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多次赴日本、美国、加拿大访问讲学的林先生，从闽入浙，行迹遍布海内外，然终归老“浙里”杭州。故其“十三点”者，无不熏染有“浙里”“浙气”。此气者何？江南诗意、西子灵秀也。
说人“十三点”，多少有语带嗔怪、取笑、调侃之意，语虽不够典雅，但听着也不至于生气、怪罪，算是吴语方言中的高频俚语俗词，使用广泛，具体含义要看语境，复杂而微妙，趣味无穷。
有时情侣之间一句“你个十三点”，反倒让人暗生欢心。尽管如此，自称为“十三点”者恐怕少之有少，自称为“十三点”并引以为荣者，更是难得。在浙江文化艺术界有“老神童”之称的林乾良先生可算一个。
一
林先生是福州人，自幼好玩石治印，自号“印谜”。后业医，兼通中西医各科，旁及茶药，故有“医通”“茶博”之称。继而师名家，习书画，于甲骨、玺印、砖瓦、篆书、山水、花鸟、人物，无所不能，金石书画界有“十相”之誉。林先生禀赋卓异，既可作词填曲、粉墨登场，也会作文赋诗、妙笔生花，于音乐、戏曲、诗文、著论各有造诣;又兴趣广泛，广收博取，收藏医方、名笺、字画、珍邮、铜镜、瓷甓诸物，林林总总，计有十三项之多，晚年遂自号“十三点”。
林先生尝撰《十三点自述》，备述其原委缘由，内云：“此名大不雅，世人每归之痴呆怪异者流。今适逢此数，真天意也。即以为号，又有何妨。人以为忤，余则甘之若饴矣。”诙谐洒脱之中，可见“老神童”之风采神韵。
称林先生为“老神童”，恐怕我是第一人。何故？一者他尊荣雅号无数，如“中医学家”“茶疗学者”“篆刻家”“书画家”“票友”“收藏家”等等，抑或“医通”“茶博”“印谜”“戏痴”“镜奴”“甓癖”“笺王”……少有人能如此博学多艺;二者昔年他曾与我详述家世生平，稱自幼失怙，沦为孤儿，虽历经颠沛流离、九死一生，仍好学求进，加之天资卓异，得以英才勃发。而今林先生仍老而弥坚，勇猛精进，著述不辍，每日伏案十多小时，整理藏品，潜心学问，仅近5年出版专著就有二十七册之多，不仅是一个活脱脱的“老神童”，而且是一个实打实的“不老男神”。
而在我看来最值得深究的是，医者林先生何以精通这诸般“艺文”？
古来圣贤从不以多才与博学自夸，也不教人求多务博。如孔子曰“吾道一以贯之”，韩愈云“闻道有先后，术业有专攻”。专心一业、持之以恒，此乃成功之道。学业、专业是这样，职业、事业更是如此。而多才多艺与博学广识，则似乎相怼相克，所谓杂则不精，博则不专，博学而无所成名，讲的都是这个道理。
林先生以医为业，其专如何？他八载苦读，兼通中西医，在浙江中医药大学一人讲遍中西医诸科目;他从医60多年，医学临床、教学科研成果斐然，计有专著三十五种，论文、科普各百余篇，还有任主编的或二版、三版教材各五六种。及至晚年退休，国家有关部门汇其毕生医教研成果之精华，集为《林乾良医学丛书》出版，一函五册，分别为《简易疗方》《中国茶疗》《古今名医处方真迹》《乾良医话》《养生寿老集》。此外，还有《药对》《养生之道》分别在美国、加拿大出版。他曾任医史、药史、中医文化、中西医结合等国家、浙江学术团体理事和正副会长之职;还多次赴日本、美国、加拿大访问讲学，桃李遍天下。
常言道：茶药同源。林先生因医药、养生而旁及于茶，立志研习，梳理茶事文献五百余种，撰《茶史》《茶功》宏文，首倡“茶疗”之说，所著《中国茶疗》迄今已三版、三译;又著《养生寿老茶话》《养生寿茶》《茶寿与茶疗》等专著五种，拟“和敬清寂寿，廉美悟怡真”十字为“中华茶德”，创作茶题材书画篆刻作品难计其数，汇刊《茶印千古缘》存录。
二
若以其博学多艺言之，举其大而有成者，约略如下：
印及书画，卓成大家。林先生早岁往来三山（）市井街坊，为印石铺琳琅满目寿山印石所吸引，常摩挲印石，徘徊其间，耳濡目染，髫龄即有篆刻治印之雅好。就学杭州后，得与“天下第一名社”西泠印社亲密接触，深爱其翰墨气韵，节假日常徘徊其中，不知日之将暮。后拜陆维钊、沙孟海、韩登安为师，印艺大进，乃独辟蹊径，常以甲骨文、古玺、汉印、砖瓦入印，题材旁及医道、茶药、戏文、镜瓦诸端，遂自成一家之气象。
然治印不过刀笔功夫，学问却在刀笔之外。林先生自号“印谜”，研习印学史论，广交天下印人，博搜海内外印品，筹办“二十世纪篆刻大师展”，撰著《方寸万千》《印谜丛书》《瓦当印谱》《西泠八家研究》《篆字辨识》《中国印》等十余种，藏印一甲子，印富五车多，业界有“新精奇罕趣”之赞。近年新著《世界印文化概述》，首开世界印文化新说，从古埃及、古巴比伦到东亚印学，无不囊括笔端，其视野之阔、学艺之深，由此足见一斑。林先生一生治印八十载，西泠社龄四十年，位尊“西泠五老”之列，至有“天下印人谁人不识君”之谓。
至若其书法，则以篆为主，兼融甲骨、金文、玺印、砖刻、镜铭章法意蕴，出古入新，工拙并美;其画起于印石薄意，师承西泠诸家，山水、花鸟、人物信手涂抹，即成妙相，人有“林加索”“小册页大王”之称。
戏文笺方，各臻其妙。京剧号为国粹，林先生早年于上海中医研究班期间，常陪同学在“大世界”看戏，三月下来，从对戏剧毫无所知的“戏盲”，快速成长为一个懂戏会唱的“戏痴”票友。及退休之后，尝一度旅居美国，其间入行于净，遍访湾区票房。从此一发不可收，常粉墨登场，演出于海内外剧场。或许有人会说：“逢场作戏，哼唱几句，谁人不会？！”此言诚然，然林先生之为“戏痴”，真“票友”也。他不仅登台，还编剧作曲，曾创作京剧剧本《钱王射潮》《不朽的阮文追》和《红灯记组曲》，自己填词作曲《红灯颂》。他不仅创作，还弘扬国粹，在海内外撰文、演讲普及推广京剧。不仅如此，他结合自己最拿手的“老本行”，刻京昆戏剧印章三百方，集十多位名家戏画数百纸，制作京剧主题邮品。
