雅昌首页
求购单(0) 消息
朱屺瞻首页资讯资讯详细

【评论】做事要顾人,画图要从己——纪念朱屺瞻先生120周年诞辰 Consider others in everyday conduct, Be myself in painting - in commemoration of the 120th anniversary of Zhu Qizhan's birthday

2011-05-18 10:05:39 来源:《大道存真:纪念朱屺瞻先生120周年诞辰》作者:张永林
A-A+

  屺老生前常说的一句话是“做事要顾人,画图要从己”,这句话真恰如其分的表明了这位国画大师的风骨:在艺术上他坚持己见,不随众、不偏狭、既保持开阔的视野,又忠于从历史和自我真实的艺术判断;在人生态度上,他包容一切,又忠于气节——他确实在两方面都实践了这句格言。

  屺老生于清末,经历民国,而艺术生涯的顶峰则是在新中国建成以后,漫长的人生经历,曲折的艺术历程,他却从来没有怨天尤人、消沉遗世,反而在他的艺术生涯中焕发出非同一般的生命力,昭示着后来者。这一点,在他的艺术作品中鲜明的体现了出来:屺老的艺术大气、老辣,却自有一种清新之感;他笔下的花卉蔬果更是自有一番拙态;在表现手法上,他开创了色墨交融的新局面,大大的发扬了“海派”艺术的特征,在视觉上使人耳目一新;更重要的是,透过他的艺术所传达和完成的人生境界和理想。中国书画艺术自古以来就成为文人雅士诉诸生命圆满理想的对象,但我想,在历史上却很少有几个艺术家能够像他这样真正在绘画艺术当中达到了“知行合一”:老先生如同他笔下的红梅老干横生色如铁,劲节冰霜,从容度越了105岁的一生。历史的变革、战火频仍、政治巨变都在他的艺术和人生上打下了烙印,但这些磨难和变故却从来没有击垮和摧毁这位画家的艺术热情和人生追求。我深深的感到,这种境界只能用“豁达”来形容。

  辛亥革命在政治上推翻帝制,结束了二千多年的封建专制主义,突破了封建主义文化的桎梏,打破了中国传统文化的观念束缚,在这一势不可挡的时代浪潮中, 美术作为文化艺术的重要组成部分,成为了宣传革命思想强有力的艺术武器。1907年,蔡元培先生大声疾呼:“以美育代宗教”。民国元年(1912年)鲁迅先生应教育总长蔡元培先生之邀,任职教育部工作期间,主要负责文化、科学和美术工作,他冲破守旧派的阻挠,将美育主张与艺术创作结合起来,希望通过艺术提倡美育,为推广实施美育做了许多开创性的工作。同年11月,在上海市虹口区的乍浦路8号,诞生了上海图画美术院(后改名为上海美术专科学校),朱屺瞻先生是最早一批就读,一学期后受聘为学校的教师,并兼任函授部主任的教学工作,后转至上海新华美术专科学校执教, 还与李叔同、黄宾虹、徐悲鸿、潘天寿、郑午昌、徐朗西等人一道受聘为上海新华艺专校董,这所学校一直存在到1941年,成为继上海美专之后近代美术教育史上著名的高等学府。1928年他还与王济远等画友共同创办“艺苑绘画研究所”并在1933年前后相继发起组织了“新华艺专绘画研究所”和“洋画实习研究会”。从1912年的上海美专至1941年新华艺专解散,在中国现代美术的摇篮时期,朱屺瞻投身中国现代艺术教育前后近30年,为引进西方美术教育方法、技巧,推动美术教育现代化进程,做了大量卓有成效的工作,在教育界影响深远。

