宋代(dai)在山前傍崖(ya)接樓,興建資圣寺,至本世紀60年(nian)代(dai)被拆除。唐(tang)代(dai)造(zao)像中(zhong)較著名(ming)的有阿(a)彌陀佛(fo)為坐(zuo)佛(fo),高4米,其(qi)右(you)手(shou)施(shi)說法(fa)印(yin),赤足踏蓮,刀法(fa)簡練(lian),衣(yi)紋線條流暢明快,刻技(ji)精湛。在造(zao)像左側崖(ya)壁(bi)(bi)刻有:“敬造(zao)……佛(fo)像一(yi)龕,弟(di)子鄭仲發愿,合家清健無(wu)病災……造(zao)上件功(gong)得(de),并沐(mu)以汽,廣明元年(nian)十月一(yi)日”。千手(shou)觀音(yin)造(zao)像高8米,造(zao)型(xing)端莊,氣勢(shi)恢宏,在造(zao)像右(you)側崖(ya)壁(bi)(bi)上刻有南宋“淳熙三年(nian)”(1176年(nian))題記(ji)。
佛(fo)教故(gu)事圖:有(you)大小造(zao)(zao)(zao)像(xiang)150尊,像(xiang)高(gao)5—30厘(li)米(mi)不等,鑿(zao)造(zao)(zao)(zao)人(ren)物形(xing)態(tai)各異,造(zao)(zao)(zao)型(xing)(xing)精(jing)致,栩栩如生(sheng),儼然一處世俗化的(de)袖(xiu)珍石刻畫廊(lang)。翔龍(long)山造(zao)(zao)(zao)像(xiang)體現出各個歷史時期雕刻造(zao)(zao)(zao)型(xing)(xing)藝(yi)術風格,具有(you)重要的(de)藝(yi)術價值(zhi)。該處造(zao)(zao)(zao)像(xiang)中(zhong)如阿彌陀佛(fo)、天王等造(zao)(zao)(zao)像(xiang),上身與石壁分離,下體與壁相連近似圓雕的(de)手法(fa),是研(yan)究沱江(jiang)中(zhong)游唐宋(song)石刻造(zao)(zao)(zao)型(xing)(xing)藝(yi)術的(de)重要資料(liao)。
翔龍山(shan)現留存(cun)有清代(dai)至民國時期的摩崖題刻9幅,其時代(dai)雖(sui)然(ran)不長(chang),但集(ji)篆、隸、揩、草于一壁,字體多樣,風格(ge)迥(jiong)異,書(shu)法(fa)、詩文俱佳,著(zhu)名的是張大(da)千先生早年(nian)重書(shu)的明代(dai)趙貞吉詩碑。
這塊詩碑(bei)高154厘米(mi),寬82厘米(mi),鑿于崖壁之上。書(shu)(shu)法(fa)(fa)風格沿(yan)于魏體,結構(gou)不求嚴整,而呈參差有數(shu),筆勢穩(wen)健善變,書(shu)(shu)體飄逸瀟灑(sa),是大(da)千先(xian)生1921年(nian)從日本回故鄉,年(nian)僅(jin)23歲應資圣寺住持果真(zhen)之請所(suo)書(shu)(shu)。是國(guo)內迄今(jin)為止發現(xian)的張大(da)千先(xian)生的書(shu)(shu)法(fa)(fa)碑(bei)刻作品(pin),與(yu)晚年(nian)作品(pin)照應,是研究張大(da)千先(xian)生書(shu)(shu)法(fa)(fa)演變之珍品(pin)。
張(zhang)大(da)千先生(sheng)同時還為原資圣(sheng)寺大(da)門外右側、翔龍山(shan)左(zuo)腳下的(de)一(yi)石坊(fang)大(da)門柱書寫了一(yi)副對聯(lian)(lian)并勒石,現(xian)遺留(liu)下一(yi)根青石聯(lian)(lian)語殘(can)柱《書聯(lian)(lian)柱》。
《書(shu)(shu)(shu)(shu)(shu)詩碑》“是(shi)(shi)一處張(zhang)(zhang)(zhang)大(da)(da)千(qian)(qian)青(qing)年時(shi)(shi)期(qi)留下的(de)(de)墨跡,是(shi)(shi)研(yan)究張(zhang)(zhang)(zhang)大(da)(da)千(qian)(qian)書(shu)(shu)(shu)(shu)(shu)法(fa)藝術成長、發展、演變的(de)(de)重要墨寶。”1920年時(shi)(shi),張(zhang)(zhang)(zhang)大(da)(da)千(qian)(qian)先(xian)生(sheng)(sheng)被二(er)哥張(zhang)(zhang)(zhang)善子“押”回內(nei)江與(yu)曾正蓉成親,至1921年底仍住(zhu)內(nei)江。在(zai)(zai)(zai)這期(qi)間,他不(bu)時(shi)(shi)與(yu)內(nei)江名士相聚于(yu)(yu)資圣(sheng)寺(si)內(nei),飲茶擺(bai)龍門陣。其中就有在(zai)(zai)(zai)資圣(sheng)寺(si)桃源書(shu)(shu)(shu)(shu)(shu)屋教(jiao)授的(de)(de)內(nei)江名老塾師羅(luo)(luo)(luo)仲(zhong)武(wu)先(xian)生(sheng)(sheng)。