林先生早岁酷爱古文、词赋和唐诗，自谓烦闷之时，常以吟诵消遣。年三十，得章炳麟弟子潘国贤之教而入于“小学”，著有《篆字辨识》《甲骨文易读》《篆汇》，享誉古文字学界，至今犹任浙江省甲骨文学会副会长之职。 然世間德业，当以教书育人为最，教育育人则又以开课启蒙为要。林先生尝自撰自印《基本中文易读》，供海外华裔学习汉语之用。又推陈出新，撰专题《三字经》九种，其中中医、篆刻、茶文化三种已问世。其最难者，非《三字经千字文合璧》莫属，集两部华夏传世国学经典于一书。
林先生身为士林中人，不仅用笺而与笺结缘，而且爱笺而情深义重。他集腋成裘，庋藏明清近世贤达、荣宝斋、国美等诗笺、信笺、书画笺及笺版、书画小册页、金石拓片等计有数万纸之巨。其中又以诗笺为著，足有数千纸，乃名之曰“藏诗”，篆“千家诗藏”印以钤之，《印人诗与论印诗展》添彩于中国印学博物馆，近岁合集为《千家诗藏》，由浙江古籍出版社刊行。
镜甓瓷邮，情趣盎然。古来爱物至深至切，甘心为其“奴役”者多矣，林先生戏称自己为“镜奴”，则又平添佳话。至今藏镜数千，著有《千镜斋精品》、《镜文化与铜镜鉴赏》，首倡“镜文化”之说，提出铜镜十大功能和命名法则，对神龙镜、龙虎相嬉镜、雷电镜、七子镜等七八种镜之定名独有创见，于戏剧镜、四虺镜、汉鸟镜、诗文镜、故事镜、医药镜等藏品多有专题研究。
林先生从闽入浙，行迹遍布海内外，然终归老“浙里”杭州。故其“十三点”者，无不熏染有“浙里”“浙气”。此气者何？江南诗意、西子灵秀也。吴越真福地，人文一渊薮，林先生天赋之才情，得两浙山水人文之滋养，发乎天地人世间。此岂非东坡之与西湖哉？
A Talented Eccentric in Hangzhou
By Bao Zhicheng
Lin Qianliang is well known jokingly for his eccentricities among his friends as well as artists and art collectors in Zhejiang. A native of Fuzhou， the capital of Fujian Province south to Zhejiang， Lin， born in 1932， has a wide range of hobbies. He is an ardent specialist of traditional Chinese medicine， tea therapy， seal art， calligraphy， painting， art and antique collection， and theater.
By occupation， Lin is a TCM doctor. Before his retirement from Zhejiang Chinese Medical University， he was a TCM professor with 35 books and over 100 papers and essays under his belt. Some of his books have been translated into foreign languages. Before his retirement， he was also a member of various professional associations， and he gave lectures in Japan， USA and Canada. As a TCM doctor， he first came up with the idea of treating patients with a tea therapy after combing more than five hundred ancient books on the subject.
Lin developed his first hobby， that is， seal art， when he was about 8 years old. After he came to Hangzhou， he had the opportunity to visit Xinling Seal Art Society， the very famous organization of seal engravers and calligraphers headquartered on the West Lake. He studied under the guidance of Lu Weizhao， Sha Menghai and Han Deng’an， all artists of national renown. He was able to combine various ancient seal scripts into his own seal creations. The seal texts he has carved cover a wide range of his hobbies such as herbal medicine， tea， theater and mirrors. These texts on