展覽海報

展覽名稱：“ 繪事瑣談”丁天缺紀念展

策展顧問：石建邦、李超、文德、胡昌煢

文獻整理：丁韻秋 

開幕時間：2023年8月5日週六下午三點開幕（需要邀請函入場） 

主辦單位：中國藝術研究院油畫院

承辦單位：雲上美術館  （北京市朝陽區高碑店文化藝術新街1704號） 

協辦單位：ICI LABAS 藝棧 、CCIFC中國法國商會、Capella Cultural Program 嘉佩樂文化計劃、AFAP法國造型藝術家協會、WM ARCHITECTS法國米多建築設計師事務所

丁天缺先生照片

為天缺公而歌

——丁天缺紀念展序言 

李超

20世紀的中國美術歷史長河，不乏藝術群體的星光閃耀。發端于西湖之畔的國立藝專的第二代，正是這樣具有核心作用的代表性的藝術群體。謂其核心，在於中國的現代美術教育學術主體力量，賦予歷史轉型以中國之魂和東方之韻。以師生傳承作為學術基點的第二代，隨同其師，親歷並參與了歷史的轉型，見證了學院“調和中西藝術，創造時代藝術”的學術影響力。這種“為藝術戰”精神氣質，猶如血脈胎印，註定他們將學術抱負與藝術責任，與中國民族藝術的振興命運相連，這種學院品格賦予了第二代獨特的藝術生命力，這是他們奉獻于20世紀中國美術可歌可泣的精神禮讚。

丁天缺（左二）與吳季鑫、莊華嶽、趙無極

1985年春趙無極回杭州母校舉辦油畫講學班時合影 左起丁天缺、尚揚、孫建平、趙無極、許江

然而，對於國立藝專第二代的認知，實質上是“遲到”的發現。其中初始的引發點，是20世紀80年代本土現代藝術歷史的關注。包括趙無極、朱德群等在內的海外軍團。隨之對應著那段風雨兼程的文脈歷史，逐漸再度認知他們的師長林風眠、吳大羽、蔡威廉、方幹民等諸多先賢的作為；也逐漸還原著吳冠中、閔希文、張功慤、丁天缺等諸多弟子的史實，他們含帶各自的歷史遮蔽，進入我們後學研究的視野。在還原與認知的過程中，我們不禁感佩他們在人生的磨難中不息保存藝術意志的堅韌，感佩他們與世界對話的藝術語言的前沿實驗特質。其中丁天缺不失為一種特殊的呈現。——不管歷史存有多少曲折與磨難，只要存有覺醒者所謂“懷有同樣潔願的人，無別離”的心智，就有高度和光芒的格局，就有再生和共用的未來。

杭州美院校慶70週年合影

丁天缺的藝術人生，是一段淚水與星光交織一體的“傳奇”；更是歷練自強而歷久彌新的中國現代美術的“華彩”。而作為第二代的丁公的同窗學友，他們是相映成輝的命運共同體。如今皆為美術史研究中的一線名家，他們何以共同進入歷史研究“勝利者的清單”，難道不正是這樣高度與光芒嗎？

1984年，丁天缺與林文錚、趙無極、張功慤、胡善餘等

隨著行文的行進，思緒中涌現出30年來，陸續與第二代前輩交往的經歷，對於國立藝專第二代的認識，從書本轉為現場。90年代初為撰寫《上海油畫史》而專程拜訪閔希文先生。1996年赴京，專程為吳大羽先生舉行的學術研討會發言學習。當時吳冠中、張功慤等第二代出席此會。他們為第一代的吳大羽而來，卻道出了令人感動的第二代的情緣。四年前，我有幸見到第二代的最長壽的見證者張功慤先生。倘若吳大羽是一顆不可忘卻的“星”，那麼教學相長的相關師生，已經合成為獨具光彩的“群星”。由此于三年前，完成了“看不見”的國立藝專第二代的初稿寫作。

2018年丁天缺個展，丁老生前所用畫架與未完成的畫

此稿再修訂，自然來自今年丁韻秋老師以及她的朋友圈的支援與鼓勵。在我接觸到的三百多位中國油畫名輩家屬中，不乏擁有特別人文情懷者，丁天缺的侄女丁韻秋女士，即是其中生動可敬的一位。通過她之前組織和努力，加之朋友圈的齊心協力，2021年成為丁天缺的“甦醒”時間。——2021年3月13日，丁天缺回顧展在京開幕，這不僅是藝棧畫廊的2021年首展，也是2018年末《夢裏孤山——丁天缺藝術人生》由中國美術學院出版社出版，學界見得丁天缺遺著一書問世後在北京的一次重要呈現。2021年10月在杭州國立藝專舊址，西泠書畫院舉辦《丁天缺詩詞集》首發式暨學術茶聚。2021年年底。藝棧畫廊迎來了年末壓軸大展：丁天缺詩畫展。此次展覽是繼“丁天缺詩詞集”首發活動後，移至北京的再度亮相。通過對丁天缺先生的詩詞手稿及繪畫原作、版畫的展示，向觀眾呈現其更加生動的創作成果。

