江碧波：筆道神游中華史

◇ 文|陳科龍 圖|游 宇 受訪(fǎng)者提供

江碧波：筆道神游中華史

◇ 文|陳科龍 圖|游 宇 受訪(fǎng)者提供

歷史的天空，閃爍著多少顆星星？文明的大地，印下了多少足跡？于高山之巔仰望，于峽谷深處尋覓。我們不僅是自己，更是他們的延續(xù)……

2009年的一天，江碧波坐在獅子山“碧波山莊”的平臺(tái)上，遠(yuǎn)眺滔滔江水。東逝的江水不舍晝夜，七十高齡的江碧波百感交集，夐絕的宇宙意識(shí)在她心中蕩漾起一個(gè)念頭——用藝術(shù)的形式去表現(xiàn)五千年的華夏文明。

Recollecting those eminent figures and their tremendous achievements in history,we realized that we are not only ourselves,but even their promising successors.

One day in 2009,seated on the platform of Bibo Mountain Vila in Lion Rock,Jiang overlooked the river rolling to the east on and on,never to return.Mixed feelings surged up within this seventy-year-old lady,and then she felt obligated to vividly present us this magnificent Chinese civilization.

游于藝，志于道

An Ambitious Artist

早在1985年，江碧波在北美當(dāng)客座教授的時(shí)候，她就從西方哲學(xué)家的書(shū)本里，讀到了對(duì)于中華文明卓爾不群的見(jiàn)解，從而萌生了發(fā)揚(yáng)中華文明的念頭。

“黑格爾在追尋人類(lèi)古文明的殘存碎片時(shí)發(fā)現(xiàn)，古埃及、古巴比倫、古印度，包括瑪雅文明都只剩下文明的碎片，只有黃河、長(zhǎng)江流過(guò)的中華文明才是世界上惟一恒久的國(guó)家。”江碧波意識(shí)到閃爍著智慧之光的中華文明必能帶給今日世界有益的啟示，“1988年，世界諾貝爾獎(jiǎng)獲得者在巴黎發(fā)表共同宣言，人類(lèi)要在21世紀(jì)生存下去，必須回頭在2500年前中國(guó)的孔子、老子那里尋求智慧。”

不僅如此，常年浸潤(rùn)于道家“自然”思想和儒家“仁愛(ài)”思想的江碧波相信，中國(guó)人與生俱來(lái)的宇宙意識(shí)將伴隨人類(lèi)走得更加久遠(yuǎn)，中國(guó)人尚德的精神可以賦予人類(lèi)更多精神財(cái)富，以人為本的精神不僅僅是儒家的，也不只是屬于中國(guó)的，而應(yīng)該是全人類(lèi)的寶貴財(cái)富。

隨著自身文化責(zé)任意識(shí)的不斷增強(qiáng)，江碧波決定以中華文明進(jìn)程中重要節(jié)點(diǎn)上的人物或歷史場(chǎng)景為素材，通過(guò)藝術(shù)的色彩和線(xiàn)條進(jìn)行情感的傳達(dá)，表達(dá)自己對(duì)中國(guó)文化和生命的感悟，表現(xiàn)自己對(duì)中國(guó)藝術(shù)語(yǔ)言表現(xiàn)力和中國(guó)文化旺盛生命力的理解。

Early in 1985 when Jiang was a guest professor in North America,she intended to carry forward Chinese civilization after learning those unique Western perspectives related to our civilization.

“Georg Wilhelm Friedrich Hegel (also known as Georg Hegel) attempted to seek ancient civilization,if any.Unfortunately,the civilizations of ancient Egypt,Babylon,India and Maya all fell into pieces.China,however,was the only lasting and surviving country with the nourishment of the Yellow River and Yangtze River.”Jiang realized brilliant Chinese civilization would enlighten the world today.“In 1988,the winner of Nobel Prize delivered a joint declaration that human beings whoever wanted to survive in the 21st century must learn from Confucius and Lao-Tzu who lived some 2,500 years ago.