seals make him an outstanding seal artist. As a seal artist， he also studied ancient Chinese scripts under the guidance of Pan Guoxian， a disciple of Zhang Binlin （1869-1936）， one of the greatest ancient Chinese masters of modern times. Lin has published three books on ancient Chinese scripts. He is now a vice president of Zhejiang Association for Studies on Texts of Oracle Bones Over his 80 years of hobby and 40 years as a member of the Xiling Seal Art Society， Lin has published more than 10 books on seal art and built up a collection of seals.
After his retirement， Lin lived in San Francisco for a few years where he became a Peking Opera fan influenced by Peking Opera shows at local Chinese communities. He was so passionate about the opera that he became an amateur Peking Opera artist. He wrote two Peking Opera scripts and composed arias. In addition， he compiled and published a Chinese primer so that the children born in America of the first-generation Chinese immigrants could get acquainted with their mother-tongue.
Over years， Lin Qianliang has built up a huge collection of letter papers. Letter papers were important stationery in ancient China. Some were manufactured by stationery and art studios and schools and some were designed by artists and scholars including some big names. The oldest letter papers in Lin’s collection are those printed in the Ming （1368-1644） and the Qing （1644-1911）. Many of these letter papers present special designs and pattern such as painting， seal impressions， and poems. Lin’s huge collection of these letter papers adds up to several tens of thousands.
Lin has also a collection of several thousands of mirrors. On the basis of his studies of these mirrors， he has developed a system to categorize mirrors and put them into different sets and give names to categories; he has also developed a theory that highlights the ten functions of these mirrors.
Lin Qianliang really does not mind if other people call him eccentric. Instead， he thinks it is okay if his hobbies are billed as eccentricities. He even wrote an explanation to lampoon his eccentricities. After all， he has a wide range of hobbies and these hobbies add colors to his life. If his happiness and joy are equal to eccentricities， he doesn’t mind being called an eccentric.
