张善麟是谁?人们只知道他是京剧艺术大师盖叫天先生的嫡孙，盖派艺术的第三代传人。他8岁随父张翼鹏学艺，15岁从上海来到杭州金沙港“燕南寄庐”盖家寓所随祖父学艺，他与祖父朝暮相处，耳濡目染，练就了他那非凡的盖家风范，玩古也玩出了名堂。
　　我和善麟相处多年，平时除了谈艺，更多的是谈古。他那些鲜为人知的玩古趣事，让人兴味盎然，善麟说他对古玩的兴趣，是深受祖父的影响。祖父的收藏极丰，而且不以贵贱论物，每件古玩只要和舞台艺术紧密相关的，他便“一掷千金”，毫不手软。
　　善麟自从进得“燕南寄庐”后，除每天必练的刀枪把子和圆场身段之外，祖父还给孙儿们增加了一堂“聊课”，每日里聊戏、聊古董、聊字画……，山南海北、冬夏春秋，终年如此，按盖老的话说，那便是“讲经说法”，此时的孙儿们一个个如雏鹰“息羽听经”。善麟在这种浓浓的氛围里确确实实领悟到了盖派艺术的精髓妙处。
　　当年在“燕南寄庐”盖老常给孙儿们做一种名谓“摆件”的艺术玩古游戏，每当晨练做完吃过早餐，盖老就叫孙儿们来到堂前，他先将屋内的桌、椅、凳等全部家杂打乱，然后逐个让孙儿们凭每人的感觉和情趣摆出各种样式，如家具放什么位置最好、花瓶搁什么角度最美、字画挂什么高度为最佳等等。每次每人放置完毕，盖老都逐个加以点评，指出好坏。此时，盖老用的评语全是和舞台艺术直接挂钩的专用语，什么“偏台”啦、“上场角偏重”啦、“下场角偏轻”啦等等，孙儿们听着祖父的点评，心里便和舞台的画面、角度紧密挂起钩来。盖老时常挂在嘴边的一句话是：“艺术犹如古玩，小中见大；舞台表演要像明式家具那样简洁明快，要有线条；短打武生主要靠线条的摆式才能体现形体的美，盖派艺术没有‘绝招’，只有扎扎实实的一招一式、一戳一站、一蹬足、一抬手的基本功。”也许盖老这些平平常常的关于“招式”的话，艺术神韵就隐藏在这平常之中呢!怪不得行里人评说盖派艺术、评论盖老的表演、评论盖家后人的传承时，都说他们的一招一式都是有来由的。也许这来由是从明式家具的线条、清三代的青花中汲取养料而形成的。善麟对我说：“记得当年美术评论家王朝闻曾讲过盖派艺术之美，在与动与静之间的过程，都是美不可言的……”
　　“玩古如学戏”，善麟随祖父学戏后的第二年就懂得了这句话的妙理，爱上古玩，并像学戏一样迷恋古玩，他从古玩中吸取舞台所需要的“营养”，领悟到“舞台亮什么样的相、造什么样的形、做什么样的动作，犹如字画配镜框、花瓶配底座、椅子配茶几……”近日，善麟在家里放录祖父以前的录像，他说：“祖父的录像，越看越耐看，觉得盖派艺术好似尘封的佳酿，打开泥头便酒香袭人，盖派艺术是有‘包浆’的，经得起年轮的浪淘，那宝光越久越亮”。听后我问善麟：“同样一出戏为什么有的演员演得好，有的演员演不好?”善麟笑着对我说：“这正如玩古玩之人讲的一句行话：这要看‘包浆’有否?‘年轮’有否?‘开光’了没有……?
　　对于古玩，善麟十分自豪地对我说：“盖家三代玩古，盖派艺术好似明式黄花梨家具、南宋官窑瓷，祖父常说他看到画，能看出画中的人物的舞蹈，看到家具，能看到家具中线条的流动。祖父虽读书不多，但他对艺术的敏感、灵气无与伦比，由于有了这种感悟，他才能创造出盖派的经典之作‘鹰展翅’，他对动作的灵气实际上是长年累月玩古的必然造化。”走进善麟家中，最“枪眼”的要算客厅里那中堂的摆设：那靠墙挂着的家传老红木镜框顶天立地，足足二米多高，两旁两块大画板，一块是扬州八怪之首郑板桥的修竹凌风，一边则是扬州另一怪李方膺的梅花傲雪，显得气宇轩昂，风骨非凡；案前放着一尊清雍正小开片太白尊，善麟说此尊从父亲手里传来，已经百年有余了，那中堂，更有故事可说!
