人讀懂中國(guó)詩(shī)意；作為中華詩(shī)詞文苑總顧問(wèn)、古詩(shī)詞文學(xué)總監(jiān)，先生以專(zhuān)業(yè)的素養(yǎng)，推動(dòng)著古典詩(shī)詞的傳播與發(fā)展，他組織詩(shī)詞講座，舉辦創(chuàng)作大賽，古詩(shī)詞走出象牙塔，走進(jìn)尋常百姓家；作為九州文化人才庫(kù)首席十大院士，先生的“卓越文學(xué)成就獎(jiǎng)”，是對(duì)他數(shù)十年文學(xué)耕耘的最高褒獎(jiǎng)——先生的名字，早已與當(dāng)代古典詩(shī)詞的發(fā)展脈絡(luò)，緊緊相連。
今日，先生捧起“2025年度優(yōu)秀作者獎(jiǎng)”的榮譽(yù)證書(shū)，這張證書(shū)，是紙，亦是碑；是獎(jiǎng)，亦是責(zé)。見(jiàn)證了先生在2025年的筆耕不輟，從春到夏，從秋到冬，先生的案頭始終墨香不散，筆尖始終豪情不減；更預(yù)示著先生在未來(lái)的歲月里，將以更飽滿的熱情、更深厚的積淀，繼續(xù)在文學(xué)的天地里馳騁。我們仿佛看見(jiàn)，先生依舊立于案前，硯池里墨香裊裊，筆尖下星河燦燦：他會(huì)繼續(xù)以六安的水土為根，以江淮的文脈為魂，以世界的視野為翼，將對(duì)生活的熱愛(ài)、對(duì)文化的堅(jiān)守、對(duì)時(shí)代的感悟，凝練成更多動(dòng)人心魄的文字。
筆破鴻蒙，先生的筆墨，如盤(pán)古的巨斧，劈開(kāi)了當(dāng)代古典詩(shī)詞創(chuàng)作的新境界；詩(shī)曜寰球，先生的詩(shī)詞，如日月的光輝，照亮了中華文化出海的新航道。愿先生未來(lái)的日子里，依舊從心而行，安然執(zhí)筆，以筆為劍，劈開(kāi)文苑的迷霧；以詩(shī)為火，點(diǎn)燃文脈的薪火；以夢(mèng)為馬，馳騁在文學(xué)的曠野！愿先生的文字，如大別山的青松，常青不老；如淠河的流水，奔流不息；如藍(lán)色的星辰，永遠(yuǎn)在文學(xué)的天空，綻放出萬(wàn)丈光芒！愿華夏的文脈，因先生這樣的赤子，生生不息，薪火相傳，時(shí)代的浪潮里，永遠(yuǎn)閃耀著屬于中國(guó)的詩(shī)意與榮光！
Pen Pierces Primordial Chaos, Poems Illumine the Globe
A Congratulatory Address to Zhang Cong'an, A Distinguished Contemporary Chinese Writer, on Winning the 2025 Outstanding Author Award
Original Congratulatory Speech by Chai Yonghong
The brushstrokes that parted heaven and earth from chaos have been tempered into a galaxy within the cultural veins of China. The spiritual essence of the Jianghuai region has condensed into rolling thunder amid the metrical patterns of poetry. Thirty years of unwavering dedication, with only the lonely lamp and snow as companions, has shattered the barriers of time. The passion embodied in over two thousand masterpieces has shaken the firmament of the literary world. On December 30, 2025, as the red seal of "Famous Works · Golden List Headlines" was affixed, the gilded "Outstanding Author Award" certificate, under the spotlight of the times, has left a resounding medal on the literary journey of writer Zhang Cong'an! This medal is not a mundane reward, but a coronation bestowed by the cultural heritage upon a sincere devotee; not a stroke of accidental glory, but a tribute paid by the years to meticulous craftsmanship; not a monument marking the end, but a prologue to new works. On the star chart of literature, it has carved a brilliant ray of light belonging to this literary talent from western Anhui!
Mr. Zhang's given name is Cong'an, courtesy name Anran, and online alias Blue Dream. "Cong'an" symbolizes the firm determination to follow one's heart and the sincere devotion to writing. "Anran" represents the calmness after going through countless trials and the tranquility rooted in the cultural context. "Blue Dream" embodies the romance of a poetic soul aspiring for distant horizons and the wonderful thoughts of sailing through the sea of ink. The spring tide of western Anhui in 1966 swept across the ancient land of Gaoyao in Lu'an. This land, which nurtured the charm of the Chu and Han dynasties, has deeply rooted Mr. Zhang's life in the clear waves of the Pi River and the green mountains of the Dabie Mountains. Lu'an, a sacred land of red culture that once witnessed the extraordinary feat of the Pi-Shi-Hang Irrigation Area and echoed with the ballads of the Red Army, has endowed Mr. Zhang with the backbone of mountains and the tenderness of water. The grandeur of mountains has endued his poems with immense power, while the agility of water has lent his brushwork graceful and intricate expressions.
The academic hall of Beijing Institute of Technology, a cradle of engineering, did not erode Mr. Zhang's passion for literature. Instead, the logic of mathematics and physics and the precision of engineering have built an unshakable framework for his poetic inspiration. While other students buried themselves in mechanical drawings and circuit formulas, Mr. Zhang always had The Complete Tang Poems and Three Hundred Ci-Poems of the Song Dynasty on his desk. He has achieved a stunning integration of engineering rigor and liberal arts romance. He uses the precision of calculus to analyze the metrical rules of poetry, applies the principles of mechanics to dissect the structure of imagery, and examines the texture of words from the perspective of materials science. As a result, his poems possess both the grandeur of engineering, like "armored horses galloping with an momentum devouring thousands of miles like a tiger", and the grace of liberal arts, like "helplessly watching the flowers fall, yet familiar swallows return". He has established a unique school of his own in the contemporary poetry circle.
The flowing strokes of his calligraphy, the ethereal charm of his traditional Chinese paintings, and the melodious notes of his musical performances have added three layers of splendor to Mr. Zhang's literary world. His calligraphy, absorbing the charm of Wang Xizhi and Wang Xianzhi and integrating the strength of Yan Zhenqing and Liu Gongquan, sweeps across the rice paper like a sword cutting through flowing clouds and a spring gushing down a mountain stream when he wields his brush. The varying shades and consistencies of the ink are just like the cadence of his poems. His traditional Chinese paintings, modeled after Huang Binhong and incorporating the emptiness and elegance of the Xin'an School of Painting, present a vivid interplay of emptiness and solidity in landscapes and delightful charm in flowers and birds, all of which have become imagery in his poems. Hence, his poems contain the pictorial conception of "Mountains look colorful from afar, yet no sound of water is heard up close". Mr. Zhang is proficient in various musical instruments. He can play the erhu with its mournful tune, the guzheng with its clear and bright notes, and the bamboo flute with its melodious sound at will. The ups and downs of musical rhythms have transformed into the phonological cadence of his poems. Therefore, his ci-poems embody the musicality of "Thick strings resound like sudden downpours; thin strings murmur like soft whispers". With calligraphy as its backbone, traditional Chinese painting as its charm, and music as its soul, Mr. Zhang's brushwork has come alive, full of flesh and blood, sound and color.