说人“十三点”，多少有语带嗔怪、取笑、调侃之意，语虽不够典雅，但听着也不至于生气、怪罪，算是吴语方言中的高频俚语俗词，使用广泛，具体含义要看语境，复杂而微妙，趣味无穷。
有时情侣之间一句“你个十三点”，反倒让人暗生欢心。尽管如此，自称为“十三点”者恐怕少之有少，自称为“十三点”并引以为荣者，更是难得。在浙江文化艺术界有“老神童”之称的林乾良先生可算一个。
一
林先生是福州人，自幼好玩石治印，自号“印谜”。后业医，兼通中西医各科，旁及茶药，故有“医通”“茶博”之称。继而师名家，习书画，于甲骨、玺印、砖瓦、篆书、山水、花鸟、人物，无所不能，金石书画界有“十相”之誉。林先生禀赋卓异，既可作词填曲、粉墨登场，也会作文赋诗、妙笔生花，于音乐、戏曲、诗文、著论各有造诣;又兴趣广泛，广收博取，收藏医方、名笺、字画、珍邮、铜镜、瓷甓诸物，林林总总，计有十三项之多，晚年遂自号“十三点”。
林先生尝撰《十三点自述》，备述其原委缘由，内云：“此名大不雅，世人每归之痴呆怪异者流。今适逢此数，真天意也。即以为号，又有何妨。人以为忤，余则甘之若饴矣。”诙谐洒脱之中，可见“老神童”之风采神韵。
称林先生为“老神童”，恐怕我是第一人。何故？一者他尊荣雅号无数，如“中医学家”“茶疗学者”“篆刻家”“书画家”“票友”“收藏家”等等，抑或“医通”“茶博”“印谜”“戏痴”“镜奴”“甓癖”“笺王”……少有人能如此博学多艺;二者昔年他曾与我详述家世生平，稱自幼失怙，沦为孤儿，虽历经颠沛流离、九死一生，仍好学求进，加之天资卓异，得以英才勃发。而今林先生仍老而弥坚，勇猛精进，著述不辍，每日伏案十多小时，整理藏品，潜心学问，仅近5年出版专著就有二十七册之多，不仅是一个活脱脱的“老神童”，而且是一个实打实的“不老男神”。
而在我看来最值得深究的是，医者林先生何以精通这诸般“艺文”？
古来圣贤从不以多才与博学自夸，也不教人求多务博。如孔子曰“吾道一以贯之”，韩愈云“闻道有先后，术业有专攻”。专心一业、持之以恒，此乃成功之道。学业、专业是这样，职业、事业更是如此。而多才多艺与博学广识，则似乎相怼相克，所谓杂则不精，博则不专，博学而无所成名，讲的都是这个道理。
林先生以医为业，其专如何？他八载苦读，兼通中西医，在浙江中医药大学一人讲遍中西医诸科目;他从医60多年，医学临床、教学科研成果斐然，计有专著三十五种，论文、科普各百余篇，还有任主编的或二版、三版教材各五六种。及至晚年退休，国家有关部门汇其毕生医教研成果之精华，集为《林乾良医学丛书》出版，一函五册，分别为《简易疗方》《中国茶疗》《古今名医处方真迹》《乾良医话》《养生寿老集》。此外，还有《药对》《养生之道》分别在美国、加拿大出版。他曾任医史、药史、中医文化、中西医结合等国家、浙江学术团体理事和正副会长之职;还多次赴日本、美国、加拿大访问讲学，桃李遍天下。
常言道：茶药同源。林先生因医药、养生而旁及于茶，立志研习，梳理茶事文献五百余种，撰《茶史》《茶功》宏文，首倡“茶疗”之说，所著《中国茶疗》迄今已三版、三译;又著《养生寿老茶话》《养生寿茶》《茶寿与茶疗》等专著五种，拟“和敬清寂寿，廉美悟怡真”十字为“中华茶德”，创作茶题材书画篆刻作品难计其数，汇刊《茶印千古缘》存录。
二
若以其博学多艺言之，举其大而有成者，约略如下：
印及书画，卓成大家。林先生早岁往来三山（）市井街坊，为印石铺琳琅满目寿山印石所吸引，常摩挲印石，徘徊其间，耳濡目染，髫龄即有篆刻治印之雅好。就学杭州后，得与“天下第一名社”西泠印社亲密接触，深爱其翰墨气韵，节假日常徘徊其中，不知日之将暮。后拜陆维钊、沙孟海、韩登安为师，印艺大进，乃独辟蹊径，常以甲骨文、古玺、汉印、砖瓦入印，题材旁及医道、茶药、戏文、镜瓦诸端，遂自成一家之气象。
然治印不过刀笔功夫，学问却在刀笔之外。林先生自号“印谜”，研习印学史论，广交天下印人，博搜海内外印品，筹办“二十世纪篆刻大师展”，撰著《方寸万千》《印谜丛书》《瓦当印谱》《西泠八家研究》《篆字辨识》《中国印》等十余种，藏印一甲子，印富五车多，业界有“新精奇罕趣”之赞。近年新著《世界印文化概述》，首开世界印文化新说，从古埃及、古巴比伦到东亚印学，无不囊括笔端，其视野之阔、学艺之深，由此足见一斑。林先生一生治印八十载，西泠社龄四十年，位尊“西泠五老”之列，至有“天下印人谁人不识君”之谓。
至若其书法，则以篆为主，兼融甲骨、金文、玺印、砖刻、镜铭章法意蕴，出古入新，工拙并美;其画起于印石薄意，师承西泠诸家，山水、花鸟、人物信手涂抹，即成妙相，人有“林加索”“小册页大王”之称。
戏文笺方，各臻其妙。京剧号为国粹，林先生早年于上海中医研究班期间，常陪同学在“大世界”看戏，三月下来，从对戏剧毫无所知的“戏盲”，快速成长为一个懂戏会唱的“戏痴”票友。及退休之后，尝一度旅居美国，其间入行于净，遍访湾区票房。从此一发不可收，常粉墨登场，演出于海内外剧场。或许有人会说：“逢场作戏，哼唱几句，谁人不会？！”此言诚然，然林先生之为“戏痴”，真“票友”也。他不仅登台，还编剧作曲，曾创作京剧剧本《钱王射潮》《不朽的阮文追》和《红灯记组曲》，自己填词作曲《红灯颂》。他不仅创作，还弘扬国粹，在海内外撰文、演讲普及推广京剧。不仅如此，他结合自己最拿手的“老本行”，刻京昆戏剧印章三百方，集十多位名家戏画数百纸，制作京剧主题邮品。
