艺栈展览丨梦里孤山-丁天缺纪念展
梦里孤山/丁天缺纪念展
798 ICI LABAS艺栈
策展人：石建邦
展 期：2018年7月15日至9月12日
开幕酒会：2018年8月18日，下午三点
地 址：798东街艺术区 #D10 法国馆
中国北京朝阳区酒仙桥路2号
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
谩道经年不遇，英雄自古坎坷
石建邦
在中国近现代美术史上，丁天缺先生的名字越来越被人注意和发现。
丁天缺，原名丁善庠，1916年出生于江苏宜兴，1935年考入国立杭州艺术专科学校，受教于西画系主任吴大羽，令他终生服膺。
一九三八年杭州国立艺专同学们在沅陵郊外写生后野餐情况
丁天缺的一生，坎坷蹭蹬，备尝艰辛。抗战爆发，临国难而播迁，他随学校转辗江西、湖南、贵州、云南等地。期间，他曾因慷慨仗义参与学潮而离开国立艺专，应邀来到成都西川艺术职业学校任教，并先后在当地多所中学兼职授课。1947年，他回到杭州母校，担任吴大羽先生助教。新中国建立后，各种运动降临，他先被指为“新派画”头头，遭学校除名，不得已栖身于浙江医学院。谁知不久，更大的风浪接踵而至，先后被两度戴上反革命帽子，他被囚禁、管制、劳教、抄家，最后押送原籍监督改造，前后蒙冤将近三十年。直到1980年，丁先生才获初步平反，返回母校，暂任《美术译丛》编辑。人间爱晚晴，先生至此方始重拾画笔，留心文艺，逐步回归正常的创作生活。
丁天缺先生与好友赵无极
丁先生晚年曾说，同学赵无极的画“似是而非”，而他自己的作品则常常“似非而是”。尤其表现在山水风景上，他化山林为怪兽，更是“自作主张”。实在说来，丁先生的画作，郁勃纵横，奇崛古厚。他的人物画不求形似，不尚柔媚，但入木三分，形神兼备，令人难忘。他的静物花卉，深得印象主义三昧，更富东方主义美学。他又善于用拟人化的手法描绘山川风景，似乎万物有灵，启人深思警醒。而有几幅以玩偶布娃娃为题材的画作，则是画外有画，引人哲思。三十多年来，他的创作虽然数量有限，但却多姿多彩，可圈可点。
《人生》
丁天缺先生工作照
绘事之余，丁先生笔耕不辍，翻译介绍西方画家作品及艺术理论，曾译作《毕加索》、《赵无极自画像》等书。同时，他又醉心法国文学，译有《莫泊桑中短篇小说选》和《魏尔伦诗选》。而他晚年出版的《顾镜遗梦》自传和《绘事琐谈》画论，更有别样的价值。
“梦里孤山醉倒”，“西湖旧梦不胜续”……丁天缺还具备非凡的古典文学造诣。今天重读他困顿之际书写的旧体诗词，字里行间，满溢着他对西湖，特别是对母校那份魂牵梦绕的情感。“谩道经年不遇，英雄自古坎坷。种竹西园励志节，学画南楼图枕戈”（丁天缺《调寄破阵子》），先生实在是一位满腔热忱，有着浓郁家国情怀的知识分子。随着时间的推移，他的艺术无法被遮蔽，更不会被遗忘。令人欣慰的是，丁先生的艺术成就，在今天越发显现出其真挚可贵的光华来，并成为吳大羽体系中不可或缺的坚强一分子。
今年是丁先生逝世五周年，举办一次他的纪念画展，意义重大。睹物思人，追怀往事，先生的艺术之树长青，人格精神永存。
2018年6月30日
丁天缺先生坐在画前
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.
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.
Mr. Ding said in his late years that his classmate Zao Wou-ki’s paintings are “plausible” and his own works are often “likely”. 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.
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.
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.