  我是1989年到虹口区文化局任职,作为主管一个地区的文化局长,我发现虹口的文化历史底蕴十分深厚,为留存体现上海和虹口历史文化传承的文化符号、文化象征等元素和载体,完善公共文化服务体系,提高公共文化服务质量和水平,我们制定了一份《1990-1999虹口文化发展十年纲要》,1995年落成的朱屺瞻艺术馆就是其中的重点建设项目。朱屺瞻先生是以艺、德、寿三馨为世人所景仰的现代著名国画大师、近现代中国美术教育的先驱者,把先生请来虹口,可以保持上海和虹口历史文化的承接、转换和延续脉络,增强上海和虹口历史文化的记忆,丰润上海和虹口城市文化的韵味。1994年,朱屺瞻先生应邀,欣然同意在虹口建立以他的名字命名的艺术馆;1995年5月,朱屺瞻艺术馆落成,并和周边地区的鲁迅、郭沫若、瞿秋白、茅盾、叶圣陶等文化名人故居以及中共四大会址、左联纪念馆和李白烈士纪念馆等革命遗址一起,构建出具有独特历史人文资源优势的虹口“雅文化圈”。

  我和老先生颇有相见恨晚之感,虽是短暂的交往,但他的人生态度,他的性情品格折服了我:没有过多的自我表白,也没有喧闹的声势,平易近人、和蔼可亲。屺老的音容笑貌,仿佛还在眼前,转眼却已迎来老先生的120周年诞辰,实在让人感慨。屺老的艺术风格及其在美术史上的地位和价值,已经得到了许多专家学者的一致重视和肯定,一般的观众也对他有了许多的了解,我们希望将屺老的艺术精神继续传承下去,让更多的人感受到屺老的这份执著、豁达;领悟其艺术创造中的真谛。

  时光荏苒,今年恰逢屺老120周年诞辰,同时又是中国共产党建党90周年、辛亥革命100周年,这次的纪念活动也有了更加特殊的意义:屺老个人的经历似乎正见证了历经磨难的中华民族所走过的道路,我由衷祝愿屺老所留下的艺术财富和精神能启迪更多的后来者,中国书画的民族精神、传统文化、艺术作品价值永驻史册。

                       原虹口区文化局局长 张永林

                          2011年4月26日

  "Consider others in everyday conduct, be myself in painting", this is a phrase Qi often talked about in his time and can't be more accurately reflecting the character of this great Chinese painter, that is, to adhere to his own ideas in art, never follow the crowd or have prejudice, keep open-minded and make art judgment true to history and himself; to embrace everything and maintain integrity in life attitude. He indeed put these mottos into practice.

  Born when the Qing Dynasty was coming to the end, and going through the Republic of China era, Qi reached the climax of his art career after the founding of the People's Republic of China. In his long lifetime and tortuous art creation course, he never blamed anyone and anything but not oneself, or felt depressed and world-weary. Rather, he showed extraordinary vitality in art creation and inspired the later generation. This is evidently reflected in his works: stately, adept, but also with a sense of freshness. The flowers, fruit and vegetables in his paintings feature a natural and artless touch. In terms of representation techniques, he pioneered the blending of color with ink, skillfully called into playing the characteristics of "Shanghai" school of art and created novel visual experience. What's more important is the life realm and ideal conveyed and fulfilled through his art. To literaties and scholars, Chinese calligraphy and paintings have been the media to appeal to life and fulfill their aspirations since long time ago. But in my mind, few artists in the history were able to attain consistency between words and deeds in painting as he did. Just like the red plum blossom he has drawn, with weatherbeaten old trunks and strong iron-gray color showing an upright and unflinching demeanor, Qi spent his life of 105 years in composure. Historical revolutions, frequent wars and radical political changes are all embedded in his art and life. However, none of these hardships and misfortunes has depressed or dismantled his passion for art and aspiration for life. From the bottom of my heart, I feel I can only describe such a lofty moral stature with the word "magnanimous".