林先生早岁酷爱古文、词赋和唐诗，自谓烦闷之时，常以吟诵消遣。年三十，得章炳麟弟子潘国贤之教而入于“小学”，著有《篆字辨识》《甲骨文易读》《篆汇》，享誉古文字学界，至今犹任浙江省甲骨文学会副会长之职。 然世間德业，当以教书育人为最，教育育人则又以开课启蒙为要。林先生尝自撰自印《基本中文易读》，供海外华裔学习汉语之用。又推陈出新，撰专题《三字经》九种，其中中医、篆刻、茶文化三种已问世。其最难者，非《三字经千字文合璧》莫属，集两部华夏传世国学经典于一书。
林先生身为士林中人，不仅用笺而与笺结缘，而且爱笺而情深义重。他集腋成裘，庋藏明清近世贤达、荣宝斋、国美等诗笺、信笺、书画笺及笺版、书画小册页、金石拓片等计有数万纸之巨。其中又以诗笺为著，足有数千纸，乃名之曰“藏诗”，篆“千家诗藏”印以钤之，《印人诗与论印诗展》添彩于中国印学博物馆，近岁合集为《千家诗藏》，由浙江古籍出版社刊行。
镜甓瓷邮，情趣盎然。古来爱物至深至切，甘心为其“奴役”者多矣，林先生戏称自己为“镜奴”，则又平添佳话。至今藏镜数千，著有《千镜斋精品》、《镜文化与铜镜鉴赏》，首倡“镜文化”之说，提出铜镜十大功能和命名法则，对神龙镜、龙虎相嬉镜、雷电镜、七子镜等七八种镜之定名独有创见，于戏剧镜、四虺镜、汉鸟镜、诗文镜、故事镜、医药镜等藏品多有专题研究。
林先生从闽入浙，行迹遍布海内外，然终归老“浙里”杭州。故其“十三点”者，无不熏染有“浙里”“浙气”。此气者何？江南诗意、西子灵秀也。吴越真福地，人文一渊薮，林先生天赋之才情，得两浙山水人文之滋养，发乎天地人世间。此岂非东坡之与西湖哉？
A Talented Eccentric in Hangzhou
By Bao Zhicheng
Lin Qianliang is well known jokingly for his eccentricities among his friends as well as artists and art collectors in Zhejiang. A native of Fuzhou， the capital of Fujian Province south to Zhejiang， Lin， born in 1932， has a wide range of hobbies. He is an ardent specialist of traditional Chinese medicine， tea therapy， seal art， calligraphy， painting， art and antique collection， and theater.
By occupation， Lin is a TCM doctor. Before his retirement from Zhejiang Chinese Medical University， he was a TCM professor with 35 books and over 100 papers and essays under his belt. Some of his books have been translated into foreign languages. Before his retirement， he was also a member of various professional associations， and he gave lectures in Japan， USA and Canada. As a TCM doctor， he first came up with the idea of treating patients with a tea therapy after combing more than five hundred ancient books on the subject.
Lin developed his first hobby， that is， seal art， when he was about 8 years old. After he came to Hangzhou， he had the opportunity to visit Xinling Seal Art Society， the very famous organization of seal engravers and calligraphers headquartered on the West Lake. He studied under the guidance of Lu Weizhao， Sha Menghai and Han Deng’an， all artists of national renown. He was able to combine various ancient seal scripts into his own seal creations. The seal texts he has carved cover a wide range of his hobbies such as herbal medicine， tea， theater and mirrors. These texts on seals make him an outstanding seal artist. As