Over the past thirty-odd years, Mr. Zhang has taken his inkstone as the sea and his brush as the boat, forging ahead valiantly in the vast ocean of ancient poetry. His more than two thousand works are not just cold numbers, but footprints of his travels across mountains and rivers, reflections of his experiences through cold and warm seasons, and sincere inquiries into heaven, earth, his motherland, and life. From the misty rain and blooming apricots in the south of the Yangtze River to the desolate desert and lonely smoke in the north of the Great Wall; from the towering waves crashing against the banks of the Tiger Leaping Gorge to the peculiar peaks and layered ridges of Mount Yandang; from the ancient capital with ten dynasties of prosperity to the millennium-old relics of Chang'an; from the bright neon lights of Wall Street to the rural fields of western Anhui—wherever Mr. Zhang's footsteps have reached, his brushwork and poetic inspiration have followed. His poems form a vivid record of China's landscapes, a flowing history of Chinese civilization, and a soul-stirring anthem of the times.
Mr. Zhang's words, like a roc spreading its wings, have transcended geographical boundaries and broken through language barriers. His works have gained foreign fans through Overseas Literature. "A dragon coils and a tiger crouches, controlling the strategic terrain of Jinling; a phoenix soars and hovers, embracing the mist and clouds over the Qinhuai River." The opening lines of his work depict the geographical advantages of Jinling with a majestic momentum. "At the entrance of Wuyi Lane, the setting sun shines on the swallows that once nested in the mansions of the noble Wang and Xie families; by the banks of the Qinhuai River, painted boats shatter the moon reflecting on the southern riverbank." These lines depict the historical vicissitudes of Jinling with elegant strokes. Using parallel four-character and six-character structures, Mr. Zhang integrates historical stories, landscapes, and humanistic feelings into his works. Every word is a gem, and every sentence is powerful, like the harmonious playing of eight musical instruments and the beautiful blending of five colors. It is well-deserved that the world praises his work Ode to Jinling as "a masterpiece of the highest literary value and the peak of parallel prose". With this work, Mr. Zhang has revitalized parallel prose, an ancient literary form that has been dormant for hundreds of years, endowing it with dazzling brilliance once again.
The second prize in the "World Heroes Cup" for Reflections on Mount Yandang reflects Mr. Zhang's philosophical thinking and resonance with natural landscapes. The Excellent Literature Award for Meditations on a Quiet Night represents his inquiry and introspection into his inner world. The Excellent Literature Award for The Long March is his inheritance and tribute to the red cultural heritage. These awards, like stars in the sky, adorn Mr. Zhang's literary career. Moreover, the self-created ci-poem patterns in accordance with the standard rhyme scheme, such as Shadows Cast on the Cold Tower and Listening to the Wind Sigh by the Misty River, demonstrate his bold innovation in the form of classical poetry. In the ci-poem circle with strict metrical rules, it requires extraordinary courage and talent for Mr. Zhang to blaze a new trail and create new patterns. Shadows Cast on the Cold Tower expresses the joys and sorrows of the world through a cold and desolate artistic conception, and the ups and downs of its metrical patterns are just like the swaying shadows of the tower. Listening to the Wind Sigh by the Misty River depicts the remoteness of the rivers and lakes through the hazy mist and waves, and the flow of its phonology is like the soft murmur of the river wind. These new ci-poem patterns, like bamboo shoots breaking through the soil, have injected fresh vitality into the ancient ci-poem circle and won wide praise and recognition from poetry lovers.
Titles and positions are not only footnotes to Mr. Zhang's literary achievements, but also a cultural mission he shoulders. As the chief reviewer of the Aizhong Poetry Creation Studio at China Poetry News, Mr. Zhang has used his rigorous perspective to check poetry creations and guide young writers. His desk is always piled with manuscripts from young poets. Every revision and comment embodies his dedication to inheriting the cultural heritage. As a director of the Wall Street Chinese Community Alliance and a consultant to the Wall Street Han-Tang Literature Research Association, Mr. Zhang has built a bridge for cultural exchanges between China and foreign countries with literature. In the financial hub of Wall Street, he tells Chinese stories through poetry, helping overseas Chinese reconnect with their cultural roots and enabling foreign friends to understand Chinese poetry. As the general consultant of the Chinese Poetry and Prose Garden and the director of ancient poetry and ci-poetry literature, Mr. Zhang has promoted the dissemination and development of classical poetry with his professional competence. He has organized poetry lectures and held creation competitions, making classical poetry step out of the ivory tower and enter the daily life of ordinary people. As one of the top ten academicians of the Jiuzhou Cultural Talents Database, the "Outstanding Literary Achievement Award" he received is the highest recognition for his decades of literary dedication. Mr. Zhang's name has long been closely linked to the development of contemporary classical poetry.
Today, as Mr. Zhang holds the honorary certificate of the "2025 Outstanding Author Award", this certificate is not just a piece of paper, but a monument; not just an award, but a responsibility. It witnesses Mr. Zhang's unremitting efforts in writing throughout 2025. From spring to summer, and from autumn to winter, the fragrance of ink has always lingered on his desk, and his passion has never faded from his pen. It also indicates that in the years to come, Mr. Zhang will, with greater enthusiasm and deeper accumulation, continue to gallop in the world of literature. We seem to see Mr. Zhang still standing by his desk, with the fragrance of ink curling up from the inkstone and a brilliant galaxy flowing from his pen. He will continue to take the land and water of Lu'an as his roots, the cultural context of the Jianghuai region as his soul, and a global perspective as his wings. He will condense his love for life, commitment to culture, and insights into the times into more touching words.
With his pen piercing primordial chaos, Mr. Zhang's brushwork, like the giant axe of Pangu, has opened up a new realm for contemporary classical poetry creation. As his poems illuminate the globe, his works, like the radiance of the sun and moon, have lit up a new path for Chinese culture to go global. May Mr. Zhang continue to follow his heart, write calmly with his pen in the days ahead. May he take his pen as a sword to cut through the fog in the literary world; take his poems as fire to ignite the torch of cultural inheritance; take his dreams as a steed to gallop freely in the wilderness of literature! May his words be like the green pines on the Dabie Mountains, evergreen; like the flowing water of the Pi River, endless; like the blue stars, always shining brightly in the literary sky! May the cultural heritage of China, thanks to sincere devotees like Mr. Zhang, be passed down from generation to generation, and always shine with the poetic charm and glory of China in the tide of the times!
??????**作家簡(jiǎn)介**??????