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
（前言英文翻译：晋华，校对：Tony Brown）
部分作品
▼
《窗前偶见》
1980
布面油画
80x73cm
Encounter in Front of the Window
1980
oil on canvas
80x73cm
《溜冰女教练》
1986
布面油画
63x52cm
Skating Female Coach
1986
oil on canvas
63x52cm
《女歌唱家黄琦小像》
1987
布面油画
81x65cm
Portrait of Female Singer Huangqi
1987
oil on canvas
81x65cm
《风》
1990
布面油画
61x40cm
Wind
1990
oil on canvas
61x40cm
《红发髻》
1991
布面油画
72x52cm
Red Hairpin
1991
oil on canvas
72x52cm
《小舞台（静物）》
1992
布面油画
65x50cm
Small Stage(Still Life)
1992
oil on canvas
65x50cm
《窗前偶见Ⅱ》
1998
布面油画
92x73cm
Encounter in Front of the Window Ⅱ
1998
oil on canvas
92x73cm
《盥洗室》
2000
布面油画
85x60cm
Bathroom
2000
oil on canvas
85x60cm
《闲庭寂寞露华浓》
2006
布面油画
80x60cm
The Climax of The Peaceful and Lonely Life
2006
oil on canvas
80x60cm
《岁朝》
1991
布面油画
58x48cm
私人收藏
Chinese New Year
1991
oil on canvas
58x48cm
private collection
《半个世纪的画像》
1998
布面油画
81x60cm
私人收藏
Portrait Accomplished through Half a Century
1998
oil on canvas
81x60cm
private collection
《小咪小像》
1989
布面油画
63x52cm
私人收藏
Portrait of Xiaomi
1989
oil on canvas
63x52cm
private collection
《梨圃漫步》
1992
布面油画
60x50cm
私人收藏
Promanada in Pear Garden
1992
oil on canvas
60x50cm
private collection
《花瓶》
1990
布面油画
61x40cm
私人收藏
Vase
1990
oil on canvas
61x40cm
private collection
《虎跳峡》
1980
布面油画
85x64cm
私人收藏
Hu Tiao Gorge
1980
oil on canvas
85x64cm
private collection
《听蝉》
1990
布面油画
61x50cm
私人收藏
Listen in to the Singing of Cicada
1990
oil on canvas
61x50cm
private collection
《歌剧导演谷风先生》
1989
布面油画
80x64cm
中国美术馆收藏
Mr.Gufeng,Opera Director
1989
oil on canvas
80x64cm
collected by The National Art Museum of China(NAMOC)
《城隍山早读》
1990
布面油画
72x60cm
中国美术馆收藏
Early Morning Reading on Mt.Chenghuang
1990
oil on canvas
72x60cm
collected by The National Art Museum of China(NAMOC)
《夹竹桃与甜橙》
1990
布面油画
61x50cm
浙江美术馆收藏
Oleander and Sweet Orange
1990
oil on canvas
61x50cm
collected by Zhejiang Art Museum,China
《婉义小像》
1980
布面油画
83x61cm
浙江美术馆收藏
Portrait of Wanyi
1980
oil on canvas
83x61cm
collected by Zhejiang Art Museum,China
《亚萍小像》
1980
布面油画
75x65cm
私人收藏
Portrait of Yaping
1980
oil on canvas
75x65cm
private collection
《人生》
1999
布面油画
92x73cm
私人收藏
Life
1999
oil on canvas
92x73cm
private collection
《观音跳晨曦》
1991
布面油画
92x65cm
私人收藏
Guanyin Tiao at Sunrise
1991
oil on canvas
92x65cm
private collection
《剑门怀古》
1979
布面油画
84x56.5cm
机构收藏
Nostalgia at Jianmen
1979
oil on canvas
84x56.5cm
institutional collection
古今中外共欢舞-飞来峰下座和马蒂斯《舞蹈》印象
2006
布面油画
146x114cm
机构收藏
Singing and Dancing across Ancient and Modern times,and home and abroad-Seating at the Foot of Fei Lai Peak and Impression upon Matisse’s ‘Dance’
2006
oil on canvas
146x114cm
institutional collection
《羊脚蹄花》
1993
布面油画
57x57cm
机构收藏
Flower
1993
oil on canvas
57x57cm
institutional collection
联系人：丁女士 13001170598