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【评论】大道存真——纪念朱屺瞻先生诞辰120周年 Trhth lies in the ultimate philosophy - in commemoration of the 120th anniversary of Zhu Qizhan's birthday

2011-05-18 09:38:21 来源:《大道存真:纪念朱屺瞻先生120周年诞辰》作者:华东平
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  20世纪是一个波澜壮阔、风起云涌的大时代,就中国绘画史而言,20世纪同样也是一个历经传统向现代转型的大时代,涌现出了一批融合中西绘画的伟大画家,这其中,艺术大师朱屺瞻先生(1892—1996),以艺高德馨称誉画坛,其绘画贯通古今,融会中西,作品清新质朴,雄健磅礴,意境高远,在近现代美术史上写下了浓重的一笔。

  1932年1月28日,日军大举进犯上海,中国抗日将士浴血奋战,朱屺瞻先生积极参加抗战赈济活动,在战争甫歇之际,他不顾严寒与肺疾奔走于宝山、嘉定、太仓等“一•二八淞沪抗战”战场作油画写生描绘战争遗迹,感受抗日将士视死如归的无畏精神,并在当年7月新华艺术专科学校内举办“朱屺瞻淞沪战迹油画展览”,展示了先生怒斥日军暴行和不屈的民族精神,展览期间参观者每天有千人以上,社会反响强烈。这是朱屺瞻艺术生涯中的第一次个人画展,而且是个专题画展,有着特殊的意义。展览结束后,屺瞻先生返回浏河老家,发现旧宅已被日军焚毁,在清理瓦墟时,将日机炸成的弹坑引水成池,画友姜丹书命名为“铁卵池”,以志不忘日寇侵华暴行,屺瞻先生则自号“梅花草堂主人”,在画室外遍植梅花,以示对劫难的抗争之意。如今,“梅花草堂”也被当地政府立为“爱国主义教育基地”和“未成年人思想道德教育实践基地”。

  1949年中华人民共和国诞生,朱屺瞻受邀参加了“上海市第一次文学艺术工作者代表大会”,加入了“新中国画研究会”;1955年,由陈毅市长亲自点名,相继被聘为上海市文史馆馆员、上海中国画院画师。1981年,中国美术家协会上海分会举办“朱屺瞻国画展”,90高龄的朱屺瞻先生继承祖国绘画艺术传统,学习西洋画艺,兼收并蓄,以强烈色彩揉掺于淋漓纵横的泼墨之间,形成一种独立的艺术气派。“九十画展”的成功,是标志他登上艺术高峰的里程碑,随着95岁、百岁、百又五岁,每次画展他都以全新的作品面世,一次次不断的自我超越,佳作迭出,其惊人的爆发力举世罕见,创造出美术史上的奇迹。

  虹口区是上海文化的发祥地之一,文化底蕴源远流长,人文精神的影响极为深远。朱屺瞻先生任教过的上海美专创建于虹口,鲁迅先生也在虹口度过了他生命中的最后十年,如何让虹口现有的历史文化资源转化成能够影响当下的精神和物质财富,让后辈不断的传承下去,这是我区不断关注和探索的历史性课题。朱屺瞻艺术馆在鲁迅公园落成之际,先生还健在,这就使得他成为建设以鲁迅公园为轴心,以多伦路一带名人故居、文化遗址为内涵的“雅文化圈”,把虹口乃至上海近现代的历史文化和当下社会文化发展连接在一起的重要象征。艺术馆成立伊始,朱屺瞻先生亲自挑选捐赠给艺术馆的百幅精品力作,以及屺老历年收藏的历代书画和当代名家作品,这是宝贵的文化遗产,更是一笔留给后人弥足珍贵的精神财富。故此,朱屺瞻艺术馆落户虹口意义深远,它既是收藏、陈列与研究朱屺瞻先生书画艺术的专门机构,也以弘扬“传统经典”为学术定位,成为了虹口区开展国内外艺术交流的重要窗口,成为打开我们虹口区文化建设新篇章的重要契机。

  2011年是中国共产党成立90周年,也是辛亥革命100周年。20年前的今天,活到老,学到老,以百岁高龄被吸收加入中国共产党的朱屺瞻先生,用他极其旺盛的艺术生命和人生经历见证了中国美术史直到20世纪末期的发展。今年,我们隆重举办的“朱屺瞻先生120周年诞辰”纪念活动,是一件加强社会主义精神文明建设,弘扬中国民族优秀文化的实事,得到了上海市领导和相关单位的大力支持。这本《大道存真——纪念朱屺瞻先生120周年诞辰》画集的出版,表达了我们后辈人对于传统优秀文化遗产的珍视和传承。本次的纪念活动,其意义和价值也正在此。在此要特别感谢朱屺瞻先生的家属陈瑞君女士、朱人和先生;对于参与主办、协办及承办的各家单位以及提供展品的藏家黄贵权、潘复熙、郑育彬、谢裕霖、陈章正、徐祖国、倪衍诚诸位先生一并表示衷心的感谢。同时,衷心祝愿朱屺瞻先生的艺术在中华文化的宝库当中放出更加夺目的光彩。

                虹口区人民政府副区长、朱屺瞻艺术馆馆长 华东平

                        2011年5月4日

  The 20th century is a glorious and eventful era. As far as the painting history of China is concerned, it is also a memorable era that marks the transition from tradition to modern, and witnesses emerging artists recognized for combining Chinese and western paintings. And Zhu Qizhan is one of them (1892—1996). Highly respected in the art circle for his extraordinary talent and moral character, he is a remarkable figure recorded in the modern art history for his fresh and authentic, majestic and far-reaching works, for his conversance with both Chinese and western, classical and modern paintings.