Deeply influenced by Taoism’s “nature”and Confucianism’s “benevolence”,Jiang is convinced that Chinese’innate concept of universe will thrive and Chinese’worship of virtue will enrich human’s minds.Peopleoriented idea is not limited to Confucianism or China,but the treasure of human kind.

The enhancement of cultural responsibility urged Jiang to express her re fl ection on Chinese culture and life based on historical figures or events in certain important period in Chinese history via artistic colors and lines.She desired to deliver her understanding on exuberant force of Chinese art and culture.

八年磨一劍

Eight Years’Efforts Make a Sword

于是，江碧波開(kāi)始了中國(guó)畫(huà)組畫(huà)《上下五千年》的謀篇布局。從“盤(pán)古開(kāi)天地”的神話(huà)傳說(shuō)開(kāi)始，歷時(shí)五千年，一直講述到“開(kāi)國(guó)大典”，涵蓋了從遠(yuǎn)古神話(huà)到有文字記載的中華文明歷史長(zhǎng)河中最重要、最輝煌的人物與事件。同時(shí)畫(huà)作中也表現(xiàn)了古代中國(guó)的民俗風(fēng)情、市井生活等異彩紛呈的歷史文化信息。其中，也有包含重慶元素的作品，如“大足石刻”“重慶談判”。

為了安心創(chuàng)作，江碧波推掉了很多社會(huì)活動(dòng)。每天幾乎都是從早畫(huà)到晚，除了吃飯和午休時(shí)間，她都在構(gòu)思或揮動(dòng)畫(huà)筆。

為創(chuàng)作“杯酒釋兵權(quán)”，江碧波對(duì)宋代歷史進(jìn)行了仔細(xì)的研究，對(duì)杯酒釋兵權(quán)的前因后果和利益關(guān)系，以及宋代的文化、歷史，乃至宋代南遷和滅亡的過(guò)程都進(jìn)行了研究。“我認(rèn)為宋太祖是一個(gè)很有辦法和十分智慧的開(kāi)國(guó)皇帝，他用這種出其不意的辦法，和平地為國(guó)家解決了難題，也創(chuàng)造了一個(gè)繁榮的時(shí)代。”江碧波回憶起為創(chuàng)作“杯酒釋兵權(quán)”而做的歷史功課。

從2009年到2016年，八年磨一劍，江碧波獨(dú)自創(chuàng)作完成了高2米、寬5米的204幅大型中國(guó)畫(huà)組畫(huà)《上下五千年》。

Therefore,Jiang started the creation The Five Thousand Years.From the creation of heaven and earth by Pan Gu to the founding of People’s Republic of China,The Five Thousand Years covered the most important figures and events in Chinese civilization.The painting also depicted China’s splendid folk custom and folk daily life related to history and culture.Chongqing elements were included in the painting,for instance,Dazu Rock Carvings and the Chongqing talks.

Jiang declined many social activities so as to work without distraction.She kept thinking and painting from dawn till dusk except dining time and afternoon nap.

Jiang did careful study on history of Song Dynasty,including the causes and effects of “ remove from military position by means of cups of wine”,culture and his-tory of Song Dynasty,Song’s migration to Lin’an ( now known as Hangzhou) and the fall of Song Dynasty.“I think Song Taizu (the founder of Song Dynasty) was a capable and wise emperor.He solved a tough problem and paved the way for a prosperous age.”Jiang recalled her preparing for “remove from military position by means of cups of wine”.

From 2009 to 2016,eight years’efforts make a sword.Jiang independently finished The Five Thousand Years consisted of 204 paintings in series,with a height of 2 meters and a width of 5 meters.