丁天缺部分日記手稿

丁天缺部分著作

跨越疫情困頓之期，2023年6月，我與團隊在北京拜訪丁韻秋老師，她又向我們呈現了她與家人共同整理與翻譯的成果，《藝舟夜楫——繪事瑣談》，英文譯本（with original Chinese script），這成為了丁老師與她的友人，在今年策劃相關丁天缺藝術巡展的一個重要學術焦點。——2023年，孕育著為丁天缺“再生”而行動的高光時刻。

《夢裏孤山》、《丁天缺詩詞集》與“繪事瑣談”手稿，是丁老留給我們後學的學術遺産，是這位藝術先賢留給世界的珍貴藝術之物與歷史之物，可以視作為國立藝專第二代的學術結晶，饋贈于畫界與學林。今時，在國立藝專第二代漸行漸遠于天國的同時，先賢的諸多精彩的話語與概念，凝聚其藝術創作與思想，化作歷史的迴響，令我們深味不已。在古今之間，在中西之間，作為藝術家的文化融合使然，丁老的相關的筆記，字語真切，呈現了視野的寬度和思考的深度。這是第二代先賢們藝術思想的又一次折光。

值得關注的是，第二代的藝術雖然各自發展有別，但是學院派的基因與影響，構成了他們藝術創作中的某些共性的呼應關係。比如時空結構的概括性、心靈世界的抒情性、中國意象的書寫性。不過在第二代的藝術家之中，他們各自形成自己的藝術探索的風格化路徑。從目前所見的丁天缺的40年代作品圖像而言，對於形式錶現的敏感與創造，已經呈現在早年的藝術實踐之中，中後期跨越80至90年代，難能可貴地呈現藝術復蘇的生命力，所作靜物、肖像和景物，已經賦予多種變體與重構的探索跡象，相關藝術創作在空間構成、色彩表現與圖像寓意等方面，體現傳統守正與語言創新的互通與協調。再一次驗證藝術創作中“新”的辯證理解與貫通。在傳統深處提取創新探索的新元素，在國際對話的語境中彰顯現代藝術的“中國時態”，——由此賦予丁天缺藝術的學術品格。其畫風求新獨到，個性率真而別開生面，又與第二代的創作面貌相得益彰，成為20世紀中國現代繪畫時代標程的生動縮影。

 1990 花Flower  61×46cm

文化傳承有如生命紐帶，牽連著兩代藝術家“為藝術而戰”的藝術歷程。這兩代藝術家群體的研究，其價值意義，已經不限于相關的校史研究的範疇，而逐漸移入中國現代美術歷史研究，乃至中國近現代美術國際交流的專題領域。2023年的丁天缺紀念展，無疑形成了可觀的學術拓展。而其中一個潛在的學術訴求，即為“丁天缺與他的時代”。這樣的學術定位，賦予了丁天缺與第二代藝術資源的共生與相容，構建了從本土出發，向世界述説中國故事的敘事語境。

 1980窗前偶見80x73cm

與展覽的策劃團隊相約同行，我們有所感悟的是，一個閃光的點，帶動著華彩的線。由丁公天缺先賢引至國立藝專第二代先賢們，這樣的藝術群體進入藝術史的研究對象，其相關的歷史之物與藝術之物的複合，是研究得到持續而深入的重要關鍵。在這裡，一代與二代皆有被遮蔽與碎片之殘存境遇，相關藝術遺産的存世量或多或少，相關藝術文獻著錄率或重或稀，我們也十分願意通過自己的學術積累與數據庫的加持，體現近現代美術研究成果學術賦能的作用。由此可見，此次紀念展的巡展歷程，將是一個學術與合作、互動、共用的社會美育的生動範例。經歷20世紀80年代至今，國立藝專藝術家逐漸涌現，迄今形成中國近現代藝術史研究視野中，不可或缺的重要藝術群體。幾乎每一個生動的個體，都牽動著這一藝術群體珍貴的文化資源。今天，丁天缺紀念展再次顯現應有的學術之光。

 1991歲朝58x48cm

為天缺公而歌，——是為國美二代“無別離”而念的初衷；是對丁天缺藝術資源“再生”的期待；更是為優化中國近現代藝術史研究學術生態的獻力。

2023年7月于千蕖堂

 丁先生坐在畫前

Ding Tianque Retrospective Exhibition“Painting Fragments”2023/8/5 - 8/26

Consultant：Shi Jianbang  Li Chao  Fred Dervin  Hu Changqiong

Documents arrange：Ding Yunqiu

Opening: Saturday 05/08/2023 at 3:00 p.m.

