内容提要
　　Introduction
Sir Guy Green
Chairman of Trustees, Tasmanian Museum and Art Gallery
William (Bill) Bleathman
Director, Tasmanian Museum and Art Gallery
In 2003 the Tasmanian Museum and Art Gallery was the proud recipient of a major collection of Chinese art and ceramics donated by Professor Shiu Hon and Mrs Nancy Wong. Little were we to know that this generous donation was to mark the commencement of a great journey for this institution, one that has significantly raised the level of awareness of Chinese culture in Tasmania.
Further donations followed so that now the collection totals almost 300 objects comprising a wide variety of artistic and cultural works. It is the single largest collection donation ever made to our museum.
During conversations with Professor Wong and Mrs Wong we discussed the work and importance of Chinese artist and scholar Professor Jao Tsung-i and the idea of introducing Australian audiences to this National Living Treasure of China was developed.
In August 2008 we travelled to Hong Kong and had meetings with Professor Jao and Mr Thomas Tang, the Fine Art Co-ordinator of the Petite Ecole of Professor Jao Tsung-i - a specialist research unit at the University of Hong Kong dedicated to the works and scholarship of Professor Jao. As a result of those meetings Professor Jao and the Petite Ecole graciously agreed that an exhibition of Professor Jao’s work would be presented at TMAG in 2009.
This is the first major exhibition of his work ever held outside Asia.
A subsequent invitation to be present at the official opening of Professor Jao’s exhibition at the Palace Museum within the Forbidden City in Beijing (only the fourth living artist to be afforded this honour) provided us with a unique insight into the way Professor Jao, artist, scholar and poet, is revered throughout China.
For over half a century Professor Jao has been regarded as one of China’s most outstanding scholars. He has dedicated his life to Chinese learning and philosophy; he is particularly recognized for his studies of the history and geography of north-west China and his studies of oracle bones and bronzes of the Yin dynasty (c1600-1066 BCE). His studies of the art of the Dunhuang Caves are considered to be the most important body of scholarship in the field. Professor Jao’s research in these areas is as relevant for contemporary studies as it is for classical studies.
Although over 90 years old, Professor Jao remains an active member of artistic and scholarly communities and he continues to paint and write poetry.
Given the breadth of Professor Jao’s work and academic achievement over more than half a century, it was a difficult task to select the focus and major themes for the exhibition. Professor Jao has travelled extensively and in part our selection has been informed by his fundamental belief in the enormous impact of the environment on the individual physically and spiritually.
The first major area within the exhibition comprises a number of works interpretative of our world and of places in China that have particular importance for Professor Jao.
The next part of the exhibition focuses on Professor Jao’s calligraphy. His calligraphy is an important underlying attribute of the scholar. Professor Jao has interpreted ancient teachings and objects and developed a nationally significant calligraphic style that is highly relevant to both classical China and contemporary Chinese society. Although calligraphy is sometimes hard for a western audience to fully appreciate, this part of the exhibition will provide visitors with a greater understanding of this art form and the importance of Professor Jao’s national contribution to it.
The last part of the exhibition gives us an insight into some of the later and more contemporary works of this great artist and scholar.
Opportunities for museums to host exhibitions of this calibre are rare. It is only through the hard work and commitment of a number of people throughout the world that we are able to present Jao Tsung-i: The Amalgamation of Mind and Universe.
First and foremost we would like to thank Professor Jao for his strong support for the project. Particular thanks go to the Director of the Petite Ecole, Professor C.F. Lee and Mr Thomas Tang for their collaboration with TMAG in this important endeavour. We also thank the Presidents and members of the Fan Club of the Petite Ecole who have provided most valuable support for the project. We would also like to acknowledge the great contribution made by Professor Shiu Hon and Mrs Nancy Wong who continue to be strong supporters of our institution and now call Tasmania home.
We look forward to building on these partnerships in the future.