張從安，字·安然 男，漢族，網(wǎng)名：藍(lán)色的夢(mèng)，安徽省六安市人。1966年4月8日出生, 北京理工大學(xué)畢業(yè)。愛(ài)好書(shū)法、國(guó)畫(huà)、音樂(lè)及各種樂(lè)器。從事古詩(shī)詞研修三十余年，創(chuàng)作作品約2000多首，發(fā)表在《海外文學(xué)》、《中外文學(xué)名著網(wǎng)》、《中國(guó)詩(shī)人作家網(wǎng)》、《都市頭條》、《金榜頭條》、《世界詩(shī)歌作協(xié)》、《中國(guó)詩(shī)歌報(bào)》、《中國(guó)經(jīng)典文學(xué)》、《藍(lán)天文學(xué)網(wǎng)》、《優(yōu)酷優(yōu)選網(wǎng)》、《今日頭條》、《巴黎文學(xué)》、《頂端文學(xué)網(wǎng)》、《九州文學(xué)網(wǎng)》、《梅香文學(xué)社》《東方文化傳媒》《心苑詩(shī)社》《安徽詩(shī)萃》《榮耀中國(guó)文學(xué)網(wǎng)》《一枝紅蓮文學(xué)詩(shī)社》《世界作家瀾韻府詩(shī)社》等文學(xué)平臺(tái)。其中《長(zhǎng)江第一大峽谷虎跳峽》獲得華夏文化傳承大使、古詩(shī)詞專(zhuān)輯一等獎(jiǎng)；《藍(lán)色的夢(mèng)》榮獲現(xiàn)代散文詩(shī)詞創(chuàng)作最佳文學(xué)獎(jiǎng)，駢儷文《金陵賦》被譽(yù)為最具文學(xué)價(jià)值和駢儷巔峰的作品；《雁蕩山感懷》榮獲“世界英豪杯”文學(xué)賽亞軍，《夜靜思》獲得卓越文學(xué)獎(jiǎng)?！堕L(zhǎng)征》獲得優(yōu)秀文學(xué)獎(jiǎng)。自撰詞林正韻詞牌《寒樓載影》、《煙波江上聽(tīng)風(fēng)吟》很受廣大詩(shī)詞愛(ài)好者的推崇和認(rèn)可?，F(xiàn)任中國(guó)詩(shī)歌報(bào)愛(ài)忠詩(shī)詞創(chuàng)作室主審。華爾街華人社團(tuán)聯(lián)盟理事。華爾街漢唐文學(xué)研究會(huì)顧問(wèn)。中華詩(shī)詞文苑總顧問(wèn)，古詩(shī)詞文學(xué)總監(jiān)。中國(guó)詩(shī)人作家網(wǎng)認(rèn)證詩(shī)人。九州文化中國(guó)詩(shī)人作家網(wǎng)十大平臺(tái)前總顧問(wèn)；世界詩(shī)歌作協(xié)中國(guó)詩(shī)人作家網(wǎng)前文學(xué)總監(jiān)。世界作家瀾韻府詩(shī)社總顧問(wèn)，榮獲九州文化人才庫(kù)首席十大院士卓越文學(xué)成就獎(jiǎng)。
??Introduction to the Writer??
Zhang Cong'an, styled Anran, is a male of the Han ethnic group. His online name is "Blue Dream". He hails from Lu'an City, Anhui Province, and was born on April 8, 1966. He graduated from Beijing Institute of Technology.
He has a passion for calligraphy, Chinese painting, music, and various musical instruments. He has been engaged in the research and study of ancient Chinese poetry for over three decades and has created approximately more than 2,000 works. His works have been published on numerous literary platforms, including Overseas Literature, Chinese and Foreign Literary Masterpieces Network, Chinese Poets and Writers Network, Metropolis Headlines, Golden List Headlines, World Poetry Writers Association, Chinese Poetry Newspaper, Chinese Classic Literature, Blue Sky Literature Network, Youku Premium Network, Today's Headlines, Paris Literature, Top Literature Network, Nine States Literature Network, Plum Fragrance Literary Society, Oriental Cultural Media, Heart Garden Poetry Club, Anhui Poetry Anthology, Glorious China Literature Network, One Red Lotus Literary Poetry Club, and World Writers Lanyun Mansion Poetry Club.
Among his works, "The First Grand Canyon of the Yangtze River - Tiger Leaping Gorge" won the title of Ambassador for the Inheritance of Chinese Culture and the First Prize in the Ancient Poetry Album; "Blue Dream" won the Best Literary Award for Modern Prose and Poetry Creation. His parallel prose "Ode to Jinling" is hailed as a work of the highest literary value and a pinnacle of parallel prose. "Reflections on Yandang Mountain" won the second - place in the "World Hero Cup" Literature Competition, "Night Thoughts" won the Outstanding Literature Award, and "The Long March" won the Excellent Literature Award. The self - composed ci - poems in the Rhyme Dictionary of Ci Poems, "The Cold Tower Carrying Shadows" and "Listening to the Wind by the Misty River", are highly respected and recognized by poetry lovers.