Host：The Institute of Oil Painting of the Chinese National Academy of Arts

Organiser：Yunshang Museum（Gaobeidian Cultural and Art New Street, Chaoyang District, Beijing）

Co-Organizer：ICI LABAS 藝棧 、CCIFC中國法國商會、Capella Cultural Program 嘉佩樂文化計劃、AFAP法國造型藝術家協會、WM ARCHITECTS法國米多建築設計師事務所

Praise for Ding Tianque

Introduction to the Retrospective Exhibition

Li Chao

(Translation: Prof. Dr. Dervin, University of Helsinki, Finland)

The history of 20th century Chinese art is wide-ranging and has produced a long list of important figures and art groups. Amongst them, the Second Generation of the National Art College, which originated on the shores of the West Lake in Hangzhou, played a significant role. The group contributed academically to China’s modern art education, transforming in the process the soul of China and the charm of the East. The Second Generation, which built upon predecessors and peers, has experienced and participated in the transformation of history through its teachers, witnessing the academic influence of the school in “reconciling Chinese and Western art and creating art of the times”. The spirit of ‘fighting for art’, like a bloodline birthmark, destined them to link their academic ambition and artistic responsibility with the revitalization of Chinese national art. This academic character endowed the Second Generation with unique artistic vitality, which corresponded to their spiritual tribute to the singing and weeping of Chinese art in the 20th century.

 1999人生92x73cm

The significance of the Second Generation of the National Art College was in fact a ‘late’ discovery. The initial trigger started in local modern art history of the 1980s with the recognition of Chinese artists who were based overseas such as Zao Wou-ki and Chu Teh-Chun. Subsequently, many other artists came to be recognized as prominent artistic figures such as Lin Fengmian, Wu Dayu, and Fang Ganmin. Gradually other long forgotten artists, amongst whom Wu Guanzhong, Min Xiwen, Zhang Gongyi, Ding Tianque and many other disciples, were also rediscovered. In the process of restoration and cognition, we can’t help but admire their tenacity in preserving their artistic will in the tribulations of life, and admire the cutting-edge experimental characteristics of their artistic language in dialogue with the world. Amongst these major figures of Chinese 20th century art, Ding Tianque plays a special role. No matter how many trials and tribulations history witnesses, as long as there is a so-called mentality of “same aspirations, no separation”, there will be a pattern of height and light, and there will be a future for regeneration and bonding.

 國畫觀音眺

Ding Tianque’s artistic life is ‘legendary’, intertwined with tears and moments of hope. His life also symbolizes the ‘brilliance’ of modern Chinese art that experienced self-improvement. It was also a long-lasting life. Together with his classmates from the Second Generation, Ding formed a community of shared destiny. Now that they are all prominent masters in art history research, why did they all enter the ‘list of prizewinners’ in historical research?

 1990聽蟬61x50cm

As a scholar specializing in the Second Generation, I had the opportunity to interact with some of its senior members over the past 30 years. In the early 90s, I visited Mr. Min Xiwen in order to write about the ‘History of Shanghai Oil Painting’. In 1996, I spoke at an academic seminar held by Mr. Wu Dayu in Beijing. Wu Guanzhong, Zhang Gongyi and other members of the Second Generation attended the seminar. They came for the First Generation of Wu Dayu, but their words about their Second Generation were touching. Four years ago, I also had the privilege of meeting personally Mr. Zhang Gongyi, the oldest witness of the Second Generation. If Wu Dayu is a ‘star’ that cannot be forgotten, then the relevant teachers and students who have learnt from his teaching have been synthesized into a unique ‘star’. Three years ago, I completed my first draft about the Second Generation of the ‘Invisible’ National Art College.

 1992什剎海61x50cm

The draft was revised based on the support and encouragement of Ding Yunqiu and her circle of friends. Among the more than 300 family members of famous Chinese oil painters I have come into contact with, many have special humanistic feelings, and Ding Tianque’s dynamic and respectable niece, Ms. Ding Yunqiu, is one of them. Through her remarkable efforts, coupled with the concerted endeavours of her circle of friends, 2021 marked Ding Tianque’s ‘awakening’ time. On March 13 2021, a retrospective exhibition of Ding Tianque opened in Beijing, which was not only the first exhibition of ICI-LABAS Gallery in 2021, but also an important event in Beijing after the publication of Lonely Mountain in Dreams - Ding Tianque’s Artistic Life by China Academy of Art Press at the end of 2018. In October 2021, the opening ceremony and academic gathering around Ding Tianque’s Poetry Collection was held at the former site of Hangzhou National Art College, Xiling Calligraphy and Painting Institute. At the end of 2021 ICI-LABAS Gallery put together an exhibition of Ding Tianque’s poetry and painting. This was the second time that the Ding Tianque Poetry Collection went on show. Through the display of Mr. Ding Tianque’s manuscripts of poetry, original paintings and prints, the audience could witness his vivid creativity.

