宋代(dai)在山前傍崖接樓,興建(jian)資(zi)圣寺,至本世紀60年代(dai)被拆除。唐代(dai)造(zao)像中較著名的(de)有阿彌陀佛(fo)為坐(zuo)佛(fo),高4米,其(qi)右(you)手(shou)施說(shuo)法印,赤足踏蓮,刀法簡練,衣紋(wen)線(xian)條流暢(chang)明快,刻(ke)技精湛。在造(zao)像左側(ce)崖壁(bi)刻(ke)有:“敬造(zao)……佛(fo)像一龕,弟子鄭仲發愿,合家清(qing)健(jian)無病(bing)災……造(zao)上(shang)件(jian)功得,并沐以汽,廣明元年十月一日(ri)”。千手(shou)觀(guan)音造(zao)像高8米,造(zao)型端莊,氣勢恢(hui)宏,在造(zao)像右(you)側(ce)崖壁(bi)上(shang)刻(ke)有南(nan)宋“淳熙三年”(1176年)題(ti)記。
佛教故事圖:有大小造(zao)(zao)(zao)(zao)像150尊,像高5—30厘米不等,鑿造(zao)(zao)(zao)(zao)人(ren)物形態各(ge)異,造(zao)(zao)(zao)(zao)型(xing)精(jing)致,栩栩如生,儼(yan)然一處世俗(su)化的袖珍石刻(ke)(ke)畫廊。翔龍山造(zao)(zao)(zao)(zao)像體現(xian)出各(ge)個歷史時期(qi)雕(diao)刻(ke)(ke)造(zao)(zao)(zao)(zao)型(xing)藝術風格,具有重(zhong)要的藝術價(jia)值(zhi)。該處造(zao)(zao)(zao)(zao)像中如阿彌陀佛、天王等造(zao)(zao)(zao)(zao)像,上(shang)身與石壁分離,下體與壁相連近似(si)圓雕(diao)的手法,是研究沱江中游唐宋(song)石刻(ke)(ke)造(zao)(zao)(zao)(zao)型(xing)藝術的重(zhong)要資料。
翔龍山(shan)現(xian)留存有清代至民國時期的摩(mo)崖(ya)題刻9幅,其時代雖然不長(chang),但集篆、隸、揩、草于(yu)一壁(bi),字體(ti)多樣,風格迥(jiong)異,書法、詩文(wen)俱佳,著名的是張大千先生早年重書的明(ming)代趙(zhao)貞吉詩碑。
這塊詩碑(bei)高154厘米,寬82厘米,鑿(zao)于崖壁之上。書法風格沿于魏體,結構不(bu)求嚴整(zheng),而呈參差有數,筆(bi)勢穩健(jian)善變(bian),書體飄逸瀟灑,是(shi)大(da)千(qian)先生1921年(nian)從日本(ben)回故(gu)鄉,年(nian)僅23歲應(ying)(ying)資圣寺住持(chi)果真(zhen)之請(qing)所書。是(shi)國(guo)內迄(qi)今為(wei)止發現的張(zhang)大(da)千(qian)先生的書法碑(bei)刻(ke)作(zuo)(zuo)品,與晚年(nian)作(zuo)(zuo)品照(zhao)應(ying)(ying),是(shi)研究(jiu)張(zhang)大(da)千(qian)先生書法演變(bian)之珍品。
張大千先生(sheng)同時還(huan)為原資圣寺大門(men)外右側、翔龍山左腳下的一(yi)(yi)石坊(fang)大門(men)柱(zhu)(zhu)書(shu)寫了一(yi)(yi)副(fu)對聯(lian)并勒石,現(xian)遺留下一(yi)(yi)根青石聯(lian)語殘柱(zhu)(zhu)《書(shu)聯(lian)柱(zhu)(zhu)》。
