展覽海報

展   覽：夢里孤山——丁天缺紀(jì)念展

策展人：石建邦

展   期：2018年7月15日至9月12日

開幕酒會：2018年8月18日，下午三點(diǎn)

地   址：798東街藝術(shù)區(qū) #D10 法國館 中國北京朝陽區(qū)酒仙橋路2號

謾道經(jīng)年不遇，英雄自古坎坷

文/石建邦

在中國近現(xiàn)代美術(shù)史上，丁天缺先生的名字越來越被人注意和發(fā)現(xiàn)。

丁天缺，原名丁善庠，1916年出生于江蘇宜興，1935年考入國立杭州藝術(shù)?？茖W(xué)校，受教于西畫系主任吳大羽，令他終生服膺。

一九三八年同學(xué)們在沅陵郊外寫生后野餐情況

丁天缺的一生，坎坷蹭蹬，備嘗艱辛?？箲?zhàn)爆發(fā)，臨國難而播遷，他隨學(xué)校轉(zhuǎn)輾江西、湖南、貴州、云南等地。期間，他曾因慷慨仗義參與學(xué)潮而離開國立藝專，應(yīng)邀來到成都西川藝術(shù)職業(yè)學(xué)校任教，并先后在當(dāng)?shù)囟嗨袑W(xué)兼職授課。1947年，他回到杭州母校，擔(dān)任吳大羽先生助教。新中國建立后，各種運(yùn)動降臨，他先被指為“新派畫”頭頭，遭學(xué)校除名，不得已棲身于浙江醫(yī)學(xué)院。誰知不久，更大的風(fēng)浪接踵而至，先后被兩度戴上反革命帽子，他被囚禁、管制、勞教、抄家，最后押送原籍監(jiān)督改造，前后蒙冤將近三十年。直到1980年，丁先生才獲初步平反，返回母校，暫任《美術(shù)譯叢》編輯。人間愛晚晴，先生至此方始重拾畫筆，留心文藝，逐步回歸正常的創(chuàng)作生活。

丁天缺與趙無極合影

丁先生晚年曾說，同學(xué)趙無極的畫“似是而非”，而他自己的作品則常?！八品嵌恰薄Ｓ绕浔憩F(xiàn)在山水風(fēng)景上，他化山林為怪獸，更是“自作主張”。實(shí)在說來，丁先生的畫作，郁勃縱橫，奇崛古厚。他的人物畫不求形似，不尚柔媚，但入木三分，形神兼?zhèn)?，令人難忘。他的靜物花卉，深得印象主義三昧，更富東方主義美學(xué)。他又善于用擬人化的手法描繪山川風(fēng)景，似乎萬物有靈，啟人深思警醒。而有幾幅以玩偶布娃娃為題材的畫作，則是畫外有畫，引人哲思。三十多年來，他的創(chuàng)作雖然數(shù)量有限，但卻多姿多彩，可圈可點(diǎn)。

1999人生

丁天缺先生工作照

繪事之余，丁先生筆耕不輟，翻譯介紹西方畫家作品及藝術(shù)理論，曾譯作《畢加索》、《趙無極自畫像》等書。同時，他又醉心法國文學(xué)，譯有《莫泊桑中短篇小說選》和《魏爾倫詩選》。而他晚年出版的《顧鏡遺夢》自傳和《繪事瑣談》畫論，更有別樣的價值。

“夢里孤山醉倒”，“西湖舊夢不勝續(xù)”……丁天缺還具備非凡的古典文學(xué)造詣。今天重讀他困頓之際書寫的舊體詩詞，字里行間，滿溢著他對西湖，特別是對母校那份魂?duì)繅衾@的情感?！爸櫟澜?jīng)年不遇，英雄自古坎坷。種竹西園勵志節(jié)，學(xué)畫南樓圖枕戈”（丁天缺《調(diào)寄破陣子》），先生實(shí)在是一位滿腔熱忱，有著濃郁家國情懷的知識分子。隨著時間的推移，他的藝術(shù)無法被遮蔽，更不會被遺忘。令人欣慰的是，丁先生的藝術(shù)成就，在今天越發(fā)顯現(xiàn)出其真摯可貴的光華來，并成為吳大羽體系中不可或缺的堅(jiān)強(qiáng)一分子。 

今年是丁先生逝世五周年，舉辦一次他的紀(jì)念畫展，意義重大。睹物思人，追懷往事，先生的藝術(shù)之樹長青，人格精神永存。

2018年6月30日

丁天缺先生坐在畫前

The Long Road Never Seen or Crossed, the Hero despite Hardship since Ancient Times is Hard to Beat

Mr. Ding Tianque has increasingly received more attention by the public, placing him as an important artist in the history of modern Chinese art.

Ding Tianque, formerly known as Ding Shanxiang, was born in Yixing, Jiangsu Province in 1916. In 1935, he was admitted into the National Hangzhou Art Academy, where he received instruction from the director of the Western Painting Department, Wu Dayu, who became his lifelong mentor.