2006閒庭寂寞露華濃 80×60

After overcoming the difficult period of the epidemic, my team and I visited Ding Yunqiu in Beijing in June 2023. During our visit, Ding Yunqiu presented to us a book about Tianque Ding that her family and herself compiled and translated. This book represents an important academic milestone for Ding Tianque’s work. Together with her friends Ding Yunqiu is currently preparing an art tour exhibition of Ding Tianque. 2023 will mark an important year for Ding Tianque’s ‘rejuvenation’.

雞冠花 81x64cm

The manuscripts of Lonely Mountain in Dreams, Ding Tianque’s Poetry Collection and Trivia on Pictorial Matters represent an important academic heritage left by Mister Ding for future research. They symbolize precious artistic and historical objects offered to the world by this artistic sage, which can be regarded as mature academic expressions of the Second Generation of the National Art College. Today, while the Second Generation is gradually moving away from the Kingdom of Heaven, many wonderful words and concepts condense their artistic creations and thoughts, and turn them into gratifying echoes of history. Between ancient and modern, between China and the West, as a result of the interculturalisation of art, Ding’s notes present us with his broad vision and deep thinking – evidencing again the artistic philosophy of the sages from the Second Generation.

 1980觀音跳夕照80x70cm

It is worth noting that, although the art of the Second Generation has developed in different directions, the roots and influences of the academic school constitute common echoes in their artistic creations. These include the generalization of the structure of time and space, the lyricism of the spiritual world, and the writing of Chinese imagery. However, among the artists from the Second Generation, each of them shaped and explored their own stylized artistic path. From the images that we have left of Ding Tianque’s works from the 1940s, but also his art spanning the 1980s and 1990s, the sensitivity and creation of formal expression were always present in his artistic practice. The still-lives, portraits and landscapes that Ding provide a variety of signs of exploration, variation and reconstruction. The related artistic creations reflect the intercommunication and coordination of traditional integrity and language innovation in terms of spatial composition, color expression and image meaning-making. Once again, this evidences the dialectical understanding and penetration of the ‘new’ into artistic creation, extracting novel elements of innovative exploration from the depths of tradition, highlighting the ‘Chinese tense’ of modern art in the context of international dialogue, thus endowing Ding Tianque’s artistic and academic character. His painting style is innovative and unique, and his personality frank and original, which complements well the creativity of the Second Generation. With these, Ding became a vivid epitome of the era of modern Chinese painting in the 20th century.

 2000盥洗室85x60cm

Cultural inheritance is like a life bond, implicating the artistic journey of two generations of artists who ‘fought for art’. The value and significance of the research on these two generations of artists are not limited to the scope of history research on specific schools, but they have gradually moved into research on the history of modern Chinese art, and even the special field of international exchanges about modern art. The Ding Tianque Retrospective Exhibition of 2023 is undoubtedly contributing to move such academic interests forward. This academic positioning endows Ding Tianque with symbiosis and compatibility with Second Generation art resources, and constructs a narrative that starts from China and tells Chinese stories globally.

 1992皆大歡喜92x73cm

Cooperating with the exhibition planning team, we realized that a shining point drives the line of brilliance. The sages of the Second Generation of the National Art College now represent an important research object in art history, and the combination of related historical and artistic objects is an important key to continuous and in-depth research. Here, the First and Second Generations have the residual situation of being obscured and fragmented; the existence of relevant artistic heritage can be limited; the bibliographic rate of relevant art documents is heavy or rare. We are also enthusiastic about reflecting on the role of academic empowerment of the achievements of modern art research through our own academic and database collections. It can be seen that the tour of this retrospective exhibition will be a vivid example of academic cooperation, interaction and social aesthetic education. From the 1980s to the present, artists from the National Art College have gradually emerged, forming an indispensable and important art group in research on modern Chinese art history. Almost every vibrant individual showcases precious cultural resources of this artistic group. Today, the Ding Tianque Retrospective Exhibition once again shines the academic light it deserves.

 《虎跳峽》1980-85x64cm

Praise for Tianque Ding – the original intention of the Second Generation was to ‘leave nothing’. The ‘regeneration’ of Ding Tianque’s artistic resources definitely contributes to optimizing the academic ecology of modern Chinese art history research.

Senjodo, July 2023