Finally we would like to thank the staff of the Tasmanian Museum and Art Gallery who have so readily embraced this exhibition.
It is important that the Tasmanian Museum and Art Gallery continues to give visitors an opportunity for a “duality of experience” within its buildings. While it is important for us to show the very best of all things Tasmanian, it is equally important for visitors to be able to experience other cultures that place Tasmania within a broader global context.
This exhibition provides a unique opportunity for our State and indeed Australia to gain a greater understanding of this National Living Treasure of China and will do much to enrich the cultural links between our two countries.
We are delighted to be able to introduce Jao Tsung-i: The Amalgamation of Mind and Universe.
序
嘉‧健寧 爵士
塔斯曼尼亞博物美術館理事會主席
威廉‧比力文
塔斯曼尼亞博物美術館總監
在二零零三年，澳洲塔斯曼尼亞博物美術館很榮幸地獲得黃兆漢教授及曾影靖女士賢伉儷捐贈一批中國陶瓷及其他藝術品。這一次捐贈，標誌著我館一個發展的新方向，亦同時大大提高本島對中國文化的關注。
黃兆漢教授伉儷後來更陸續捐贈，總數達三百件與中國文化及藝術相關之文物，這是我館開館以來，所收到由一位收藏家捐贈的最大宗之中國藝術品。
從黃兆漢教授伉儷口中，我們認識了現代中國一位重量級學者及藝術家饒宗頤教授，從而引出把這一位中國人間國寶的作品，介紹給塔島美術愛好者的一個想法。
去年八月，我們前往香港拜訪了饒宗頤教授及香港大學饒宗頤學術館藝術統籌主任鄧偉雄先生。饒宗頤學術館是香港大學的一個研究單位，收藏了饒宗頤教授捐贈的藏書及創作的書畫；亦是一個研究中國傳統文化與饒宗頤教授各方面學術及藝術發展的機構。這一次會面，我們很高興得到饒教授及饒宗頤學術館同意，在二零零九年於塔斯曼尼亞博物美術館舉辦饒教授的個人藝術作品展覽。
這個展覽亦是他在亞洲地區之外，第一個重要的展出。
在二零零八年十月，北京故宮博物院舉辦了饒教授的個展。饒教授是第四位於該院舉辦展覽的在世藝術家。在這個展覽中，我們亦參加了開幕禮；從這些展品之中，我們進一步了解同為藝術家、學者及詩人的饒宗頤教授。
超過半個世紀以來，饒宗頤教授一直被尊為中國當代最傑出的學者之一。他一生專注於中國文、史、哲、藝各方面之研究。他在古代西北地區的歷史及地理研究、甲骨學、敦煌學等範疇，都開創了不少新的研究方向。
儘管超過九十高齡，饒宗頤教授依然活躍於藝術及學術領域；時至今日，他仍堅持著詩詞、繪畫及書法的創作。
不論在藝術或學術方面，在饒宗頤教授超過半世紀的創作之中，要找出一個焦點和重要主題來舉辦展覽，並不容易。饒教授足跡歷遍歐、亞、澳、北美等地，他的宇宙觀毫無疑問是獨特而卓越的。我們這次展覽，很大部份是基於他宏博的宇宙觀。
第一個主要展覽區，展出他繪寫的中國及世界各地風光，這不單只反映他對這些地方的印象，更進而詮釋了這些地區的文化及景物特色。
第二部份是他的書法作品。中國書法比較難為西方觀眾所了解，但從饒教授不同書體、技法及主題的書法作品之中，我們不單止看到了中國書法特有的美，而且更能清楚地追踪中國書法與中國文化的發展關係。
第三部份的展品，則表達饒宗頤教授近十年來在繪畫及書法上所發展開來的新路向。
這一個展覽對任何博物館而言，都是一個難得的機會。透過展覽工作委員會所有成員的努力，「心通造化—一個學者畫家眼中的寰宇景象」的展覽才得以完美地付諸實現。
在此，對於饒宗頤教授對這項活動的指導，我們首先獻上最誠摯的謝意；也特別感謝香港大學饒宗頤學術館館長李焯芬教授及鄧偉雄先生的合作、饒宗頤學術館之友諸位會長及成員大力幫忙，及黃兆漢教授伉儷對我館的鼎力支持。
我們希望將來和他們有更多合作機會。
最後，我們要多謝澳洲塔斯曼尼亞博物美術館仝人對這次展覽所付出的努力。
澳洲塔斯曼尼亞博物美術館將不斷為參觀者提供相向性的經驗，使他們能夠感受塔斯曼尼亞美好的一切，這樣亦同時讓塔斯曼尼亞有一個更廣闊及更有深度的世界形象。
這個展覽亦提供了獨特的機會，使澳洲能對現代中國的人間國寶有更深刻的認識，亦提供兩國之間文化交流的一個重要平台。
我們再一次鄭重推介「心通造化—一個學者畫家眼中的寰宇景象」這個展覽。
Preface
Professor C.F. Lee
Director, HKU School of Professional and Continuing Education
Director, Jao Tsung-I Petite Ecole, the University of Hong Kong
For Jao Tsung-I Petite Ecole of the University of Hong Kong, 2009 is a meaningful and fulfilling year of tremendous development. In the academic field, there are different researches being proceeded, particularly the study of “Siku” which Professor Jao has proposed recently. In the realm of art, Jao Tsung-I Petite Ecole organizes many exhibitions of Professor Jao’s new directions in art development of recent years as well as those related to his research; “Dunhuang & I – Exhibition on Painting and Calligraphy of Jao Tsung-i” is a good example. The exhibition has given rise to enthusiastic responses both in the art field and academia.
In the beginning of this year, the State Council of the People’s Republic of China appointed Professor Jao as a member of Central Research Institute of Culture and History. It represents that the government honors the highest respect for a scholar, and Professor Jao is also the first Hong Kong scholar who receives the laurels.
In addition, Hong Kong Arts Development Council awarded Professor Jao an Honorary Award in this April, and it indicates that his efforts in art and academia over the past decades have been widely recognized.
The exhibition “Jao Tsung-i: The Amalgamation of Mind and Universe”, which is going to take place at the Tasmanian Museum and Art Gallery in Australia, is the first large-scale exhibition of Professor Jao’s art works held outside Asia. The exhibits include Professor Jao’s paintings, calligraphies, and inscribed studio objects, as well as significant academic and art publications. It can display not only his multi-sided achievements but also his spirit of innovation and striving for perfection.
The Tasmanian Museum and Art Gallery, a well-established museum, is located in one of the most southern places on earth. Its diverse collections and open attitude towards art are highly valued. This time we have the opportunity to corporately organize the exhibition of Professor Jao’s works with the museum which has strong local characteristics as well as worldview, not only can people from the Southern Hemisphere share Professor Jao’s great accomplishments in art, it is also a huge step forward for the promotion of Chinese culture to the Southern Hemisphere.
And more importantly, it symbols that the real art knows neither boundaries nor races.

