從擲鐵餅到執(zhí)畫筆，一場數(shù)十年的藝術(shù)修行

張奇志

空舟載雪——池長慶書畫作品展在浙江美術(shù)館開展

初秋，丹桂飄香，“空舟載雪——池長慶書畫作品展”在浙江美術(shù)館展出。該展覽集池長慶書法和國畫作品120余件，為其從事書畫教育與創(chuàng)作32年來的首次小結(jié)與展示。

可能很多人想不到，池長慶最初是個(gè)鐵餅運(yùn)動(dòng)員，后來癡迷的卻是繪畫。 他從大學(xué)體育系畢業(yè)，如今成了中國美術(shù)學(xué)院美術(shù)學(xué)博士、浙江大學(xué)藝術(shù)學(xué)系（院）副主任。

池長慶過去幾十年的人生經(jīng)歷，充滿故事性。

體育少年的繪畫夢(mèng)

池長慶出生在浙南平陽縣，14歲那年成了學(xué)校的鐵餅運(yùn)動(dòng)員。他不但投得遠(yuǎn)，還跑得快，因此成了學(xué)校重點(diǎn)培養(yǎng)的運(yùn)動(dòng)員。1982年9月，他以優(yōu)異的成績考進(jìn)了原杭州大學(xué)體育系。

但是，池長慶心中最喜歡的不是投擲和奔跑，而是繪畫。

初三那年，池長慶就訂了北京畫院出版的《中國畫》。多年以后，池長慶這樣回憶，“《中國畫》讓我認(rèn)識(shí)了國畫，也開發(fā)了我的繪畫潛力。”

池長慶入讀原杭州大學(xué)后，開始了中國傳統(tǒng)書畫印的全面訓(xùn)練。這名體育系的學(xué)生不但體育專業(yè)成績優(yōu)秀，還是校園文化的活躍分子。

1982年冬天，他和同學(xué)孫百安找到西湖邊的杭州書畫社，“碰巧看見了杭州市業(yè)余美術(shù)學(xué)校報(bào)名點(diǎn)”。于是，他花8塊錢報(bào)了初級(jí)班。初級(jí)班的老師是余石蘋先生。一個(gè)學(xué)期后，他又進(jìn)入提高班，帶班的是浙江美術(shù)學(xué)院的閔學(xué)林教授。幾年的正統(tǒng)教學(xué)，使池長慶的繪畫能力得到迅速提升。

池長慶慶幸他找到了此后追隨幾十年的閔學(xué)林教授。37年前，閔學(xué)林就要求池長慶注重書法能力的培養(yǎng)?！拔矣浀?，閔老師特別提到讓我去買一本李北海的字帖臨一臨?！睆拇耍亻L慶開始理解書畫同源，開始在詩、書、畫、印的結(jié)合上做出自己的努力。

曾作畫贈(zèng)美國州長

1986年初夏的一個(gè)晚上，時(shí)任杭州大學(xué)團(tuán)委書記何文炯在學(xué)生宿舍里找到池長慶。他帶來一個(gè)緊急任務(wù)：有一個(gè)叫羅伯特·奧爾的美國州長，后天上午將率團(tuán)訪問本校，學(xué)校決定，由學(xué)生創(chuàng)作一幅中國畫作為校禮相贈(zèng)。作畫的任務(wù)就交給了池長慶。

當(dāng)晚，池長慶在一個(gè)大約十平方米的辦公室里創(chuàng)作。畫什么呢？領(lǐng)導(dǎo)沒有明確，只能由池長慶自己決定。他想了想，決定畫《西湖之春》：西湖邊，粉紅色的垂絲海棠盛開著；湖面上，兩只鴛鴦在悠游。他在題跋上寫：贈(zèng)羅伯特·奧爾州長 杭州大學(xué)池長慶。第二天一早，他交了稿。

沒想到第二天，州長有一個(gè)答謝晚宴，除校領(lǐng)導(dǎo)外，還特意點(diǎn)名邀請(qǐng)池長慶出席。學(xué)校很快找到池長慶，囑咐他穿上干凈整潔的白襯衫，還帶上裝畫筆和墨水的工具箱——萬一州長現(xiàn)場要求作畫呢？

