墙上的济公传奇

济公壁画选 One of the 18 murals depicting Mad Monk in Lingyin Temple

济公和尚，杭州人对他特别有感情。灵隐寺里有一座济公殿，供奉了济公塑像。只可惜，以前一直没有一件绘画作品，讲讲济公的传奇。

不久之前，灵隐寺济公殿里的济公壁画圆满完成。

十八幅画可以看济公一生传奇

济公殿就在灵隐寺药师殿的右侧，进了济公殿，中央是供奉着的济公塑像，左右四面墙上就是十八幅壁画了。

进门左右为东西两壁，各有四块墙面，分别画西湖

山水和钱江潮汐的景观，北面六块画密林中的古刹灵隐寺和飞来峰，南面四块画天台国清寺和石梁五百罗汉道场。

以前，我们看到的壁画都是直接画在墙上的，济公殿的这十八幅都画在了画板上，每一块都是由八层以上的材料制成。

壁画以土黄色为底色，也就是敦煌泥的颜色。画采用了沉静肃穆的水墨画，以黑白为主色，稍稍有几抹朱红，色彩淡雅，一眼看上去，就好像江南山水在面前展开。

十八幅画很大，每幅高3.16米，宽近3米，十八幅连在一起总长足足有50米，刚刚好环绕济公殿里的墙壁一周。

进门左手边就是十八块画板的第一块了，画的是济公父亲行善的故事，接着就是济公降生了。这十八幅画是一整串故事，看下来，正好是济公的一生传奇。

第一幅：中年李茂春（济公之父）平时多行善事，施粥百姓。他于天台国清讲寺求子，时降龙罗汉像坠落。第二幅：罗汉降生，乡邻道喜。少年李修元，不喜闲玩，好习佛经。 第三幅：李修元于灵隐寺剃度出家，法号道济。第四幅：济公施巧智救下寻死农夫，并帮其赎回女儿。第五幅：灵鹫飞来。第六幅：戏弄恶僧广亮。第七幅：火烧大悲楼。第八幅：济公化缘重修大悲楼。第九幅、第十幅：宋代灵隐寺飞来峰全图。第十一幅：秦桧强拆大悲楼，灵隐寺僧遭难。第十二幅：济癫大闹相府，灵隐寺僧获救，重修大悲楼。第十三幅：净慈寺济公古井运木。第十四幅：八魔炼济癫。第十五幅：济公圆寂。第十六幅：济公再现六和塔。第十七幅：济公重回国清寺。第十八幅：降龙罗汉回归石梁五百罗汉道场。

画里的济公和平常不一样

说到济公，很多人都会想到上世纪80年代的电视剧《济公》，里面的济公破烂疯癫，又有几分亲切、滑稽。

真实的济公是什么样子的？

创作团队查了各种版本的《济公传》，参考了灵隐寺旧藏的济公图像，画出了最终版本的济公。

壁画里的济公，虽然嬉笑怒骂，却又添几分悠然飘逸，少了一点“俗”意，多了一些佛教禅家的内涵。它来源于两种基本形式：罗汉和祖师。

罗汉，很多人都熟知，具有神通，行为不定，骨相奇古，莫可名状。

每个罗汉都不一样，但都有一个共同点――异相，一般都是额头突出，下巴也兜出来，画里的济公也有这些特点。

壁画里的济公，表情一般都很乐观，连眼睛都在笑，因为他很看得开，也只有在惩奸除恶的时候，造型才不会那么活泼。

祖师，是济公形象塑造的另一个来源。根据《济公传》，济公饱读经书，深悟禅理，是一位学问渊博、行善积德的得道高僧，还被列为禅宗第五十祖、杨岐派第六祖。他撰写了《镌峰语录》十卷，还有很多诗作，都收录在《净慈寺志》《台山梵响》中。

壁画里的济公，是一代高僧，集合了许多禅宗祖师的特点和故事。也可能这个济公，更接近济公的原本面貌。

不过，壁画里的济公，在装饰上还是比较传统的，穿着普通的僧服，连帽子、扇子、酒壶，也都是我们印象里的经典形象。

济公和济公殿

灵隐寺自东晋理公开山，至今已经近1700年的历史了。南宋时的道济禅师，在灵隐寺诸多佛教禅宗祖师中，算是比较有传奇色彩的一位了。

道济禅师，也就是我们所说的济公。

济公俗名李修元，浙江台州府天台县人。南宋淳熙三年（1176），他在灵隐寺出家，拜瞎堂慧远为师。

和其他禅师不同的是，济公平生嗜酒，曾写过一首诗，说“何须林景胜潇湘，只愿西湖化为酒，合身卧倒西湖边，一浪来时吞一口”。也有寺僧不满，慧远大师回复说：“法门广大，岂不容一癫僧耶？”

所以，济公又称为济癫禅师。

生前，济公走遍了杭州的山山水水，他的传奇故事，在民间也广为流传。

济公曾用几句话来概括自己的一生：“一张大口，不会非言，只会吃酒。看看白头，常常赤脚。有色无心，有染无著。醉眠不管江海波，浑身蓝缕害风魔。桃花柳叶无心恋，月白风清笑与歌。倒骑驴子归天岭，钓月耕云自琢磨。 ”