August, 2009
序 言
李焯芬 教授
香港大學專業進修學院院長
香港大學饒宗頤學術館館長
二零零九年對香港大學饒宗頤學術館而言，可以說是一個充實，而且具有巨大發展性的一年。在學術上，不少研究在進行中，尤其是在饒教授最新提出之「四庫學」已經落實及開展。在藝術方面，學術館舉辦了不少饒教授近年來藝術發展新路向及與饒教授研究有關的展覽，其中「我與敦煌—饒宗頤敦煌學藝展」不論在藝術界及學術界都引起巨大回響。
今年初，中國國務院聘任饒教授為中央文史研究館館員，這是我國對學人一個最高的尊崇，饒教授也是香港第一位獲得這殊榮的人。此外在今年四月，香港藝術發展局頒發一個終身成就獎予饒教授，顯示著對饒教授數十年來在學術上、藝術上巨大成就的一個認同。
今次在澳洲塔斯曼尼亞博物美術館舉辦之「心通造化—一個學者畫家眼中的寰宇景象」，則是饒宗頤教授在亞洲以外地區所舉辦的一次大型藝術展覽，展品包括了饒教授的繪畫、書法，銘刻文玩，重要學術及藝術著作等，這不單展示了饒教授在藝術上的多方面成就，亦顯示出饒教授在藝術上的不斷追求與創新。
澳洲塔斯曼尼亞博物美術館是位在地球最南端的一個規模宏大的博物館，它收藏的多樣化，及對藝術方面所持的開放態度，在世界上是極受重視。我館今次能與這一個既具地方性，同時亦具有世界視野的博物館合作舉辦饒教授的展覽，不單止是令南半球人士能夠分享饒教授崇高的藝術成就，同時亦是推展中國文化到南半球的一個巨大步伐。
更重要的是，這標誌著真正的藝術是不分國界，亦不分民族的。