《書(shu)(shu)(shu)詩(shi)(shi)碑(bei)》“是一(yi)處(chu)張(zhang)(zhang)(zhang)大(da)千青年(nian)時期留下的(de)(de)墨跡(ji),是研究(jiu)張(zhang)(zhang)(zhang)大(da)千書(shu)(shu)(shu)法(fa)藝術成長、發(fa)展、演變(bian)的(de)(de)重(zhong)要墨寶。”1920年(nian)時,張(zhang)(zhang)(zhang)大(da)千先(xian)生(sheng)(sheng)被二哥(ge)張(zhang)(zhang)(zhang)善子“押(ya)”回(hui)內(nei)(nei)(nei)江(jiang)與(yu)曾正蓉(rong)成親(qin),至1921年(nian)底(di)仍住(zhu)內(nei)(nei)(nei)江(jiang)。在這期間,他不時與(yu)內(nei)(nei)(nei)江(jiang)名(ming)士(shi)相聚(ju)于資(zi)圣(sheng)(sheng)寺(si)內(nei)(nei)(nei),飲茶擺龍門陣。其(qi)中就有(you)在資(zi)圣(sheng)(sheng)寺(si)桃源書(shu)(shu)(shu)屋(wu)教授(shou)的(de)(de)內(nei)(nei)(nei)江(jiang)名(ming)老塾師(shi)羅仲(zhong)(zhong)武(wu)先(xian)生(sheng)(sheng)。羅仲(zhong)(zhong)武(wu)先(xian)生(sheng)(sheng)學識淵博,教學有(you)方,內(nei)(nei)(nei)江(jiang)名(ming)人韓文畦、李仲(zhong)(zhong)權、堯文藻(zao)、雷禹三等都是他的(de)(de)學生(sheng)(sheng)。在辛(xin)酉(you)年(nian)(即1921年(nian))十月時,資(zi)圣(sheng)(sheng)寺(si)主持(chi)釋(shi)果直(zhi)請張(zhang)(zhang)(zhang)大(da)千先(xian)生(sheng)(sheng)書(shu)(shu)(shu)寫了(le)趙貞吉詩(shi)(shi),并(bing)勒(le)石(shi)(shi)(shi)于摩(mo)崖(ya)石(shi)(shi)(shi)刻(ke)群處(chu)坐(zuo)佛(fo)左(zuo)(zuo)邊的(de)(de)重(zhong)建崖(ya)碑(bei)上(shang)。同時,還由羅仲(zhong)(zhong)武(wu)先(xian)生(sheng)(sheng)撰了(le)“與(yu)奇石(shi)(shi)(shi)作兄弟,好鳥(niao)作朋友;以(yi)白云為藩籬,碧山為屏風(feng)”的(de)(de)對聯(lian),請張(zhang)(zhang)(zhang)大(da)千先(xian)生(sheng)(sheng)書(shu)(shu)(shu)寫,并(bing)勒(le)石(shi)(shi)(shi)于山腳下從左(zuo)(zuo)手面(mian)沿斜坡上(shang)石(shi)(shi)(shi)級丈許的(de)(de)石(shi)(shi)(shi)坊大(da)門兩旁柱(zhu)上(shang)。張(zhang)(zhang)(zhang)大(da)千先(xian)生(sheng)(sheng)因此(ci)在翔龍山留下了(le)兩處(chu)書(shu)(shu)(shu)跡(ji)石(shi)(shi)(shi)刻(ke)。從《書(shu)(shu)(shu)聯(lian)柱(zhu)》上(shang)的(de)(de)書(shu)(shu)(shu)法(fa)看,筆者以(yi)為其(qi)價值(zhi)可以(yi)說(shuo)大(da)于《書(shu)(shu)(shu)詩(shi)(shi)碑(bei)》的(de)(de)書(shu)(shu)(shu)法(fa),更(geng)值(zhi)得研究(jiu)。主要的(de)(de)特點是《書(shu)(shu)(shu)聯(lian)柱(zhu)》書(shu)(shu)(shu)法(fa)較(jiao)《書(shu)(shu)(shu)詩(shi)(shi)碑(bei)》書(shu)(shu)(shu)法(fa)更(geng)率意飄宕,充分(fen)體現了(le)張(zhang)(zhang)(zhang)大(da)千先(xian)生(sheng)(sheng)早期書(shu)(shu)(shu)法(fa)風(feng)貌及個性。