“我要為《上下五千年》加個(gè)副標(biāo)題”

Add a Subtitle toFive Thousand Years

《上下五千年》描繪了在歷史文化上對(duì)中華民族有著重大影響的人和事，這中間既有做出過(guò)偉大貢獻(xiàn)的正面的精神典范，如政治家張居正、思想家莊子、書(shū)法家懷素、張旭等，也有讓后人引以為戒的反面人物。

“有人問(wèn)我為什么不畫(huà)焚書(shū)坑儒，焚書(shū)坑儒在歷史上可謂重大歷史事件。”年近八旬的江碧波在主題的選擇和藝術(shù)的取向上并不盲從，她說(shuō)，“我選的題材，都體現(xiàn)了我個(gè)人的歷史觀(guān)和價(jià)值觀(guān)。之所以不畫(huà)焚書(shū)坑儒，我覺(jué)得秦代除此之外還有一些正面的素材，比如說(shuō)度量衡的統(tǒng)一。我要為《上下五千年》加個(gè)副標(biāo)題——江碧波筆道神游中華史。”

在歷史題材的選取上，并不是所有題材都適合用繪畫(huà)藝術(shù)來(lái)表現(xiàn)。江碧波在選取歷史人物或事件時(shí)，有著自身的考量，從而選取那些能夠更好地用繪畫(huà)語(yǔ)言表現(xiàn)的歷史故事。

儒家有“三不朽”的觀(guān)念，即“立德”“立功”和“立言”，談及《上下五千年》是否要為后人“立言”時(shí)，江碧波搖搖頭說(shuō)道，“我是基于自身對(duì)歷史的感悟而書(shū)寫(xiě)，《上下五千年》并非如教材一般的歷史，而是帶有強(qiáng)烈江碧波色彩的個(gè)人化情緒化的歷史。”

Five Thousand Years describes those people and events that have a great in fl uence on the Chinese nation both historically and culturally,which include not only positive models of human spirit who have made great contributions,such as the politician Zhang Juzheng,the thinker Chuangtzu,the calligrapher Zhang Xu,Huai Su and so on,but also villains who make later generations draw lessons.

“Someone asked me why I didn’t draw a picture about the great historical event；burning books and burying alive Confucian scholars,which was a great historical event.”Jiang Bibo,nearly eighty years old,does not follow blindly in terms of the selection of themes and the orientation of art.She said，“My subjects reflect my personal conception of history and value.The reason why I didn’t draw a picture about burning books and burying alive Confucian scholars is that there are many positive materials except the above one,like the unification of weights and measures.I want to add a subtitle for Five Thousand Years--Jiang Bibo Wanders in Chinese history with Brush.”

In the selection of historical themes,not all subjects are suitable to be presented by painting art.When choosing historical figures or events,Jiang has her own considerations and chooses the historical events that can be presented better by painting language.

Confucianism has the concept of “Three Immortality”,which are “morality”,“contributions”and “works”.When it came to whether Five Thousand Years would expound ideas for later generations,Jiang shook her head and said: “I drew this painting on the basis of my own perception of history.Five Thousand Years is not the history that is the same with teaching materials,but the history with a strong color of Jiang Bibo,which is personal and emotional.”

向高峰攀登的嘗試

The Trial of Climbing the Summit

《上下五千年》講述的是中國(guó)的歷史，主要以中國(guó)畫(huà)的表現(xiàn)形式為主，運(yùn)用中國(guó)畫(huà)的藝術(shù)特點(diǎn)以及書(shū)法、國(guó)畫(huà)的筆墨和線(xiàn)條，呈現(xiàn)“意在筆先、氣韻生動(dòng)”的畫(huà)理。

此外，得益于青年時(shí)期在版畫(huà)、雕塑、油畫(huà)上打下的深厚功底，以及北美的留學(xué)經(jīng)歷，江碧波把當(dāng)代藝術(shù)、印象派以及國(guó)際上的藝術(shù)研究成果都融合到了《上下五千年》中。因而，我們所看到的《上下五千年》并非傳統(tǒng)意義上的中國(guó)畫(huà)。