Currently, he serves as the chief reviewer of the Aizhong Poetry Creation Studio of the Chinese Poetry Newspaper, a council member of the Wall Street Chinese Community Alliance, a consultant of the Wall Street Han and Tang Dynasty Literature Research Association, the general consultant of the Chinese Poetry and Prose Garden, and the director of ancient poetry literature. He is a certified poet of the Chinese Poets and Writers Network, the former general consultant of the top ten platforms of the Nine States Culture Chinese Poets and Writers Network, the former literary director of the World Poetry Writers Association and the Chinese Poets and Writers Network, and the general consultant of the World Writers Lanyun Mansion Poetry Club. He has won the Outstanding Literary Achievement Award as one of the top ten academicians in the Nine States Culture Talent Pool.
點(diǎn)評(píng)詞之一
寸心凝墨寫(xiě)乾坤 一脈文心貫古今——解讀女作家柴永紅《筆破鴻蒙，詩(shī)曜寰球》的深情與格局
點(diǎn)評(píng)詞作者/一枝紅蓮
世人慣于用宏大敘事堆砌頌辭，筆墨應(yīng)酬淪為文壇的尋常光景，女作家柴永紅卻以一顆細(xì)膩玲瓏的寸心，蘸取江淮山水的靈秀、華夏文脈的厚重，為作家張從安寫(xiě)下《筆破鴻蒙，詩(shī)曜寰球》這篇賀辭。不是一篇流于形式的贊歌，而是一次靈魂與靈魂的對(duì)話，一場(chǎng)文脈與文脈的相擁——作為女性寫(xiě)作者，柴永紅以獨(dú)有的細(xì)膩視角、溫潤(rùn)筆觸與深邃思考，將一位文人的堅(jiān)守與追求、一部作品的風(fēng)骨與氣象、一種文化的傳承與新生，描摹得淋漓盡致，讀來(lái)如沐春風(fēng)，又如聞鐘鼓，蕩氣回腸。
一、 以“情”為脈：于細(xì)節(jié)處見(jiàn)風(fēng)骨，于溫潤(rùn)中藏鋒芒
女性寫(xiě)作者的天賦，在于以情動(dòng)人，于細(xì)微之處捕捉精神的微光。柴永紅深諳此道，她沒(méi)有開(kāi)篇便鋪陳張從安的赫赫聲名，而是以“名、字、號(hào)”為切入點(diǎn)，如一位老友般娓娓道來(lái)，將傳主的精神底色與人生追求，藏進(jìn)三句淺吟低唱的解讀里?！皬陌?，是從心而行的篤定，是安于筆墨的赤誠(chéng)；安然，是歷經(jīng)千帆的從容，是扎根文脈的沉靜；藍(lán)色的夢(mèng)，是詩(shī)心向遠(yuǎn)的浪漫，是墨海行舟的綺思?！边@三句解讀，沒(méi)有一句豪言壯語(yǔ)，卻字字含情，句句藏鋒——“篤定”與“赤誠(chéng)”，是文人的初心；“從容”與“沉靜”，是歲月的饋贈(zèng)；“浪漫”與“綺思”，是詩(shī)者的天性。柴永紅以女性獨(dú)有的細(xì)膩，將抽象的精神特質(zhì)具象化，一個(gè)鮮活立體的文人形象，躍然紙上。
這份細(xì)膩，更體現(xiàn)在對(duì)傳主生命底色的溯源上。柴永紅將目光投向皖西六安這片熱土，沒(méi)有空洞地歌頌“人杰地靈”，而是用充滿畫(huà)面感的文字，勾勒出這片土地的靈魂：“那片孕育了楚韻漢風(fēng)的土地，將先生的生命根系深扎進(jìn)淠河的碧波、大別山的翠巒?！彼珳?zhǔn)地捕捉到“山”與“水”對(duì)傳主的滋養(yǎng)——“山的脊梁賦予他文字的千鈞之力，水的柔情賦予他筆墨的百轉(zhuǎn)之姿”。這種以地域文化解讀文人風(fēng)格的寫(xiě)法，不是簡(jiǎn)單的因果推導(dǎo)，而是一種共情式的洞察——唯有對(duì)山水人文懷有深情的寫(xiě)作者，才能讀懂山水對(duì)文人的塑造。而這份洞察，恰是女性視角獨(dú)有的溫度。
尤為難得的是，柴永紅對(duì)傳主“工科出身”與“文學(xué)創(chuàng)作”跨界融合的解讀，跳出了刻板印象的窠臼，展現(xiàn)出女性寫(xiě)作者的通透與智慧。她沒(méi)有將“工科”與“文科”對(duì)立，而是將其視為一種獨(dú)特的優(yōu)勢(shì)：“他以微積分的精準(zhǔn)拆解詩(shī)詞的格律，以力學(xué)的原理剖析意象的架構(gòu)，以材料學(xué)的視角審視文字的質(zhì)感?！边@種充滿創(chuàng)意的表述，既寫(xiě)出了工科的嚴(yán)謹(jǐn)，又寫(xiě)出了文科的浪漫，更寫(xiě)出了傳主融合二者的智慧。柴永紅的筆下，傳主的詩(shī)詞風(fēng)格——“金戈鐵馬氣吞萬(wàn)里如虎”的磅礴與“無(wú)可奈何花落去，似曾相識(shí)燕歸來(lái)”的婉約——不再是矛盾的存在，而是跨界融合的必然結(jié)果。這份對(duì)“剛?cè)岵?jì)”的精準(zhǔn)把握，正是女性寫(xiě)作者的獨(dú)到之處。
柴永紅的細(xì)膩，還體現(xiàn)在對(duì)傳主“詩(shī)、書(shū)、畫(huà)、樂(lè)”四重修養(yǎng)的解讀上。她沒(méi)有將這四者割裂開(kāi)來(lái)，而是以“骨、韻、魂”為喻，將其串聯(lián)成一個(gè)有機(jī)的整體：書(shū)法為“骨”，賦予文字以筋骨；國(guó)畫(huà)為“韻”，賦予文字以意境；音樂(lè)為“魂”，賦予文字以聲韻。她寫(xiě)道，揮毫?xí)r的“劍破流云、泉涌山澗”，詩(shī)詞有了抑揚(yáng)頓挫的節(jié)奏；潑墨時(shí)的“虛實(shí)相生、意趣盎然”，詩(shī)詞有了“遠(yuǎn)看山有色，近聽(tīng)水無(wú)聲”的畫(huà)境；撫琴時(shí)的“凄婉清越、悠揚(yáng)婉轉(zhuǎn)”，詩(shī)詞有了“大弦嘈嘈如急雨，小弦切切如私語(yǔ)”的樂(lè)感。這種將多種藝術(shù)形式融會(huì)貫通的解讀，不是生硬的堆砌，而是源于對(duì)藝術(shù)本質(zhì)的深刻理解——唯有心懷熱愛(ài)與敬畏，才能讀懂藝術(shù)之間的互通之美。