  Following the 9·18th event and the Japanese army’s invasion upon Shanghai in 1932, Zhu Qizhan took an active part in anti-war and relief activities. In the teeth of bitter cold weather and painful pulmonary disease, he went around the 12•8th Songhu Battle field which including Baoshan, Jiading, Taicang, painted the war relics in a realistic way, affected by the intrepidity and unflinchingness of the anti-Japanese soldiers. And then in July, Oil Painting Exhibition on Songhu Battle Field by Zhu Qizhan was held at Xinhua Art School. As a manifestation of condemnation against Japan’s outrage and undauntable patriotism of Zhu Qizhan, the exhibition received over one thousand visitors a day and aroused found an enthusiastic echo in the society. This is the first personal painting exhibition, as well as one on dedicated subject, in the art career of Zhu Qizhan, and has its special meaning. After it was over, Zhu Qizhan returned his home at LiuHe, only to find his old house burned by the Japanese army. While clearing the tile fragments, Jiang Danshu, one of his friends, also a painter, named the pit left by a bomb thrown by Japanese warplane and filled with water to form a pond, Iron Egg Pond, to express the determination to memorize the atrocities of the Japanese army forever. Zhu Qizhan called himself the Host of Plum Blossom Thatched Cottage and planted plum trees all over the outside of his studio, to show his resistance against the disaster. Now the Plum Blossom Thatched Cottage is established by the local government as the Patriotism Education Base and Youth Spiritual and Moral Education and Practice Base.

  After the People’s Republic of China was founded in 1949, Zhu Qizhan was invited to attend the 1st Literature and Art Circle Representatives Conference of Shanghai and became a member of the New Chinese Painting Academy. In 1955, nominated by Chen Yi, Mayor of Shanghai at that time, he worked as researcher at Shanghai Research Institute of Culture and History and painter at Shanghai Chinese Painting Academy. In 1981, Shanghai Branch of Chinese Artists Association staged Zhu Qizhan Chinese Painting Exhibition. Having inherited the Chinese painting traditions and learned western painting techniques, 90-year-old Zhu Qizhan formed one of its kind art style that blends intense color into unrestrained and skillful application of ink. The success of the 90-year-old Art Exhibition is a milestone that marks the peak of his art career. Next, 95-year-old, 100-year-old, 105-year-old, on every exhibition, brand-new pieces were exhibited. Outdoing himself once and again and bringing out high-grade works unremittingly, he is admired by the world for his unmatched creativity and created a miracle in the art history.

  The Hong Kou District is the cradle of Shanghai Culture and known for its cultural background of long standing and humanistic spirits of far-reaching influence. Shanghai College of Fine Arts, where Zhu Qizhan worked as a teacher, was founded at Hong Kou District. Lu Xun also spent the last decade of his life here. How to convert the existing historical and cultural resources of Hong Kou District into spiritual and material assets of great influence on the present age and how to let the younger generation carry it forward? These are some of the historic subjects our district has been focusing on and exploring into. Mr. Zhu was still living in good health when Zhu Qizhan Art Museum was completed at Lu Xun Park. This makes him an important representative connecting the modern history and culture with the contemporary social culture of Shanghai, in the course of constructing a Fine Culture Circle, with Lu Xun Park as the center, comprised of celebrities’ former residences and cultural sites on DuoLun Road. Upon the completion of the museum, Zhu Qizhan selected over one hundred master pieces of himself, as well as excellent paintings of past and contemporary artists he collected, and donated them to the museum. Those are not only precious cultural heritage but more importantly invaluable spiritual assets for the posterity. In this respect, locating Zhu Qizhan Art Museum in Hong Kou is of profound and lasting consequence. It is not only an organization dedicated to collecting, displaying and studying the painting art of Zhu Qizhan, but also a key platform intended to carry forward traditional and classical art, as well as to promote national and international art exchange; thus provide us an opportunity to initiate a new phase of cultural construction at Hong Kou district.

  The year 2011 marks the 90th anniversary of the founding of the Communist Party of China and centenary of Xinhai Revolution. Twenty years ago, Zhu Qizhan, committed to living and learning, became a CPC member at the age of 100 and witnessed the evolution of fine arts in China till the end of the 20th century, with his vibrant art life and personal experiences. The event grandly held in commemoration of the 120th anniversary of Zhu Qizhan’s birthday this year is a consequential matter that can help to strengthen the construction of socialist spiritual civilization and carry forward the essence of the Chinese culture, supported by leaders of Shanghai Municipal Government and relevant departments. The publication of his painting collection, Truth lies in the ultimate philosophy --in commemoration of the 120th anniversary of Zhu Qizhan’s birthday, is a way to convey our generation’s cherishing and inheriting the splendid traditional culture. This is also the significance and value of this commemorative event. Especially thanks for Zhu Qizhan’s family, Ms. Chen Ruijun and Mr. Zhu Renhe; for all organizations that have helped to make this happen; for Huang Guiquan, Pan Fuxi, Zheng Yubin and Xie Yulin who provide the exhibits from their collections. I sincerely hope Zhu Qizhan’ art will add luster to the treasure of Chinese culture over time.

                          Hua Dongping

                     Deputy District Chief of Hong Kou,

                     Head of Zhu Qizhan Art Museum

                          May 4th, 2011

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