a seal artist， he also studied ancient Chinese scripts under the guidance of Pan Guoxian， a disciple of Zhang Binlin （1869-1936）， one of the greatest ancient Chinese masters of modern times. Lin has published three books on ancient Chinese scripts. He is now a vice president of Zhejiang Association for Studies on Texts of Oracle Bones Over his 80 years of hobby and 40 years as a member of the Xiling Seal Art Society， Lin has published more than 10 books on seal art and built up a collection of seals.
After his retirement， Lin lived in San Francisco for a few years where he became a Peking Opera fan influenced by Peking Opera shows at local Chinese communities. He was so passionate about the opera that he became an amateur Peking Opera artist. He wrote two Peking Opera scripts and composed arias. In addition， he compiled and published a Chinese primer so that the children born in America of the first-generation Chinese immigrants could get acquainted with their mother-tongue.
Over years， Lin Qianliang has built up a huge collection of letter papers. Letter papers were important stationery in ancient China. Some were manufactured by stationery and art studios and schools and some were designed by artists and scholars including some big names. The oldest letter papers in Lin’s collection are those printed in the Ming （1368-1644） and the Qing （1644-1911）. Many of these letter papers present special designs and pattern such as painting， seal impressions， and poems. Lin’s huge collection of these letter papers adds up to several tens of thousands.
Lin has also a collection of several thousands of mirrors. On the basis of his studies of these mirrors， he has developed a system to categorize mirrors and put them into different sets and give names to categories; he has also developed a theory that highlights the ten functions of these mirrors.
Lin Qianliang really does not mind if other people call him eccentric. Instead， he thinks it is okay if his hobbies are billed as eccentricities. He even wrote an explanation to lampoon his eccentricities. After all， he has a wide range of hobbies and these hobbies add colors to his life. If his happiness and joy are equal to eccentricities， he doesn’t mind being called an eccentric.