　　1993年，善麟上北京在人民剧场举办“盖派艺术教学专场演出”，除了善麟在北京的学生汇报演出外，他自己也登台献演了盖派名段《狮子楼》。那晚来了很多名流如吴祖光、马少波、王金璐、刘厚生等，他们看了盖家嫡孙的精彩表演，纷纷题字留言，并对善麟题了“酷似乃祖”四个大字，特别是剧评家、剧作家翁偶虹先生还题诗一首：“一脉相传集一身，新枝擢秀更芳芬。绳其祖武千秋业，威凰祥麟出盖门”。善麟得诗欣喜不已。著名画家闵学林跟善麟莫逆之交，他读了翁老诗感触倍增，几天后，四尺徽宣上跃然灵动着闵先生的书法。自此，翁老的诗、闵兄的字便镶嵌在善麟家的老红木镜框之中。
　　环顾善麟家的客厅，靠北边窗下放着两把清代乾隆的红木太师椅，后背舞起云头，做工巧，线条好，更让人醒目的是那两把椅子比一般的要大得多，善麟说：“这一对椅子也是家传，上了年岁了!我们从小受祖父影响，每天都要盘膝而坐，这两把椅子能够盘腿坐，非常舒坦，要是尺寸一小就不能静坐了!”中间那茶几，善麟别出心裁找了一块“金砖”压在案上，这块大砖替代了茶几的面，善麟得意地说：“这样一来既可喝喝茶，也可蘸水练字，玩家就要会玩呀!”
　　张善麟几乎每天都会在太师椅上盘膝静坐。他问我：“阿潘!你可知我每天什么时候最舒心?”我猜不得，他说：“我每天看着中堂的画面、读着镜框中的诗，心情特别好，感觉也愉快，不浮躁，能够静得下心来。在家想想艺术，练练身段，看看画，读读书，这才叫玩古啊!”
　　
　　链接：
　　张善麟为张翼鹏之子，盖叫天之孙，1940年出生。自幼得父亲亲授，更在祖父身边学艺多年。与盖叫天合演《一箭仇》中饰武秋，为盖氏最器重的后裔之一。先后在江、浙、豫等地剧团担当挑梁武生，主演过《武松》《恶虎村》《闹天宫》《蜈蚣岭》《四平山》等剧。1993年应北京戏曲学校之邀，赴京教学传授盖派艺术，举办“盖派专场演出”。
　　
　　Peking Opera Actor Talks about Antiques
　　By A Pan
　　Seven years after he started learning the performing art of Peking Opera from his father in Shanghai, the 15-year-old Zhang Shanlin came to Hangzhou to learn more from his grandfather Gai Jiaotian, a well known master of Peking Opera of the 20th century. Being together with his grandfather from morning to night, he learned a lot more than just performing skills.
　　In addition to daily learning sessions and practices, Gai Jiaotian also gave mini lectures to his grandsons about the stage art of the opera, antiques, calligraphy and painting. These lectures took place all the year around.
　　
　　After all these decades, the 66-year-old Zhang Shanlin still vividly remembers a game called earranging furniture? It would be played after breakfast. All the grandsons would gather in the hall. The grandfather would disorder all the antique furniture and then ask one of the kids to rearrange tables, chairs, benches, vases, etc. Then he would comment on the rearrangement, using stage terms. These comments were given to help the kids better understand the Gai school of Peking Opera performance. The grandfather explained why he loved antiques so much: "grt resembles antiques, for you can find a full world in these small things. Your performance on the stage should resemble the style of the furniture of the Ming Dynasty: simple and stylistic. Priority shall be given to the shape. My style has no secrets. All the performance should be based on basic skills: how you stand still, how you move, how you move your legs, how you move your arms, etc.?Critics say that there is always unique beauty seen in the performing art by Gai and his disciples.
　　Zhang Shanlin reminisces, learned in the second year I was in Hangzhou that learning about antiques was equal to learning the performing art.?For him, striking a pose on the stage was just like rearranging furniture: one needs to find out how a painting matches its frame, how a vase squares with a pedestal, and how chairs meet a tea table. For him, that makes the difference between those who can perform a play well and some others who fail to bring it off.
　　Zhang Shanlin says that the three generations of the family love the antique furniture. Though his grandfather was not a scholar with a profound academic knowledge, he was an accomplished artist highly perceptive and creative in art. Many of his inspirations came from his understanding of ancient paintings and calligraphic works and antique furniture. According to the grandson, his grandfather's achievements in Peking Opera partly resulted from his experience with antiques.
　　In 1993, Zhang Shanlin held a show in Beijing in memory of the performance style initiated by his grandfather. Many artists and critics who knew his grandfathers watched the highlights performed by Zhang and his disciples. The show was a success.
　　Today, Zhang Shanlin has two mahogany armchairs made in the Qing Dynasty (1644-1911) in his sitting room. The oversized chairs are very conspicuous. Zhang comments, 襂 sit cross-legged in it everyday, just as my grandfather did. The chair is large enough for me to sit this way.?The best time of a day is when he enjoys his antique furniture, art, books, and paintings after he finishes his daily practices. This is exactly what antiques mean in his life.
　　 (Translated by David)