眾所周知，中國(guó)畫(huà)講究筆墨居多，構(gòu)圖、造型乃至色彩都是其短板。江碧波筆走龍蛇的《上下五千年》是大寫(xiě)意的巨幅彩墨畫(huà)，擴(kuò)大了中國(guó)畫(huà)的內(nèi)涵和外延。中國(guó)國(guó)家畫(huà)院副院長(zhǎng)張江舟看過(guò)江碧波的作品后贊嘆道，“江先生的作品充滿(mǎn)了獨(dú)特的語(yǔ)言形式，鮮活的當(dāng)代氣息，豐富的人文精神，過(guò)人的繪畫(huà)功底和深邃的歷史思辨，彌補(bǔ)了中國(guó)畫(huà)多年來(lái)在色彩上的短板。”

我們當(dāng)前處于有“高原”而缺“高峰”的時(shí)代，中國(guó)藝術(shù)研究院研究員李一說(shuō)，江先生的作品就是由高原向高峰攀登的一次嘗試。

Featuring in the form of Chinese painting,the Five Thousand Years applies not only artistic characteristics of Chinese painting but also skills of handling inks and lines in Chinese calligraphy,thus representing a vivid Chinese history and a painting theory of “theme then drawing makes a vital and vigor painting ”.

In addition,thanks to her deep foundation established in youth towards the printmaking,sculpture,oil painting as well as her North American study experience,Jiang integrated contemporary art,Impressionism and international art research results into the Five Thousand Years.Therefore,the masterpiece we enjoy is not merely a traditional Chinese painting.

It is well known that Chinese painting is adept at wielding ink,however,composition,modeling and even coloring are its short boards.Jiang’s work,nevertheless,is a giant enjoyable painting of color ink,which extends the connotation and extension of Chinese painting.After appreciating Jiang’s work,Zhang Jiangzhou,deputy dean of National Painting Academy of China,acclaimed that “the Five Thousand Years is full of unique language forms,fresh contemporary atmosphere and rich humanistic spirit.It is the extraordinary painting skills and profound history speculation of Jiang that make up for the Chinese painting in the short board of coloring over the past thousands of years”.

Currently,we are in an age of “a plateau without summits”,the Chinese Academy of Art researcher Li Yi said that Jiang’s work is just the trial of climbing to the arts summit.

Jiang Bibo:Indulge in Five-Thousand-Year hinese History with a Paint Brush

Article | Chen Kelong Pictures | You Yu Interviewee

江碧波 Jiang Bibo 1939年出生于貴州貴陽(yáng)，1962年畢業(yè)于四川美術(shù)學(xué)院，先后任四川美術(shù)學(xué)院繪畫(huà)系主任、重慶大學(xué)人文藝術(shù)學(xué)院院長(zhǎng)、重慶美術(shù)家協(xié)會(huì)副主席等職。1962年創(chuàng)作的套色版畫(huà)《飛奪瀘定橋》，收入小學(xué)課本并被中國(guó)歷史博物館收藏。1980年參與創(chuàng)作《歌樂(lè)山烈士群雕》，榮獲全國(guó)首屆城市雕塑最佳獎(jiǎng)。從2009年開(kāi)始，她歷時(shí)8年，獨(dú)自完成了204幅大型中國(guó)畫(huà)組畫(huà)《上下五千年》的創(chuàng)作。

Jiang Bibo,born in Guiyang,Guizhou province in 1993,graduated from Sichuan Fine Arts Institute in 1962.Then she successively served as director of Department of Painting in Sichuan Fine Arts Institute,Dean of College of Humanities and Arts in Chongqing University,Vice Chairman of Chongqing Artists Association.In 1962,her work Swiftly Taking Luding Bridge，a chromatic print enjoyed great popularity both in primary textbook and National Museum of Chinese History.In 1980,she engaged in the creation of Geleshan Cemetery of Revolutionary,winning the first prize in the first National Urban Sculpture.Since 2009,she spent 8 years on 204 Chinese paintings in series named Five-Thousand-Year Chinese History.