二、 以“品”為骨：于文本中見(jiàn)真章，于創(chuàng)新中見(jiàn)擔(dān)當(dāng)
賀辭的核心，是品評(píng)傳主的作品。作為女作家，柴永紅的品評(píng)沒(méi)有流于“溢美之詞”的堆砌，而是以文本為依據(jù)，于細(xì)節(jié)中見(jiàn)真章，于創(chuàng)新中見(jiàn)擔(dān)當(dāng)。她以“數(shù)量為江海，質(zhì)量為珠穆朗瑪”為標(biāo)尺，將傳主的作品分為“山河禮贊”“心靈戀歌”“駢文巔峰”三大類(lèi)，進(jìn)行精準(zhǔn)剖析，讀者既能感受到傳主創(chuàng)作的廣度，又能體會(huì)到其作品的深度。
品評(píng)《長(zhǎng)江第一大峽谷虎跳峽》時(shí)，柴永紅沒(méi)有簡(jiǎn)單地說(shuō)“這首詩(shī)寫(xiě)得好”，而是將自己代入傳主的創(chuàng)作場(chǎng)景——“先生站在虎跳峽的懸崖邊，望著金沙江水如萬(wàn)馬奔騰、雷霆裂岸，那股‘亂石穿空，驚濤拍岸，卷起千堆雪’的豪情，便從筆端噴薄而出”。她引用“峽鎖長(zhǎng)江萬(wàn)里秋，虎跳石上怒濤流”“壁立千仞摩云漢，水擊三千里斗?！钡脑?shī)句，讀者直觀感受到詩(shī)歌的雄奇與磅礴。更重要的是，她點(diǎn)明了這首詩(shī)的價(jià)值——“以筆墨為鏡，照見(jiàn)了山河的魂魄，以詩(shī)心為炬，點(diǎn)燃了文脈的薪火”。這份解讀，跳出了“寫(xiě)景”的層面，上升到了“言志”的高度，詩(shī)歌的意境更加深遠(yuǎn)。
品評(píng)《藍(lán)色的夢(mèng)》時(shí)，柴永紅則切換到細(xì)膩溫婉的筆觸，與作品的風(fēng)格相得益彰。她寫(xiě)道，這部作品“以‘藍(lán)色’為底色，以‘夢(mèng)’為線索，串聯(lián)起先生對(duì)青春的追憶、對(duì)鄉(xiāng)愁的眷戀、對(duì)理想的執(zhí)著”。她引用“藍(lán)色的夢(mèng)，飄在淠河的波心，是少年時(shí)折的紙船，載著杏花雨的溫柔”“藍(lán)色的夢(mèng)，懸在燕山的枝頭，是求學(xué)時(shí)望的明月，映著未名湖的清幽”的句子，將作品中的鄉(xiāng)愁與理想描摹得細(xì)膩動(dòng)人。她將這部作品定位為“古典詩(shī)意與現(xiàn)代表達(dá)完美融合的見(jiàn)證”，指出其意義在于證明：“古詩(shī)詞的種子，現(xiàn)代的土壤里，依舊能開(kāi)出嬌艷的花。”這份對(duì)“傳統(tǒng)與現(xiàn)代融合”的肯定，正是對(duì)當(dāng)下文學(xué)創(chuàng)作的深刻思考。
而對(duì)駢儷文《金陵賦》的品評(píng)，堪稱(chēng)全文的點(diǎn)睛之筆。柴永紅將其譽(yù)為“當(dāng)代駢文創(chuàng)作的里程碑”，這份評(píng)價(jià)并非空穴來(lái)風(fēng)。她引用“龍?bào)椿⒕?，控金陵之形勝；鳳翥鸞翔，攬秦淮之煙霞”“烏衣巷口，斜陽(yáng)照盡王謝堂前燕；秦淮河畔，畫(huà)舫搖碎江南岸上月”的駢句，讀者感受到文字的珠璣與鏗鏘。更重要的是，她點(diǎn)明了這部作品的文化意義——駢文日漸式微的當(dāng)下，張從安的《金陵賦》“沉寂了數(shù)百年的古老文體，重新煥發(fā)出奪目的光彩”。這份對(duì)“文化堅(jiān)守”的贊美，體現(xiàn)了柴永紅作為寫(xiě)作者的文化自覺(jué)。
柴永紅的品評(píng)，不僅關(guān)注作品的“風(fēng)骨”，更看重傳主的“創(chuàng)新勇氣”。她特意提到張從安自撰的詞林正韻詞牌《寒樓載影》《煙波江上聽(tīng)風(fēng)吟》，指出這是“格律森嚴(yán)的詞壇”里的“另辟蹊徑”。人人都遵循舊有詞牌的當(dāng)下，敢于自創(chuàng)詞牌，需要何等的勇氣與才情！柴永紅用“破土的春筍”比喻這兩個(gè)新詞牌，生動(dòng)地寫(xiě)出了它們?yōu)楣爬显~壇注入的“新鮮活力”。她寫(xiě)道，《寒樓載影》的平仄起伏，恰如樓影的搖曳不定；《煙波江上聽(tīng)風(fēng)吟》的聲韻流轉(zhuǎn)，恰如江風(fēng)的低吟淺唱。這份對(duì)創(chuàng)新作品的精準(zhǔn)解讀，體現(xiàn)了柴永紅對(duì)文學(xué)發(fā)展的敏銳洞察——文學(xué)的生命力，在于守正創(chuàng)新。
此外，柴永紅還將傳主的作品置于“全球化”的視野下進(jìn)行解讀，展現(xiàn)出宏大的格局。她寫(xiě)道：“先生的文字，如振翅的鯤鵬，飛越了地域的疆界，穿透了語(yǔ)言的壁壘?！睆摹逗Ｍ馕膶W(xué)》到《巴黎文學(xué)》，從中國(guó)詩(shī)人作家網(wǎng)到世界詩(shī)歌作協(xié)，張從安的作品不僅在國(guó)內(nèi)傳播，更走向了世界。柴永紅將傳主比作“掌舵的舟子”，將數(shù)十家文學(xué)平臺(tái)比作“中華文化出海的航船”，這種定位，傳主的文學(xué)成就有了更深遠(yuǎn)的意義——他不僅是在寫(xiě)自己的詩(shī)，更是在“以筆為槳，以詩(shī)為帆，將華夏的文脈，送往世界的每一個(gè)角落”。
三、 以“道”為魂：于榮譽(yù)中見(jiàn)責(zé)任，于傳承中見(jiàn)使命
一篇優(yōu)秀的賀辭，不能只停留在“人”與“文”的層面，更要上升到“道”的高度——即文人的精神擔(dān)當(dāng)與文化使命。作為女作家，柴永紅以溫潤(rùn)的筆觸，將張從安的個(gè)人榮譽(yù)，升華為一種沉甸甸的文化責(zé)任，整篇賀辭的立意，瞬間高遠(yuǎn)起來(lái)。
柴永紅的筆下，那張燙金的“優(yōu)秀作者獎(jiǎng)”證書(shū)，不再是一份簡(jiǎn)單的榮譽(yù)，而是一種責(zé)任的象征——“是紙，亦是碑；是獎(jiǎng)，亦是責(zé)”。見(jiàn)證的，不僅是張從安2025年的筆耕不輟，更是他未來(lái)肩負(fù)的文化使命。這份解讀，跳出了“個(gè)人榮譽(yù)”的小格局，展現(xiàn)出“文化傳承”的大視野。