《書(shu)(shu)(shu)(shu)(shu)(shu)聯(lian)(lian)柱(zhu)(zhu)(zhu)(zhu)》全長172厘米(mi)(mi),寬34.5厘米(mi)(mi),厚(hou)19厘米(mi)(mi)。其上(shang)文(wen)(wen)(wen)字(zi)(zi)為(wei)下聯(lian)(lian),聯(lian)(lian)文(wen)(wen)(wen)是(shi)(shi)(shi)“云為(wei)藩(fan)籬(li) 碧山(shan)為(wei)屏(ping)風 ”,奪“以”字(zi)(zi);題款(kuan)是(shi)(shi)(shi)“歲辛酉十(shi)月 羅仲武(wu)撰 大千居士爰書(shu)(shu)(shu)(shu)(shu)(shu)”。聯(lian)(lian)文(wen)(wen)(wen)文(wen)(wen)(wen)字(zi)(zi)長12至(zhi)(zhi)14厘米(mi)(mi)、寬11至(zhi)(zhi)14厘米(mi)(mi)間不(bu)等,書(shu)(shu)(shu)(shu)(shu)(shu)體幾同《書(shu)(shu)(shu)(shu)(shu)(shu)詩(shi)(shi)碑(bei)(bei)(bei)》,為(wei)《瘞鶴(he)銘》、《鄭文(wen)(wen)(wen)公碑(bei)(bei)(bei)》風格和其師曾熙、李瑞清(qing)筆(bi)法。其中(zhong)的(de)(de)(de)(de)(de)“風”字(zi)(zi)作“■”,此字(zi)(zi)是(shi)(shi)(shi)《康熙字(zi)(zi)典》所(suo)無的(de)(de)(de)(de)(de),而是(shi)(shi)(shi)出(chu)自《魏(wei)皇甫驎墓(mu)志(zhi)(zhi)(zhi)》中(zhong)。該(gai)墓(mu)志(zhi)(zhi)(zhi)北魏(wei)延昌四年(515年)四月刻(ke),清(qing)咸豐年間出(chu)土于陜西戶縣。其鐫刻(ke)頗(po)精(jing)(jing),采用單刀法,線條纖細秀麗(li),勁健峻拔,字(zi)(zi)體端(duan)正生動,俊逸典雅,內含隸(li)書(shu)(shu)(shu)(shu)(shu)(shu)遺韻,為(wei)另一(yi)(yi)風格的(de)(de)(de)(de)(de)魏(wei)碑(bei)(bei)(bei)墓(mu)志(zhi)(zhi)(zhi)。由(you)于該(gai)墓(mu)志(zhi)(zhi)(zhi)出(chu)土比(bi)較(jiao)晚,當時(shi)影(ying)響不(bu)大。張(zhang)(zhang)大千先(xian)(xian)(xian)(xian)生采用此字(zi)(zi)形,表現(xian)出(chu)一(yi)(yi)種新面目,也說明他對魏(wei)碑(bei)(bei)(bei)的(de)(de)(de)(de)(de)博采。《書(shu)(shu)(shu)(shu)(shu)(shu)聯(lian)(lian)柱(zhu)(zhu)(zhu)(zhu)》真正奇(qi)特處卻在(zai)(zai)題款(kuan)上(shang),就整個(ge)(ge)署款(kuan)文(wen)(wen)(wen)字(zi)(zi)書(shu)(shu)(shu)(shu)(shu)(shu)法而言,篆(zhuan)、隸(li)、草(cao)、楷并用,還(huan)有合文(wen)(wen)(wen),也是(shi)(shi)(shi)《書(shu)(shu)(shu)(shu)(shu)(shu)詩(shi)(shi)碑(bei)(bei)(bei)》中(zhong)不(bu)見的(de)(de)(de)(de)(de)特點。