二零零九年八月

目录
Table of Contents
Section One: Paintings
1. Lake Toba, Indonesia 51
2. Avalokitesvara in Golden Lines 52
3. Sketches of Buddhist Images 53
4. Scenery of Lake Tai 56
5. Sketch of Dunhuang 57
6. The Three Sisters’ Peak of the Blue Mountains, Australia 60
7. Scenery of Indonesia 61
8. Bag Monk 64
9. Six Steeds 65
10.Scenery of Sydney, Australia 68
11.Scenery of Australia 70
12.Lake Dongting/Poem of Emperor Huizong 72
13.Lotus 74
14.Lotus 76
15.Five Buffalos 77
16.Sixth Patriarch 80
17.Kinshi Fall in Kobako, Sounkyo Gorge 81
18.Four Gentlemen-Plum Blossom, Orchid, Chrysanthemum, Bamboo 82
19.Zhong Kui 84
20.Tea House 85
21.Rocks 88
22.Flowers-Lotus, Ganoderma lucidum, Peony, Grapes 90
23.Buddha of Infinite Life under the Pine Tree 91
24.The Coastal Scenery of Tasmania 92
25.Elephant Carrying a Vase Symbolizing Peace in Dunhuang Style 93
26. A Set of Six Fans
  a. The Fairy Mountain/Poem on Lake Kussharo, Hokkaido 94
  b. Buffalo/Poem of Du Fu 95
  c. Pine Tree in Spring/Poem on Templo de Kun Iam Tong, Macau 96
  d. Mountain and Pine Tree/Poem 97
  e. Plum Blossom and Tea Pot/Poem on Collected Works of Na Lan 98
  f. Scenery in the Moonlight/Zen Poem 99
27. A Set of Six Circular Fans
  a. Relics in India/Poem 100
  b. Enjoying the Rising Cloud/Poem Verse of Gu Zhenguan 101
  c. Pavilion Beside the Scattered Woods 102
  d. Willow along Sydney Sea Shore/Poem 103
  e. Landscape/Poem 104
  f. Golden Lotus/Poem 105

Section Two: Calligraphy
28.Calligraphy in the Styles of Shang to Tang Dynasties-Oracle Bone Script,
Chu Bamboo Script, Mawangdui, Dunhuang 106
29.A Set of Twelve Calligraphic Works on Tea and Zen 108
30.Four-character Couplet in Oracle Bone Script 110
31.Seven-character Couplet in Running Script 111
32.Five-character Couplet in Cursive Script 112
33.Four-character Couplet in Official Script 113
34.Poem-Poem on Mont Blanc, Poem on Angkor Wat,
Poem on Mountain Resort, Translation on the Poem of Manyoshu 114
35.Calligraphy in Four Scripts-Seal Script, Official Script, Running Script, Cursive Script 116
36.Calligraphy in the Style of Ming Dynasty’s Masters-Poem of Xie Jin,
Poem of Xu Wenchang, Poem of Chen Baisha, Poem of Chen Jiru 118
37.Calligraphy in the Style of Four Masters of the Late Ming Dynasty-
Poem of Xing Tong, Poem of Zhang Ruitu, Poem of Mi Wanzhong,
Poem of Dong Qichang 120
38.Calligraphy in the Style of Late Ming Dynasty-Poem of Bada,
Poem of Chen Laolian, Poem of Ni Yuanlu, Poem of Fu Qingzhu 122
39.Calligraphy of the Greatest Love 124

Section Three: New Approach to Painting and Calligraphy
40.Bananas and Cherries 125
41.Scenery of Southern China 126
42.Lotus 127
43.Willows by the West Lake 128
44.Lotus 129
45.Victoria Peak after the Rain 130
46.Bathurst Harbour 131
47.Cradle Mountain in Snow 132
48.Davey River Gorge 133
49.Horseshoes Inlet in Blue and White 134
50.Silence Like Thunder 135
51.Ever-lasting Flow 136
52.Casting the Characters 137
53.Silence as Thunder 138
54.Health and Happiness 139
55.Glory of the Sun and Moon 140
56.Mercy Generates Longevity 141
57.Happiness and Longevity 142
58.Infinite Posterity and Prosperity 143
59.Fortune and Happiness 144
60.Dunhuang Flying Apsaras 145
61.Lotus with the Design of Yuan Seal 146
62.Couplet of Landscape in Gold and Green Style 148
63.Devil Forest, North-western China 149