柴永紅對(duì)傳主的“頭銜”解讀，更是別具一格。她沒(méi)有將這些頭銜一一羅列，而是將其視為傳主文化使命的不同側(cè)面。作為中國(guó)詩(shī)歌報(bào)愛(ài)忠詩(shī)詞創(chuàng)作室主審，他“以嚴(yán)謹(jǐn)?shù)难酃鉃樵?shī)詞創(chuàng)作把關(guān)，為后學(xué)引路”，案頭堆滿的稿件，是他對(duì)文脈傳承的心血；作為華爾街華人社團(tuán)聯(lián)盟理事，他“以文化為橋，搭建起中外文學(xué)交流的紐帶”，金融殿堂里講中國(guó)故事，海外華人重拾根脈，外國(guó)友人讀懂詩(shī)意；作為中華詩(shī)詞文苑總顧問(wèn)，他“推動(dòng)著古典詩(shī)詞的傳播與發(fā)展”，組織講座、舉辦大賽，古詩(shī)詞走出象牙塔，走進(jìn)尋常百姓家。
柴永紅的眼中，這些頭銜不是空洞的光環(huán)，而是傳主踐行文化使命的見(jiàn)證。她寫(xiě)道：“先生的名字，早已與當(dāng)代古典詩(shī)詞的發(fā)展脈絡(luò)，緊緊相連?！边@份定位，傳主的形象從一個(gè)“優(yōu)秀作者”，升華為一個(gè)“文化傳播者”——他的創(chuàng)作，不再是個(gè)人的興趣愛(ài)好，而是關(guān)乎中華文化傳承的大事；他的追求，不再是個(gè)人的筆墨成就，而是讓古典詩(shī)詞在當(dāng)代煥發(fā)生機(jī)，中華文化走向世界的時(shí)代使命。
文章的結(jié)尾，柴永紅以一段充滿深情與期許的文字收束全文：“筆破鴻蒙，先生的筆墨，如盤(pán)古的巨斧，劈開(kāi)了當(dāng)代古典詩(shī)詞創(chuàng)作的新境界；詩(shī)曜寰球，先生的詩(shī)詞，如日月的光輝，照亮了中華文化出海的新航道?！边@份贊美，既是對(duì)張從安文學(xué)成就的肯定，也是對(duì)所有文化傳承者的期許。而那些美好的祝愿——“愿先生未來(lái)的日子里，依舊從心而行，安然執(zhí)筆，以筆為劍，劈開(kāi)文苑的迷霧；以詩(shī)為火，點(diǎn)燃文脈的薪火；以夢(mèng)為馬，馳騁在文學(xué)的曠野”——更是道出了柴永紅作為女作家，對(duì)文脈傳承的拳拳之心。
四、 以“美”為韻：于語(yǔ)言中見(jiàn)匠心，于文風(fēng)中共鳴
作為一篇賀辭，《筆破鴻蒙，詩(shī)曜寰球》本身就是一篇文質(zhì)兼美的佳作。柴永紅的語(yǔ)言，兼具女性的溫婉與文人的豪邁，既有詩(shī)詞的典雅，又有散文的靈動(dòng)，讀來(lái)朗朗上口，韻味無(wú)窮。
她善用比喻，抽象的概念變得具象可感。將傳主的創(chuàng)作力比作“江海”，將其文學(xué)造詣比作“珠穆朗瑪”；將傳主的文字比作“振翅的鯤鵬”，將中華文化出海的平臺(tái)比作“航船”；將書(shū)法比作“骨”，國(guó)畫(huà)比作“韻”，音樂(lè)比作“魂”……這些比喻，精準(zhǔn)而生動(dòng)，文章的語(yǔ)言充滿了畫(huà)面感。
她善用引用，文章的底蘊(yùn)更加深厚。文中引用了蘇軾、晏殊、白居易等多位古代詩(shī)人的詩(shī)句，又引用了張從安作品中的經(jīng)典句子，古今交融，相得益彰。這些引用，不是生硬的堆砌，而是與文章的內(nèi)容渾然一體，增強(qiáng)了文章的說(shuō)服力與感染力。
她的文風(fēng)，溫潤(rùn)而不失鋒芒，細(xì)膩而不失格局。寫(xiě)傳主的精神特質(zhì)，她娓娓道來(lái)，如沐春風(fēng)；寫(xiě)傳主的作品風(fēng)骨，她一針見(jiàn)血，入木三分；寫(xiě)傳主的文化使命，她高屋建瓴，氣勢(shì)磅礴。這種剛?cè)岵?jì)的文風(fēng)，與傳主的詩(shī)詞風(fēng)格不謀而合，形成了奇妙的共鳴。
通讀全文，我們會(huì)發(fā)現(xiàn)，柴永紅的這篇賀辭，不僅是寫(xiě)給張從安的贊歌，更是寫(xiě)給所有堅(jiān)守文脈、奔赴熱愛(ài)的追光者的宣言。一位優(yōu)秀的女作家，如何以細(xì)膩的視角、深邃的思考、溫潤(rùn)的筆觸，為一位文人立傳，為一種文化代言。這個(gè)文化傳承與創(chuàng)新的時(shí)代，這樣的文字，如同一束光，照亮了文學(xué)的征途，也溫暖了每一個(gè)熱愛(ài)文字的心靈。
點(diǎn)評(píng)詞之二
寸毫蘊(yùn)山海 一筆耀文心——評(píng)著名女作家柴永紅《筆破鴻蒙，詩(shī)曜寰球》的敘事之美與精神之力
點(diǎn)評(píng)詞作者/冰荔枝
賀辭寫(xiě)作淪為“榮譽(yù)堆砌+套話贊美”的流水線產(chǎn)物，人物描摹困于“標(biāo)簽定義+成就羅列”的扁平框架，著名女作家柴永紅卻以一支兼具溫度與深度的妙筆，寫(xiě)下《筆破鴻蒙，詩(shī)曜寰球》這篇致張從安先生的賀辭。不是一份冰冷的嘉獎(jiǎng)?wù)f明書(shū)，而是一曲蕩氣回腸的文人贊歌；不是一段單薄的成就總結(jié)，而是一幅意境深遠(yuǎn)的文脈長(zhǎng)卷。柴永紅以女性寫(xiě)作者獨(dú)有的細(xì)膩共情、獨(dú)特視角與宏大格局，將一位深耕古典詩(shī)詞數(shù)十載的文人形象，刻畫(huà)得血肉豐滿、神采飛揚(yáng)；將一份關(guān)于文學(xué)堅(jiān)守與文化傳承的時(shí)代命題，詮釋得淋漓盡致、動(dòng)人心魄。全文以文為骨、以情為魂，于平仄之間見(jiàn)風(fēng)骨，于筆墨之中藏丘壑，堪稱(chēng)當(dāng)代賀辭寫(xiě)作的典范之作。
一、 以“字”為鑰：解鎖文人精神密碼的獨(dú)特開(kāi)篇
文章的開(kāi)篇，是定調(diào)之筆，亦是見(jiàn)功力之筆。柴永紅沒(méi)有落入“喜訊播報(bào)+人物簡(jiǎn)介”的俗套，而是獨(dú)辟蹊徑，以張從安先生的“名、字、網(wǎng)名”為切入點(diǎn)，用寥寥數(shù)語(yǔ)，便撬開(kāi)了傳主的精神內(nèi)核，堪稱(chēng)神來(lái)之筆。
“從安，是從心而行的篤定，是安于筆墨的赤誠(chéng)；安然，是歷經(jīng)千帆的從容，是扎根文脈的沉靜；藍(lán)色的夢(mèng)，是詩(shī)心向遠(yuǎn)的浪漫，是墨海行舟的綺思?！比M解讀，層層遞進(jìn)，字字珠璣?！皬男摹迸c“安于”，道盡了一位文人不隨波逐流、不為外物所擾的創(chuàng)作初心；“從容”與“沉靜”，寫(xiě)透了歲月沉淀后，一位創(chuàng)作者摒棄浮躁、深耕翰墨的淡然心境；“浪漫”與“綺思”，則點(diǎn)染出詩(shī)詞創(chuàng)作不可或缺的靈動(dòng)詩(shī)意與飛揚(yáng)才情。這短短數(shù)句，沒(méi)有一句空洞的溢美之詞，卻將傳主的性格特質(zhì)、人生追求與文學(xué)氣質(zhì)，勾勒得清晰分明。