那場晚宴上，州長還當(dāng)場宣布，授予一位副省長、杭大校長和池長慶三人為印第安納州的榮譽(yù)公民。

畢業(yè)后，池長慶留在校體育系工作。一年后，池長慶遇到人生的一位重要“伯樂”——邢秀華教授。這一年，杭州大學(xué)成立藝術(shù)教研室。邢秀華，這位沙孟海、陸維釗先生的入室弟子，看中了在書畫上初露頭角的池長慶。很快，池長慶從體育系調(diào)出，開始在大學(xué)講臺(tái)講授《大學(xué)書法》這門公共課。

“沙老對(duì)我的書法影響很大?！苯衲?月，池長慶去看望91歲的邢秀華時(shí)回憶，當(dāng)年邢老師幾次帶他去沙孟海先生家，聆聽沙老的教誨，“印象最深的一次，我?guī)Я艘痪碜髌罚?qǐng)沙老指點(diǎn)。沙老翻看時(shí)，兩次說‘好。這對(duì)我是莫大的激勵(lì)?！?h3>“道古書房”可求道

道古書房，池長慶如此命名自己租的一間公寓房。

這名字有懷舊的味道。當(dāng)年的杭州大學(xué)、如今的浙大西溪校區(qū)南門前西溪河上有座橋，名叫道古橋。那是七百多年前南宋大數(shù)學(xué)家秦九韶（字道古）建造的橋。

現(xiàn)在，在道古書房，池長慶和同道會(huì)聚，讀書寫字作畫。有一個(gè)叫鄭利權(quán)的年輕書法家，也是道古書房的常客。21年前，他考入杭州大學(xué)中文系，大學(xué)四年，他每個(gè)學(xué)期都選了池長慶的《大學(xué)書法》課。25歲時(shí)，他成了中國書協(xié)最年輕的會(huì)員。就在今年早些時(shí)候，西泠印社出版社出版了池長慶和鄭利權(quán)共同編著的《民國印論精選》。

在道古書房，池長慶實(shí)踐著他在學(xué)術(shù)上的價(jià)值取向：與古為徒。

“中國傳統(tǒng)書畫的線條，就像心電圖一樣，把人的喜怒哀樂一覽無遺地呈現(xiàn)。每一根線條，都可以是中國人美感的表達(dá)和心性的抒發(fā)。這就是中國書畫的高度。”池長慶說。

池長慶在努力延續(xù)書畫相融的傳統(tǒng)藝術(shù)精神。以書入畫，以畫寫書，書畫同體代表著中國傳統(tǒng)書畫藝術(shù)的特征與精神。他決意在這條前人指明的道路上孜孜矻矻，上下求索。

池長慶潛心梳理與探究中國傳統(tǒng)書畫藝術(shù)中“以書入畫”的道統(tǒng)。在閔學(xué)林、范景中教授的指導(dǎo)下，他以金農(nóng)、趙之謙、吳昌碩、黃賓虹為案例，深入研究“金石入畫”現(xiàn)象。

他越研究，就越敬畏古人，對(duì)自己選擇的沿著“金石入畫”這條傳統(tǒng)道路往下走的決心也越加堅(jiān)定。

2014年，池長慶完成了8萬余字的博士論文《金石入畫研究——以金農(nóng)、趙之謙、吳昌碩、黃賓虹為中心》，取得中國美術(shù)學(xué)院美術(shù)學(xué)博士學(xué)位。他自信，這篇論文對(duì)于全面梳理“金石”與清代乃至近現(xiàn)代中國畫的歷史進(jìn)程的關(guān)系有學(xué)術(shù)價(jià)值。他相信，再思考“金石入畫”，對(duì)于堅(jiān)守中國繪畫的筆墨傳統(tǒng)與改進(jìn)當(dāng)代中國畫教學(xué)有著重要的現(xiàn)實(shí)意義。

Chi Changqing： From Discus Thrower to Artist

By Zhang Qizhi

In early autumn 2018 Zhejiang Art Museum held a solo exhibition of about 120 artworks by Chi Changqing， an educator of calligraphy and painting for 32 years. No one could guess that the accomplished artist， now a PhD of Art and deputy dean of Art Department of Zhejiang University， was a discus thrower in his middle school and college days. At 14， he made his reputation by accident when he threw a discus farther than anyone in the school had ever imagined. In September 9， 1982， he was enrolled into Hangzhou University as a major of sports education.