1990 風(fēng)

1990 城隍山早讀

1990 夾竹桃與甜橙

Ding Tianque’s life was not an easy one as he suffered all kinds of hardships. When the Anti-Japanese War broke out, it was difficult to move around the country despite this he was able to move to many places including Jiangxi, Hunan, Guizhou, Yunnan and other provinces with the school. Unfortunately, during this period, he was forced to leave the National Hangzhou Art Academy because of his participation in student demonstrations. As he was a very talented artist he was invited to teach at the Xichuan Art School in Chengdu and also taught at several local secondary schools. In 1947, he returned to his alma mater in Hangzhou to serve as an assistant to Mr. Wu Dayu. After the founding of the People’s Republic of China, various political movements came into power. At this time he was referred to as the head of the “new paintings” and was fired by the school. He had to leave and live in Zhejiang Medical College. Soon afterwards, the bigger political movements followed and he was twice labeled with counter-revolutionary title, imprisoned, disciplined, reeducated and finally escorted back to his original birthplace for supervision and heavy labor almost for thirty years. It was not until 1980 that he was initially rehabilitated and returned to his alma mater to serve as editor of the magazine “Art Translation Series”. The world became a sunny place for him at this moment, although late in his life, he regained his brush, highlighting literature and art, and gradually returning to normal life and his creative activities.

1991 紅發(fā)髻

1990 花瓶

1990 花

Mr. Ding said in his late years that his classmate Zao Wou-ki’s paintings are “plausible” and his own works are often “l(fā)ikely”. Especially the landscapes, he painted mountains and forests as monsters, but also “self-made claims”. In fact, Mr. Ding’s paintings are full of joys and sorrows. His figurative paintings are not shaped, not feminine, but they depict the object just to the point both in form and spirituality that are impressive to the viewer. The flowers in his still-life paintings are deeply influenced by Impressionism mixed with strong oriental aesthetics. He was good at depicting mountains and rivers with anthropomorphic techniques making everything feel alive. And there are several paintings where the subject matter is the clothing of dolls; they are painted in such a manner that it is apparent his thinking is deeper than the painted objects themselves. For more than thirty years, the number of his creation was limited, but even so they are all colorful and remarkable.

2006 閑庭寂寞露華濃 80×60

1989 歌劇導(dǎo)演谷風(fēng)先生

1990 聽蟬

In addition to painting, Mr. Ding kept on writing introducing Western painters’ works of art theories to mainland China including translating “Pablo Picasso”, “Self-portrait of Zao Wou-ki” and others. He was fascinated by French literature and translated “Maupassant’s Short Story Selection” and “Verlaine’s Poetry Selection” into Chinese. However, his autobiography “The Long Past and Lost Dream” and the painting theory “Trivial Talks on Painting Matters” published in his later years are even more valuable.

1992 劍門夜月《向大將軍姜維致敬》

1988 女工程師

1998 窗前偶見Ⅱ

1993 羊腳蹄花

By writing the poem sentences such as “Lonely mountain drunk in a dream”, and “West Lake old dreams are not sustainable…”, we can see that Ding Tianque is very good at classical Chinese literature. Today, when we read again the old-fashioned poems he wrote in his difficult times, the lines of those poems are filled with his feelings about the West Lake, especially the dream of his alma mater. By writing the following sentences, “The road never seen or crossed in the past, the hero despite hardships is hard to beat since ancient times, the bamboo planted in the West Garden for an inspirational festival, learning to draw in the Southern Building to seek for quietness <Ding Tianque, a Tang-and-Song Dynasties’ poem rhythm (Tang Dynasty 618-907AD.; Song Dynasty 960-1279 AD) titled Entrusted for A Ten-Beats Rhythm>”, it is clear Mr. Ding is really an intellectual full of enthusiasm and strong feeling of his homeland. Fortunately, his art cannot be obscured and will not be forgotten. What is gratifying is that Mr. Ding’s artistic achievements have become more and more valuable today, and come to be an indispensable and powerful part of Wu Dayu’s teaching system.

1992 小舞臺（靜物）

1991 老岳母

1991 觀音跳晨曦

1992 什剎海

This year is the 5th anniversary of Mr. Ding’s death. We held this show with great significance in memory of him by reading his work, thinking of our past events in relation to him. We know that Mr. Ding’s tree of art is ever green and his personality spirit everlasting.

Shi Jianbang

30th June, 2018

（前言英文翻譯：晉華，校對：Tony Brown）

展   覽：夢里孤山——丁天缺紀(jì)念展

策展人：石建邦

展   期：2018年7月15日至9月12日

開幕酒會：2018年8月18日，下午三點(diǎn)

地   址：798東街藝術(shù)區(qū) #D10 法國館 中國北京朝陽區(qū)酒仙橋路2號

Curated by Shi Jianbang

Duration：15th July to 12th September 2018

Opening of the exhibition of Ding Tianque on 18th August 2018 at 3:00pm

Beijing 798 Gallery “ICI LABAS” 798 Dong Street #D10 Art Zone Beijing