作為女性寫(xiě)作者，柴永紅對(duì)文字的敏感度與共情力，這段開(kāi)篇中體現(xiàn)得淋漓盡致。她沒(méi)有將“名、字、網(wǎng)名”視為孤立的符號(hào)，而是將其與傳主的人生選擇、精神世界深度綁定，讀者未讀其文，先識(shí)其人——一個(gè)有定力、有情懷、有詩(shī)心的文人形象，已然躍然紙上。這種以“字”為鑰的開(kāi)篇方式，看似輕描淡寫(xiě)，實(shí)則匠心獨(dú)運(yùn)，為全文奠定了溫潤(rùn)而厚重的基調(diào)。
緊接著，柴永紅將筆觸延伸至傳主的故鄉(xiāng)——皖西六安。這片“孕育了楚韻漢風(fēng)”“見(jiàn)證過(guò)淠史杭灌區(qū)的人間奇跡、聆聽(tīng)過(guò)紅軍歌謠的紅色熱土”，不僅是地理意義上的出生地，更是傳主文學(xué)風(fēng)格的源頭活水。柴永紅以細(xì)膩的筆觸，捕捉到了山水與文人的共生關(guān)系：“山的脊梁賦予他文字的千鈞之力，水的柔情賦予他筆墨的百轉(zhuǎn)之姿?！边@不是簡(jiǎn)單的“一方水土養(yǎng)一方人”的套話，而是源于女性寫(xiě)作者對(duì)“人與自然”關(guān)系的深刻洞察。山的厚重，張從安的詩(shī)詞有了家國(guó)情懷的磅礴氣勢(shì)；水的靈動(dòng)，他的筆墨有了細(xì)膩婉轉(zhuǎn)的情感溫度。這種剛?cè)岵?jì)的風(fēng)格，正是皖西山水對(duì)傳主的饋贈(zèng)，也是柴永紅對(duì)傳主作品風(fēng)格的精準(zhǔn)概括。
二、 以“融”為脈：解構(gòu)跨界創(chuàng)作的獨(dú)特魅力
眾多關(guān)于張從安先生的介紹中，“工科出身”是一個(gè)繞不開(kāi)的標(biāo)簽。許多人會(huì)將其解讀為“文學(xué)路上的意外插曲”，甚至將“工科嚴(yán)謹(jǐn)”與“文科浪漫”對(duì)立起來(lái)，但柴永紅卻以獨(dú)到的眼光，將其視為傳主文學(xué)創(chuàng)作的“獨(dú)特優(yōu)勢(shì)”。這種視角的轉(zhuǎn)換，恰恰體現(xiàn)了女性寫(xiě)作者的通透與智慧。
柴永紅寫(xiě)道：“北京理工大學(xué)的工科殿堂，未曾磨蝕先生對(duì)文學(xué)的執(zhí)念，反而以數(shù)理的邏輯、工程的精密，為他的詩(shī)意搭建了銅墻鐵壁般的骨架?！边@句話，堪稱(chēng)全文的點(diǎn)睛之筆。打破了人們對(duì)工科與文科的刻板印象，指出了二者融合的可能性與優(yōu)越性。柴永紅進(jìn)一步闡釋這種融合的具體體現(xiàn)：“他以微積分的精準(zhǔn)拆解詩(shī)詞的格律，以力學(xué)的原理剖析意象的架構(gòu)，以材料學(xué)的視角審視文字的質(zhì)感?！边@種充滿創(chuàng)意的表述，將抽象的“跨界融合”具象化，讀者直觀地感受到，工科思維如何為文學(xué)創(chuàng)作賦能。
正因如此，張從安的詩(shī)詞，才既有“金戈鐵馬氣吞萬(wàn)里如虎”的工科式磅礴，又有“無(wú)可奈何花落去，似曾相識(shí)燕歸來(lái)”的文科式婉約。這種剛?cè)岵?jì)的文風(fēng)，當(dāng)代詩(shī)壇獨(dú)樹(shù)一幟。柴永紅對(duì)這種文風(fēng)的解讀，沒(méi)有停留在“風(fēng)格獨(dú)特”的表面，而是深入到“思維融合”的本質(zhì)，這種深度，源于她對(duì)文學(xué)創(chuàng)作規(guī)律的深刻理解，更源于她對(duì)傳主精神世界的精準(zhǔn)把握。
此外，柴永紅還將傳主的“詩(shī)、書(shū)、畫(huà)、樂(lè)”四重修養(yǎng)，視為一個(gè)有機(jī)的整體。她以“骨、韻、魂”為喻，將書(shū)法比作“骨”，賦予文字以挺拔的筋骨；國(guó)畫(huà)比作“韻”，賦予文字以悠遠(yuǎn)的意境；音樂(lè)比作“魂”，賦予文字以靈動(dòng)的聲韻。這種比喻，精準(zhǔn)而生動(dòng)，體現(xiàn)了女性寫(xiě)作者對(duì)藝術(shù)之美的敏銳感知。
她寫(xiě)道，揮毫?xí)r的“劍破流云、泉涌山澗”，詩(shī)詞有了抑揚(yáng)頓挫的節(jié)奏；潑墨時(shí)的“虛實(shí)相生、意趣盎然”，詩(shī)詞有了“遠(yuǎn)看山有色，近聽(tīng)水無(wú)聲”的畫(huà)境；撫琴時(shí)的“凄婉清越、悠揚(yáng)婉轉(zhuǎn)”，詩(shī)詞有了“大弦嘈嘈如急雨，小弦切切如私語(yǔ)”的樂(lè)感。這種將多種藝術(shù)形式融會(huì)貫通的解讀，傳主的形象不再是一個(gè)單薄的“詩(shī)人”，而是一個(gè)立體的“文化大家”。
三、 以“文”為鏡：映照文人情懷與擔(dān)當(dāng)?shù)淖髌菲吩u(píng)
賀辭的核心，是為傳主的文學(xué)成就立傳。柴永紅沒(méi)有陷入“獎(jiǎng)項(xiàng)羅列+作品簡(jiǎn)介”的平庸敘事，而是以“作品為證，風(fēng)骨為魂”的思路，選取代表性作品進(jìn)行深度剖析，讀者從作品中，讀懂傳主的情懷與擔(dān)當(dāng)。
柴永紅將傳主的作品分為三大類(lèi)：山河禮贊、心靈戀歌、駢文巔峰，每一類(lèi)都精準(zhǔn)捕捉到了作品的核心特質(zhì)。解讀《長(zhǎng)江第一大峽谷虎跳峽》時(shí)，柴永紅沒(méi)有簡(jiǎn)單地說(shuō)“這首詩(shī)獲得了一等獎(jiǎng)”，而是將自己代入傳主的創(chuàng)作場(chǎng)景：“先生站在虎跳峽的懸崖邊，望著金沙江水如萬(wàn)馬奔騰、雷霆裂岸，那股‘亂石穿空，驚濤拍岸，卷起千堆雪’的豪情，便從筆端噴薄而出?！彼谩皪{鎖長(zhǎng)江萬(wàn)里秋，虎跳石上怒濤流”“壁立千仞摩云漢，水擊三千里斗牛”的詩(shī)句，讀者直觀感受到詩(shī)歌的雄奇與磅礴。更重要的是，柴永紅點(diǎn)明了這首詩(shī)的深層價(jià)值：“以筆墨為鏡，照見(jiàn)了山河的魂魄，以詩(shī)心為炬，點(diǎn)燃了文脈的薪火?！边@份解讀，跳出了“寫(xiě)景”的層面，上升到了“言志”的高度，詩(shī)歌的意境更加深遠(yuǎn)。
解讀《藍(lán)色的夢(mèng)》時(shí)，柴永紅則切換到細(xì)膩溫婉的筆觸，與作品的風(fēng)格相得益彰。她寫(xiě)道，這部作品“以‘藍(lán)色’為底色，以‘夢(mèng)’為線索，串聯(lián)起先生對(duì)青春的追憶、對(duì)鄉(xiāng)愁的眷戀、對(duì)理想的執(zhí)著”。她引用“藍(lán)色的夢(mèng)，飄在淠河的波心，是少年時(shí)折的紙船，載著杏花雨的溫柔”“藍(lán)色的夢(mèng)，懸在燕山的枝頭，是求學(xué)時(shí)望的明月，映著未名湖的清幽”的句子，將作品中的鄉(xiāng)愁與理想描摹得細(xì)膩動(dòng)人。柴永紅將這部作品定位為“古典詩(shī)意與現(xiàn)代表達(dá)完美融合的見(jiàn)證”，指出其意義在于證明：“古詩(shī)詞的種子，現(xiàn)代的土壤里，依舊能開(kāi)出嬌艷的花。”這份對(duì)“傳統(tǒng)與現(xiàn)代融合”的肯定，正是對(duì)當(dāng)下文學(xué)創(chuàng)作的深刻思考。