However， his heart was not in sports. A subscriber of Traditional Chinese Painting， a periodical published by Beijing Academy of Traditional Chinese Painting as of the third year of his junior high school， he embarked upon a comprehensive art education in college though he did pretty well in sport education. In the winter of 1982， he enrolled himself into an art school for amateurs in Hangzhou. He studied under the tutelage of Master Yu Shipin. After a semester， he transferred to the advanced class taught by Professor Min Xunlie of Zhejiang Academy of Fine Arts. In a few years， the discus thrower made rapid progress in art through systematic training under the professors guidance.

Chi Changqing feels lucky that he found the professor so many decades ago. Back then， Min instructed him to practice calligraphy as a way to master the art of calligraphy and painting. It was then that Chi began to learn more profoundly about calligraphy and painting sharing the same foundation.

Chis first important artwork was done in a summer evening in 1986. A university administrator came to his dorm and tasked him to create a painting as a student gift for an important American visitor who would arrive on the campus for a visit two days later. As he wasnt given any instruction about what to paint， Chi decided upon painting a morning scene of the West Lake. He handed the painting in the next morning. It was a marvelous success.

Chi stayed at the alma mater to work at the sports education department upon graduation. In the second year， Professor Xing Xiuhua， who studied under the guidance of Sha Menghai and Lu Weizhao， two celebrated calligraphers of Zhejiang， came to set up a studio on the campus of Hangzhou University. Professor Xing spotted the gifted Chi Changqing. Pretty soon， Chi Changqing was transferred from the sport education department and was tasked to teach calligraphy， a general course open to all students.

Chi Changqing is grateful to Xing， who is 91 years old now， for bringing him to visit Sha Menghai （1900-1992） several times. Sha approved Chis calligraphy.

Nowadays， Chi Changqing works at a rented apartment and calls it Daogu Studio. The studio is named after Qin Jiushao whose literary name was Daogu， a mathematician of the Southern Song Dynasty who built a bridge near Hangzhou University， which was merged into Zhejiang University in September 1998. The choice of the name demonstrates Chis career ambition. Daogu in Chinese means pursuing the ancient glory. “Lines in traditional Chinese calligraphy and painting demonstrate ones emotions accurately. A single line can well express ones aesthetics and sentiment. This is the acme of Chinese art，” explained Chi Changqing in a press interview.

For decades， Chi Changqing has worked to integrate calligraphy with painting and introduce painting into calligraphy. In his opinion， “calligraphy and painting are one” is the very essence of Chinese art.

He has done a theoretical research into the ancient introduction of seal art into painting， first pioneered by great predecessors such as Jin Nong， Zhao Zhiqian， Wu Changshuo and Huang Binhong. The research was carried out under the guidance of Professor Min Xuelin and Professor Fan Jingzhong. The research results were written into his doctoral dissertation.

In 2014， Chi completed his PhD dissertation and obtained a PhD degree in art at China Academy of Art. He believes that his dissertation is academically valuable in understanding the correlation between seal art and Chinese painting from the Qing up to the present day. A rethinking on the idea of introducing seal art into painting is of significance in adhering to the brush and ink tradition and in improving art education.

The studio is where Chi works and meets younger calligraphers. One of them is Zheng Liquan. He took Chis calligraphy course every semester for four years in Hangzhou University and became a member of China Calligraphers Association at the age of 25. Earlier this year， Chi and Zheng jointly published a book on seals created by artists in the first half of the 20th-century China.