在(zai)(zai)這些似乎“雜體”中(zhong),表面看有些不(bu)合規(gui)矩,實則(ze)表現(xian)出(chu)張(zhang)(zhang)大千先(xian)(xian)(xian)(xian)生的(de)(de)(de)(de)(de)豪(hao)爽和率真個(ge)(ge)性,以及早期從篆(zhuan)隸(li)和魏(wei)碑(bei)(bei)(bei)入手學習書(shu)(shu)(shu)(shu)(shu)(shu)法的(de)(de)(de)(de)(de)情況,在(zai)(zai)個(ge)(ge)性中(zhong)集諸法于一(yi)(yi)處而得到統(tong)一(yi)(yi)。張(zhang)(zhang)大千先(xian)(xian)(xian)(xian)生在(zai)(zai)翔龍山(shan)留下的(de)(de)(de)(de)(de)《書(shu)(shu)(shu)(shu)(shu)(shu)聯(lian)(lian)柱(zhu)(zhu)(zhu)(zhu)》書(shu)(shu)(shu)(shu)(shu)(shu)法與同時(shi)書(shu)(shu)(shu)(shu)(shu)(shu)寫的(de)(de)(de)(de)(de)《書(shu)(shu)(shu)(shu)(shu)(shu)詩(shi)(shi)碑(bei)(bei)(bei)》書(shu)(shu)(shu)(shu)(shu)(shu)法的(de)(de)(de)(de)(de)嚴肅(su)面目比(bi)較(jiao),也能(neng)夠表現(xian)出(chu)藝術(shu)性所(suo)在(zai)(zai),研究張(zhang)(zhang)大千先(xian)(xian)(xian)(xian)生早期書(shu)(shu)(shu)(shu)(shu)(shu)法當以《書(shu)(shu)(shu)(shu)(shu)(shu)聯(lian)(lian)柱(zhu)(zhu)(zhu)(zhu)》書(shu)(shu)(shu)(shu)(shu)(shu)法更(geng)具價值。還(huan)有,《書(shu)(shu)(shu)(shu)(shu)(shu)聯(lian)(lian)柱(zhu)(zhu)(zhu)(zhu)》石刻(ke)工(gong)藝優于《書(shu)(shu)(shu)(shu)(shu)(shu)詩(shi)(shi)碑(bei)(bei)(bei)》,《書(shu)(shu)(shu)(shu)(shu)(shu)聯(lian)(lian)柱(zhu)(zhu)(zhu)(zhu)》石刻(ke)工(gong)藝是(shi)(shi)(shi)平底,即刻(ke)出(chu)的(de)(de)(de)(de)(de)聯(lian)(lian)文(wen)(wen)(wen)字(zi)(zi)底是(shi)(shi)(shi)平的(de)(de)(de)(de)(de),技術(shu)要求更(geng)高,而《書(shu)(shu)(shu)(shu)(shu)(shu)詩(shi)(shi)碑(bei)(bei)(bei)》不(bu)是(shi)(shi)(shi)。筆(bi)者分析以為(wei)《書(shu)(shu)(shu)(shu)(shu)(shu)詩(shi)(shi)碑(bei)(bei)(bei)》是(shi)(shi)(shi)直接在(zai)(zai)崖碑(bei)(bei)(bei)上(shang)刻(ke)的(de)(de)(de)(de)(de),字(zi)(zi)也更(geng)小,操(cao)作不(bu)易(yi),工(gong)藝水(shui)平相比(bi)就不(bu)容易(yi)精(jing)(jing)到;《書(shu)(shu)(shu)(shu)(shu)(shu)聯(lian)(lian)柱(zhu)(zhu)(zhu)(zhu)》是(shi)(shi)(shi)在(zai)(zai)放平的(de)(de)(de)(de)(de)石柱(zhu)(zhu)(zhu)(zhu)上(shang)刻(ke)字(zi)(zi),可(ke)以達到更(geng)高的(de)(de)(de)(de)(de)工(gong)藝水(shui)平。