而對(duì)駢儷文《金陵賦》的解讀，堪稱(chēng)全文的高光時(shí)刻。柴永紅將其譽(yù)為“當(dāng)代駢文創(chuàng)作的里程碑”，這份評(píng)價(jià)并非空穴來(lái)風(fēng)。她引用“龍?bào)椿⒕?，控金陵之形勝；鳳翥鸞翔，攬秦淮之煙霞”“烏衣巷口，斜陽(yáng)照盡王謝堂前燕；秦淮河畔，畫(huà)舫搖碎江南岸上月”的駢句，讀者感受到文字的珠璣與鏗鏘。更重要的是，柴永紅點(diǎn)明了這部作品的文化意義：駢文日漸式微的當(dāng)下，張從安的《金陵賦》“沉寂了數(shù)百年的古老文體，重新煥發(fā)出奪目的光彩”。這份對(duì)“文化堅(jiān)守”的贊美，體現(xiàn)了柴永紅作為寫(xiě)作者的文化自覺(jué)。
柴永紅的品評(píng)，不僅關(guān)注作品的“風(fēng)骨”，更看重傳主的“創(chuàng)新勇氣”。她特意提到張從安自撰的詞林正韻詞牌《寒樓載影》《煙波江上聽(tīng)風(fēng)吟》，稱(chēng)其“如破土的春筍，為古老的詞壇注入了新鮮的活力”。在她看來(lái)，這種在格律森嚴(yán)的詞壇“另辟蹊徑”的行為，是一種難能可貴的勇氣與才情。這種對(duì)“創(chuàng)新”的推崇，傳主的形象更加豐滿，也讓整篇賀辭的立意更加高遠(yuǎn)。
四、 以“責(zé)”為魂：升華文人使命與情懷的價(jià)值落點(diǎn)
一篇優(yōu)秀的賀辭，不僅要贊美傳主的成就，更要挖掘成就背后的精神價(jià)值。柴永紅深諳此道，她將傳主的“頭銜與職務(wù)”，解讀為“文學(xué)成就的注腳，更是肩負(fù)的文化使命”，整篇賀辭的立意，從“贊美個(gè)人”上升到“歌頌文化擔(dān)當(dāng)”的高度。
她寫(xiě)道，作為中國(guó)詩(shī)歌報(bào)愛(ài)忠詩(shī)詞創(chuàng)作室主審，張從安“以嚴(yán)謹(jǐn)?shù)难酃鉃樵?shī)詞創(chuàng)作把關(guān)，為后學(xué)引路”，案頭的稿件，凝聚著他對(duì)文脈傳承的心血；作為華爾街華人社團(tuán)聯(lián)盟理事，他“以文化為橋，搭建起中外文學(xué)交流的紐帶”，金融殿堂里，用詩(shī)詞講述中國(guó)故事；作為中華詩(shī)詞文苑總顧問(wèn)，他“組織詩(shī)詞講座，舉辦創(chuàng)作大賽”，古詩(shī)詞走出象牙塔，走進(jìn)尋常百姓家。這些描述，沒(méi)有空洞的口號(hào)，而是用具體的行動(dòng)，展現(xiàn)了一位文人的責(zé)任與擔(dān)當(dāng)。
柴永紅在文末寫(xiě)道：“這張證書(shū)，是紙，亦是碑；是獎(jiǎng)，亦是責(zé)?！边@句話，堪稱(chēng)神來(lái)之筆。將“優(yōu)秀作者獎(jiǎng)”的意義，從一份榮譽(yù)，升華為一份責(zé)任。她的筆下，張從安不僅是一位成就斐然的詩(shī)人，更是一位文化傳承的踐行者。這種價(jià)值落點(diǎn)，整篇賀辭的格局，得到了極大的提升。
五、 以“美”為骨：兼具文采與風(fēng)骨的語(yǔ)言藝術(shù)
除了立意高遠(yuǎn)、結(jié)構(gòu)嚴(yán)謹(jǐn)，《筆破鴻蒙，詩(shī)曜寰球》的語(yǔ)言藝術(shù)，也堪稱(chēng)一絕。柴永紅的文字，兼具文采與風(fēng)骨，既有古典詩(shī)詞的典雅韻味，又有現(xiàn)代散文的流暢靈動(dòng)。
她善用比喻，抽象的概念變得具象可感。如“盤(pán)古開(kāi)天的筆墨，華夏文脈里淬成星河”“三十載孤燈映雪的堅(jiān)守撞碎時(shí)光的壁壘”，這些比喻，大氣磅礴，意境深遠(yuǎn)；她善用排比，文章的氣勢(shì)，如江河奔涌，一瀉千里。如“不是塵俗的嘉獎(jiǎng)，是文脈對(duì)赤子的加冕；不是偶然的榮光，是歲月對(duì)匠心的回敬；不是終點(diǎn)的豐碑，是新篇的序章”，這些排比，層層遞進(jìn)，鏗鏘有力；她善用引用，文章的底蘊(yùn)，如陳年佳釀，醇厚綿長(zhǎng)。文中引用的“金戈鐵馬氣吞萬(wàn)里如虎”“無(wú)可奈何花落去，似曾相識(shí)燕歸來(lái)”等詩(shī)句，信手拈來(lái)，恰到好處，既豐富了文章的內(nèi)涵，又增添了文章的文采。
作為女性寫(xiě)作者，柴永紅的文字，還兼具剛?cè)岵?jì)的特質(zhì)。寫(xiě)山河時(shí)，她的文字大氣磅礴，充滿陽(yáng)剛之美；寫(xiě)鄉(xiāng)愁時(shí)，她的文字細(xì)膩溫婉，充滿陰柔之美。這種剛?cè)岵?jì)的語(yǔ)言風(fēng)格，與傳主張從安的詩(shī)詞風(fēng)格，不謀而合，也讓整篇賀辭，更具感染力。
六、 余韻悠長(zhǎng)：于筆墨之間見(jiàn)時(shí)代精神
縱觀整篇賀辭，柴永紅沒(méi)有停留在對(duì)傳主個(gè)人成就的贊美上，而是將其置于“中華文化傳承與出?！钡臅r(shí)代背景下，傳主的個(gè)人追求，與時(shí)代的發(fā)展脈搏，同頻共振。
她寫(xiě)道，張從安的文字“如振翅的鯤鵬，飛越了地域的疆界，穿透了語(yǔ)言的壁壘”，《海外文學(xué)》《巴黎文學(xué)》等平臺(tái)上，“東方的詩(shī)意驚艷了西方的眼眸”，“中國(guó)的詞牌唱響了世界的和聲”。這些描述，展現(xiàn)了中華文化的獨(dú)特魅力，也體現(xiàn)了一位文人的時(shí)代擔(dān)當(dāng)。
文末，柴永紅寫(xiě)道：“愿先生未來(lái)的日子里，依舊從心而行，安然執(zhí)筆，以筆為劍，劈開(kāi)文苑的迷霧；以詩(shī)為火，點(diǎn)燃文脈的薪火；以夢(mèng)為馬，馳騁在文學(xué)的曠野！愿華夏的文脈，因先生這樣的赤子，生生不息，薪火相傳。”這份祝福，不僅是對(duì)張從安先生的期許，更是對(duì)所有文化傳承者的期許。
從“字”到“文”，從“人”到“魂”，柴永紅用一支妙筆，為我們勾勒出一位文人的精神畫(huà)像，也為我們譜寫(xiě)了一曲文化傳承的時(shí)代贊歌?！豆P破鴻蒙，詩(shī)曜寰球》不僅是一篇優(yōu)秀的賀辭，更是一部關(guān)于文學(xué)、關(guān)于情懷、關(guān)于擔(dān)當(dāng)?shù)木裰?。這個(gè)浮躁的時(shí)代，依然有人堅(jiān)守著筆墨初心，依然有人為中華文化的傳承與發(fā)展，默默耕耘。而這，正是這篇賀辭，最動(dòng)人的地方。