羅(luo)(luo)(luo)仲(zhong)武(wu)先(xian)生(sheng)(sheng)學(xue)識淵博,教(jiao)學(xue)有方,內(nei)江名人韓文(wen)畦、李(li)仲(zhong)權、堯文(wen)藻、雷禹三等都是(shi)(shi)他的(de)(de)學(xue)生(sheng)(sheng)。在(zai)(zai)(zai)辛酉年(即1921年)十月時(shi)(shi),資圣(sheng)寺(si)主持釋果直請張(zhang)(zhang)(zhang)大(da)(da)千(qian)(qian)先(xian)生(sheng)(sheng)書(shu)(shu)(shu)(shu)(shu)寫了(le)(le)趙貞吉詩,并勒石(shi)(shi)于(yu)(yu)摩崖石(shi)(shi)刻群處坐佛左(zuo)邊的(de)(de)重建崖碑上(shang)(shang)。同時(shi)(shi),還(huan)由(you)羅(luo)(luo)(luo)仲(zhong)武(wu)先(xian)生(sheng)(sheng)撰了(le)(le)“與(yu)奇石(shi)(shi)作兄弟(di),好鳥作朋友;以(yi)白(bai)云為藩籬(li),碧山為屏風”的(de)(de)對(dui)聯,請張(zhang)(zhang)(zhang)大(da)(da)千(qian)(qian)先(xian)生(sheng)(sheng)書(shu)(shu)(shu)(shu)(shu)寫,并勒石(shi)(shi)于(yu)(yu)山腳(jiao)下從左(zuo)手面沿斜(xie)坡(po)上(shang)(shang)石(shi)(shi)級丈許(xu)的(de)(de)石(shi)(shi)坊大(da)(da)門兩旁柱(zhu)上(shang)(shang)。張(zhang)(zhang)(zhang)大(da)(da)千(qian)(qian)先(xian)生(sheng)(sheng)因此在(zai)(zai)(zai)翔龍山留下了(le)(le)兩處書(shu)(shu)(shu)(shu)(shu)跡石(shi)(shi)刻。從《書(shu)(shu)(shu)(shu)(shu)聯柱(zhu)》上(shang)(shang)的(de)(de)書(shu)(shu)(shu)(shu)(shu)法(fa)看,筆者以(yi)為其價值可以(yi)說大(da)(da)于(yu)(yu)《書(shu)(shu)(shu)(shu)(shu)詩碑》的(de)(de)書(shu)(shu)(shu)(shu)(shu)法(fa),更值得研(yan)究。主要的(de)(de)特點是(shi)(shi)《書(shu)(shu)(shu)(shu)(shu)聯柱(zhu)》書(shu)(shu)(shu)(shu)(shu)法(fa)較(jiao)《書(shu)(shu)(shu)(shu)(shu)詩碑》書(shu)(shu)(shu)(shu)(shu)法(fa)更率意飄宕,充分體現(xian)了(le)(le)張(zhang)(zhang)(zhang)大(da)(da)千(qian)(qian)先(xian)生(sheng)(sheng)早期(qi)書(shu)(shu)(shu)(shu)(shu)法(fa)風貌及(ji)個性。
《書(shu)(shu)聯(lian)(lian)(lian)(lian)(lian)柱(zhu)(zhu)》全長(chang)172厘(li)米(mi)(mi),寬34.5厘(li)米(mi)(mi),厚19厘(li)米(mi)(mi)。其(qi)上(shang)文(wen)(wen)字(zi)(zi)(zi)(zi)為(wei)下聯(lian)(lian)(lian)(lian)(lian),聯(lian)(lian)(lian)(lian)(lian)文(wen)(wen)是(shi)“云為(wei)藩籬 碧(bi)山(shan)(shan)為(wei)屏風(feng) ”,奪(duo)“以”字(zi)(zi)(zi)(zi);題(ti)款(kuan)是(shi)“歲辛酉十月(yue) 羅仲武撰 大(da)(da)(da)千(qian)居士爰(yuan)書(shu)(shu)”。聯(lian)(lian)(lian)(lian)(lian)文(wen)(wen)文(wen)(wen)字(zi)(zi)(zi)(zi)長(chang)12至(zhi)14厘(li)米(mi)(mi)、寬11至(zhi)14厘(li)米(mi)(mi)間(jian)不(bu)(bu)(bu)等,書(shu)(shu)體幾同(tong)(tong)《書(shu)(shu)詩(shi)碑》,為(wei)《瘞鶴銘》、《鄭(zheng)文(wen)(wen)公碑》風(feng)格(ge)和其(qi)師曾熙(xi)、李(li)瑞(rui)清筆法。其(qi)中(zhong)的“風(feng)”字(zi)(zi)(zi)(zi)作“■”,此字(zi)(zi)(zi)(zi)是(shi)《康(kang)熙(xi)字(zi)(zi)(zi)(zi)典(dian)》所無的,而(er)是(shi)出(chu)(chu)自《魏皇(huang)甫驎墓(mu)志》中(zhong)。該(gai)(gai)墓(mu)志北(bei)魏延昌四(si)年(nian)(515年(nian))四(si)月(yue)刻(ke)(ke)(ke)(ke),清咸豐年(nian)間(jian)出(chu)(chu)土于(yu)陜西戶縣。其(qi)鐫刻(ke)(ke)(ke)(ke)頗精(jing),采用(yong)單刀法,線(xian)條(tiao)纖細秀麗,勁健峻拔,字(zi)(zi)(zi)(zi)體端正生(sheng)(sheng)動,俊逸典(dian)雅,內含隸書(shu)(shu)遺(yi)韻,為(wei)另(ling)一(yi)風(feng)格(ge)的魏碑墓(mu)志。由于(yu)該(gai)(gai)墓(mu)志出(chu)(chu)土比較(jiao)晚,當時影響不(bu)(bu)(bu)大(da)(da)(da)。張(zhang)(zhang)大(da)(da)(da)千(qian)先(xian)生(sheng)(sheng)采用(yong)此字(zi)(zi)(zi)(zi)形,表現(xian)出(chu)(chu)一(yi)種新面(mian)(mian)目,也說(shuo)明他對魏碑的博采。《書(shu)(shu)聯(lian)(lian)(lian)(lian)(lian)柱(zhu)(zhu)》真正奇特處卻在(zai)(zai)題(ti)款(kuan)上(shang),就整(zheng)個署(shu)款(kuan)文(wen)(wen)字(zi)(zi)(zi)(zi)書(shu)(shu)法而(er)言,篆、隸、草、楷(kai)并用(yong),還(huan)有合文(wen)(wen),也是(shi)《書(shu)(shu)詩(shi)碑》中(zhong)不(bu)(bu)(bu)見(jian)的特點。在(zai)(zai)這些似乎“雜(za)體”中(zhong),表面(mian)(mian)看有些不(bu)(bu)(bu)合規(gui)矩,實(shi)則表現(xian)出(chu)(chu)張(zhang)(zhang)大(da)(da)(da)千(qian)先(xian)生(sheng)(sheng)的豪(hao)爽和率真個性,以及早期(qi)(qi)從篆隸和魏碑入手(shou)學習(xi)書(shu)(shu)法的情況,在(zai)(zai)個性中(zhong)集諸法于(yu)一(yi)處而(er)得到統一(yi)。張(zhang)(zhang)大(da)(da)(da)千(qian)先(xian)生(sheng)(sheng)在(zai)(zai)翔龍(long)山(shan)(shan)留下的《書(shu)(shu)聯(lian)(lian)(lian)(lian)(lian)柱(zhu)(zhu)》書(shu)(shu)法與(yu)同(tong)(tong)時書(shu)(shu)寫的《書(shu)(shu)詩(shi)碑》書(shu)(shu)法的嚴肅面(mian)(mian)目比較(jiao),也能夠表現(xian)出(chu)(chu)藝(yi)術(shu)性所在(zai)(zai),研究(jiu)張(zhang)(zhang)大(da)(da)(da)千(qian)先(xian)生(sheng)(sheng)早期(qi)(qi)書(shu)(shu)法當以《書(shu)(shu)聯(lian)(lian)(lian)(lian)(lian)柱(zhu)(zhu)》書(shu)(shu)法更(geng)具價值。還(huan)有,《書(shu)(shu)聯(lian)(lian)(lian)(lian)(lian)柱(zhu)(zhu)》石(shi)刻(ke)(ke)(ke)(ke)工藝(yi)優于(yu)《書(shu)(shu)詩(shi)碑》,《書(shu)(shu)聯(lian)(lian)(lian)(lian)(lian)柱(zhu)(zhu)》石(shi)刻(ke)(ke)(ke)(ke)工藝(yi)是(shi)平底(di),即刻(ke)(ke)(ke)(ke)出(chu)(chu)的聯(lian)(lian)(lian)(lian)(lian)文(wen)(wen)字(zi)(zi)(zi)(zi)底(di)是(shi)平的,技術(shu)要求更(geng)高,而(er)《書(shu)(shu)詩(shi)碑》不(bu)(bu)(bu)是(shi)。筆者(zhe)分析以為(wei)《書(shu)(shu)詩(shi)碑》是(shi)直接在(zai)(zai)崖碑上(shang)刻(ke)(ke)(ke)(ke)的,字(zi)(zi)(zi)(zi)也更(geng)小,操作不(bu)(bu)(bu)易(yi),工藝(yi)水平相比就不(bu)(bu)(bu)容(rong)易(yi)精(jing)到;《書(shu)(shu)聯(lian)(lian)(lian)(lian)(lian)柱(zhu)(zhu)》是(shi)在(zai)(zai)放平的石(shi)柱(zhu)(zhu)上(shang)刻(ke)(ke)(ke)(ke)字(zi)(zi)(zi)(zi),可以達(da)到更(geng)高的工藝(yi)水平。