济公壁画选

One of the 18 murals depicting Mad Monk in Lingyin Temple

灵隐寺里的济公殿供奉的济公像，是以清代画僧竹禅所绘的济公像为蓝本铸成的青铜像。殿堂内部，是按照唐宋时期的禅堂风貌进行装修的。

画里能看到南宋杭州山山水水

这济公壁画巨作，是中国美术学院国画系教授、中国美术学院书画鉴赏研究中心副主任林海钟，带着他的创作团队，花了3年时间画完的。

春夏秋冬四季的变化，还有南方比较潮湿的天气，对壁画来说，都会有些影响。

济公壁画用了矿物质材料，一般来说，不会变色。此外，还结合了日本的一些做法，防止壁画发霉变质。最后完成的画板表面，也选择了恰到好处的胶水浓度，可以产生宣纸般的效果。

不过，究竟会怎么样，还需要时间来考验。

林海钟说，他们会花十年时间，来观察壁画材料、颜色、墨色的变化情况，进行修补，再继续研发工具和材料。

去济公殿里看这些壁画，除了济公的传说，也可以看到南宋杭州的山山水水，像灵隐寺、大悲楼、六和塔、净慈寺、雷峰塔、西湖、钱塘江都有，只要细心点就会发现，画里的这些地方，都和现在有些不同。

By Liu Yun

Hangzhou is where the legendary Mad Monk Jigong lived and experienced his magic life. According to local tales, the maverick Buddhist monk stayed in Jingci Temple and Lingyin Temple, the two existing famous Buddhist temples in Hangzhou. There is a hall at Lingyin Temple in commemoration of the Mad Monk. Some television series have dramatized the mad monk’s eccentricities and

adventures into the secular world. In these stories, the monk defies

Buddhist taboos but comes to many people’s rescue. According to some grassroots theologians, the big-hearted monk is a perfect liv-ing example of the right way to practice Buddhism.

Although the mad monk lives on in folktales and in the most famous Buddhist temples in Hangzhou, there have never been

EXCLUSIVES书画长廊

济公壁画选

One of the 18 murals dep ict ing Mad Monk in Lingyin Temple

large murals that relate his life stories until recently. Professor Lin Haizhong of China Academy of Art and his team have spent three years painting a set of eighteen murals at Jigong Hall in Lingyin Temple.

Though called murals, the 18 artworks are not painted directly on the walls. The paintings are created on boards made of eight layers of different materials. Each mural has a dull yellow background, the color of the Dunhuang earth. All the paintings are ink creations in the traditional Chinese art. White and black are the main color tones, touched up with dots of red here and there. Each of the 18 paintings measures 3.16 meters in height and 2.77 meters in width. Eighteen paintings are 50 meters long, covering the four interior walls of the hall.

The mad monk in the storied illustrations in Lingyin Temple is different from the popular monk of the blockbuster television drama of the 1980s. Professor Lin and his assistants consulted various biographies and portraits of the monk in the time-honored collec-tion of the temple before deciding upon an image of the monk for the murals. The present monk looks like an Indian arhat, with a protruding forehead and the protruding chin. All the arhats look like this in traditional Chinese paintings. Though folktales emphasize the mad monk’s deeds in helping secular people, the so-called mad monk in history was actually a reverent monk versed in Buddhism scriptures. The murals portray him as a learned Buddhist, but his Buddhist garment and everything else are classical according to folktales: the ordinary monk robe, a fan, a gourd that serves as his wine bottle.

The legendary Mad Monk Jigong is based on a real Buddhist whose secular name was Li Xiuyuan, a native of Tiantai County in southern Zhejiang Province in the Southern Song Dynasty (1127-1279). He came to Lingyin Temple, converted himself to Buddhism officially and became a monk. Unlike his fellow Zen disciples, the monk drank and behaved in a maverick way that abhorred many fellow monks. Some monks complained to the master who tutored Jigong. The master asked his disciples to leave the misfit alone, saying that Buddhism was magnanimous and tolerant and one mad monk would not hurt. The moniker stuck and he has been known as the mad monk.

The statue of the monk in the hall is based on a portrait created by a monk painter in the Qing Dynasty (1644-1911). The hall is decorated in the architectural style of the meditation room of the Tang (618-907) and the Song (960-12790) dynasties.

As the pigments used for the murals are minerals, the colors are expected to last. The artists also used some Japanese methods to prevent the murals from getting moldy. The paintings are all coated with a layer of glue, which make the surface look like rice paper, designed to highlight the style of the traditional Chinese painting.

灵隐寺济公殿济公像（晓 栖 摄）

Jigong Statue in Jigong Hall at Lingyin Temple

However, the techniques need to be tested by time. The artists will spend the next ten years watching how the materials, pigments, and ink withstand the test of time and the elements. If necessary, they will repair the murals and develop new tools and materials.

The murals are worth a visit. They not only illustrate the life sto-ry of the real monk but also reproduce the scenic spots of the West Lake as they looked during the Southern Song Dynasty. A close examination will reveal interesting differences in details between what the scenic spots looked like hundreds of years ago and what they look like today.