Section Four: Studio Objects
64.Goat-hair Brush with Inscription of “Can’t Afford to Go without Him for One Day” 150
65.Goat-hair Brush with Inscription of “Longevity” 151
66.Red Wood Brush Holder with Calligraphy after Ouyang Xun’s Style 152
67.Purple Clay Plum Branch Shaped Brush Rest with Inscription of “A Message of Spring” 153
68.Bamboo Washer with Calligraphy Inscriptions of Heart Sutra’s words 154
69.Professor Jao’s 90th Birthday Anniversary Ink Stick 155
70.Paper-Landscapes 156
71.Shoushan Stone Paperweight with Inscription of “My Way” 157
72.Green Duan Ink Stone with Lotus Leaf Design and Inscription of “Green Sky” 158
73.Lingyang Gap Ink Stone with Landscape Design 159
74.Double Bamboo Shaped Wrist Rest 160
75.Wooden Ruler-weight with Couplet 161
76.Wooden Ruyi with Auspicious Citation of Han Dynasty 162
77.Bamboo Teapot with Four Cups Inscribed with Jin Nong’s Quotation on Tea 163
78.Purple Clay Teapot Inscribed with Painting of Hong Kong Seashore 164
79.Xinjiang Stone with Painting of Calm Valley 165
目 錄
第一部分︰繪畫
1. 印尼都拍湖 51
2. 金描觀音　 52
3. 沙州畫樣卷 53
4. 太湖風光 56
5. 敦煌寫生 57
6. 藍山三姊妹峰 60
7. 印尼寫生冊　 61
8. 布袋和尚 64
9. 選堂白描六駿圖　 65
10.雪萊鴻爪冊　 68
11.澳洲寫生冊　 70
12.洞庭君山／道君秋花詩大扇 72
13.荷花四屏 74
14.荷花 76
15.五牛圖　 77
16.六祖像 80
17.小函錦瀧 81
18.四君子四屏—梅、蘭、菊、竹 82
19.硃筆鍾馗 84
20.茶屋圖　 85
21.石卷 88
22.花卉四幅 90
23.古松壽佛　 91
24.塔斯曼尼亞海岸景色 92
25.敦煌太平有象 93
26.各式成扇六把一套
  a. 浮丘縹緲／書北海道屈斜路絕句 94
  b. 牛／賀蘭銛帖 95
  c. 松山佳氣／普濟禪院詩 96
  d. 仙山古松／自書詞 97
  e. 紅梅茶鼎／題納蘭集詩 98
  f. 明月蘆花／書倫禪師偈 99
27.紈扇六柄
  a. 印度王舍城遺跡／自書詩 100
  b. 坐看雲起時／書顧貞觀金縷曲 101
  c. 疏林別有情 102
  d. 雪梨海岸所見／自書題畫詩 103
  e. 疏林覓句／髠殘畫偈 104
  f. 金荷／自書詩 105

第二部分︰書法
28.四體書法四屏 106
29.茶禪一體十二幅 108
30.甲骨四言大聯　 110
31.行書七言大聯　 111
32.草書五言大聯　 112
33.隸書四言大聯　 113
34.自書詩四屏—白山詩、吳哥窟句、避暑山莊句、譯萬葉集 114
35.篆隸行草四屏—篆、隸、行、草 116
36.明人筆意四屏—書解縉句、徐文長句、陳白沙句、書陳繼儒句 118
37.書晚明邢張米董四家四屏 120
38.明遺民筆意四屏—八大山人句、陳老蓮句、倪元璐句、傅青主句 122
39.大愛無疆 124

第三部分︰新路向書畫
40.櫻桃芭蕉　 125
41.江南春雨 126
42.亭亭淨植 127
43.雲在西湖月在天 128
44.荷花 129
45.雨後太平山 130
46.巴特斯港 131
47.搖籃山雪景 132
48.戴維河灣 133
49.馬蹄灣 134
50.淵默雷聲 135
51.長流不息 136
52.鑄奇字　 137
53.守默如雷 138
54.康寧長樂 139
55.日月增輝 140
56.仁則壽　 141
57.長樂延年 142
58.長宜子孫 143
59.大吉祥宜牛犢 144
60.散花飛天 145
61.元押圖案荷花四屏　 146
62.福海壽山金碧山水畫聯　 148
63.十三間房魔鬼林 149

第四部分︰文具及文玩
64.銘「不可一日無此君」羊毫筆　 150
65.銘「鶴壽」羊毫筆 151
66.書卜商讀書帖紅木筆筒　 152
67.銘「春消息」紫砂筆架　 153
68.銘「行深般若」竹筆洗 154
69.選堂九十華誕紀念墨　 155
70.紙—選堂仿古山水冊 156
71.書銘「我自行我法」壽山石紙鎮　 157
72.銘「綠天」綠端硯連木盒　 158
73.天然山水羚羊峽石硯　 159
74.仿中隱半山篔簹雙翠竹臂擱　 160
75.書五言對聯木鎮尺　 161
76.銘漢人吉語木如意 162
77.書冬心茶贊竹壺連四杯　 163
78.繪香港沿海小景紫砂壺　 164
79.幽谷圖新疆石擺件 165