  Xinhai Revolution demolished imperialism and put an end to the feudalism in reign for more than two thousand years, unshackled our nation from the feudalistic culture and smashed the ideological constraints of the traditional Chinese culture. Amid the great momentum of that era, fine arts, as an essential component of culture and art, became a powerful weapon to propagate revolutionary thoughts. In 1907, Cai Yuanpei called for "replacing religion with fine arts education". In the 1st year of the Republic of China (1912), Lu Xun, invited by Cai Yuanpei, Minister of Education at that time, took a post in the Ministry of Education, responsible for culture, science and art affairs. Breaking through the obstruction by the conservative party, he combined art education proposition with art creation, committed himself to promoting art education and did lots of pioneering work for popularizing and implementing art education. In November of the same year, Shanghai College of Paintings (the later Shanghai College of Fine Arts) was established on No.8, Zhapu Road, Hong Kou District of Shanghai. Zhu Qizhan was among the earliest group of students and hired as a teacher after a semester, as well as chief of the Correspondence Education Department. Later, he was transferred to Shanghai Xinhua Art School, working as a teacher and also on the Board of Directors of the school, together with Li Shutong, Huang Binhong, Xu Beihong, Pan Tianshou, Zheng Wuchang and Xu Langxi. Until 1941, this school had existed as a renowned college in the modern history of fine arts education, next to Shanghai College of Fine Arts. Together with some of his artist friends, including Wang Jiyuan, he founded Yi Yuan Painting Research Institute in 1928 and then initiated Painting Research Institute of Xinhua Art School and Foreign Painting Academy in tandem in 1933. From Shanghai College of Fine Arts in 1912 to the termination of Xinhua Art School in 1941, throughout the infant stage of modern fine arts of China, Zhu Qizhan flung himself into the modern art education cause of China for three decades and made measurable contribution to introducing the approaches, techniques of western art education, and to boosting modernized fine arts education, and had far-reaching influence in the education circle.

  I began working for Hong Kou Bureau of Culture from 1989. As the head of culture in the district, I found Hong Kou has a deeply entrenched historical and cultural background. In order to preserve the cultural symbols, cultural emblems and other elements and carriers that inherit the culture of Shanghai and Hong Kou, to consummate the public cultural service system and to improve the quality and standards of public cultural services, we have mapped out The Outline of Hong Kou's Cultural Development in Ten Years (1990-1999). Zhu Qizhan Art Museum completed in 1995 is one of the key projects thereunder. Zhu Qizhan is a distinguished master of Chinese painting admired by the world for his art talent, moral character and longevity, as well as a pioneer in modern fine arts education in China. To have him settled in Hong Kou, we can maintain the thread of inheriting, transforming and continuing the urban culture of Shanghai and Hong Kou, deepen our memory of and enrich the charm of Shanghai's and Hong Kou's urban culture. In 1994, Zhu Qizhan agreed willingly to build an art museum in his name at Hong Kou. In May, 1995, Zhu Qizhan Art Museum was completed and formed a Fine Culture Circle of Hong Kou with unique historical and humanistic resources, surrounded by cultural celebrities' former residences, including Lu Xun, Guo Moluo, Qu Qiubai, Mao Dun, Ye Shengtao, and revolution sites, such as the venue of the 4th conference of the Communist Party of China, the memorial of Left Wing Writers Association and Libai Martyr Memorial.

  I regret not to have known him before. Despite short conversation, his life attitude and disposition convinced me, without too much self expression, nor noisy atmosphere, but amiability and kindness. His voice and smile are still fresh in my mind, but now we are actually celebrating the 120th anniversary of his birthday. It really makes me somewhat emotional. His art style, and his position and value in the history of fine arts are unanimously acknowledged and appreciated by many scholars and specialists. Ordinary audiences also know more about him. I hope the art spirits of Qi can be carried forward to let more people feel his persistence and magnanimous character, and to comprehend the true meaning of art creation.

  Time elapses quickly. This year happens to be the 120th anniversary of Qi's birthday, the 90th anniversary of the founding of the Communist Party of China, and the centenary of Xinhai Revolution. Thus, this commemorative event is added with more special meaning. In his life, Qi personally witnessed the tribulations the Chinese nation went through. From the bottom of my heart, I wish the art assets and spirits of Qi would enlighten more posterity and the national spirits of Chinese calligraphy and paintings, the traditional culture and the value of art works would go down in history forever.

                     Zhang Yonglin

         The Primary Chief of The Bureau of Culture in Hong Kou District

                     April 26th, 2011

返回顶部
关于我们产品介绍人才招聘雅昌动态联系我们网站地图版权说明免责声明隐私权保护友情链接雅昌集团专家顾问法律顾问
关闭
微官网二维码

朱屺瞻

扫一扫上面的二维码图形
就可以关注我的手机官网

分享到: