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弥勒缘
也许是一种缘分,2000年10月底,我在杭州张蒟林女士家里第一次与中国美院教授孔仲起先生通电话,就同他很讲得来。听言谈,我觉得他是一位淳厚长者、谦谦君子。半个月后,张女士同孔先生夫妇到衢州,我在火车站一见到孔先生那一副弥勒佛相,便证实了我的“先见之明”。
与孔先生相识相交十二个年头,对他的治学和为人,实在敬佩。孔先生在其艺术随笔《尊受居画谈》中,开头即夫子自道:“乐天吾所求。父母赐我一副喜欢菩萨相,谬受诸好称道。常言:自得其乐、知足常乐、助人为乐!‘知足常乐’似乎成了我的人生信条!”
提篮丹青
孔仲起1934年生于上海,出身丹青之门家境却清寒。1948年,他只读了半年初中就失学,带弟妹,做家务,还提篮小卖。
1951年,孔仲起进厂当工人。工余时间,他喜欢作画,特别是漫画,得到过漫画大师米谷和版画界前辈杨可扬的指导。
1955年秋,全国总工会保送孔仲起进中央美院华东分院深造。
1957年,美院国画系拟以人物、山水、花鸟分科办班。暑假期间,孔仲起回上海征求父亲的意见。那天,他父亲正好与钱瘦铁、唐云在家里小酌。唐云主张他学人物画;钱瘦铁则认为他应当学山水,因为山水画有中国画中最富传统的学问,且是笔墨间最能饱含感情价值和精神内涵的画种。钱瘦铁当场拿来纸笔画了两幅给他作示范,唐云也画了一幅山水画给他,以示鼓励。就这样,孔仲起师从顾坤伯,一头扑进了山水画的学习和创作中。1959年,他创作了《建设中的新安江》等三幅画。嗣后,他与姚耕云以“西湖十景”为题材创作了十幅册页。他在山水画范畴初次显露出才气。
1960年,孔仲起毕业,留校执教。1964年,他的成名作《浙江潮》及《日日升》问世。
云水情
懂画的朋友看孔先生的《浙江潮》,会想到宋代画家李嵩的《观潮图》。孔先生对《观潮图》虽有借鉴,但又修正了李嵩的图式;画面的主题充分体现出20世纪中国人开阔的胸怀和鲜明的时代精神。
孔先生喜画云与水,如是说:“我爱行云流水。爱其生气流动,无塞无虑,无碍无际。”他专门有一种《孔仲起云水》画册,所选36幅作品中,直接和间接画钱江潮水的就有13幅之多。我与孔先生开玩笑,是不是因为爱海宁籍妻子而爱海宁潮水。孔先生笑道:“我画海宁潮时,还未曾与她认识。但我1964年画《浙江潮》,倒是在她工作的疗养院;不久认识了她,是缘分。”孔先生告诉我,画潮水的起因,是当年老师带着他们同学到海宁蹲点体验生活,日日夜夜看潮、听潮,他便深深爱上了钱江潮水摧枯拉朽的气概和一往无前的精神,潮水成了他创作的重要题材。孔先生曾写下文字:“我爱画水!”孔先生有一幅表现大海的作品《观无涯》,“气势浩大”,展现“光明前景,激励人民去开拓……”我想,这就是前人所说的“品其味,全其意,明其志”吧。
圆合佳事
读孔仲起的画,我的直观印象是:刚则刚,柔则柔。
孔先生也有刚柔并济的大作,譬如《黄山揽胜图》。写作黄山,可谓是中国山水画中的一个“永恒主题”。孔先生此图突破旧囿,力求用现代观念全方位、多角度地表现黄山。这幅42厘米×700厘米的长卷,将黄山的诸多名胜尽收笔底。陆俨少在卷尾题曰“仲起兄曾六上黄山,山中景物因能熟记而默识之矣。今拓为长卷笔墨又足以发之……”隽秀与壮丽“一色”“齐飞”!
1999年,孔先生做了一件有意义的事。
元代画家黄公望的《富春山居图》“一分为二”,残卷分藏台湾故宫博物院与浙江省博物馆。7月中旬,大陆方面以中国美院为主干、由孔仲起教授为主导,台湾方面以中华艺文交流协会为主干、由史元钦会长为主导,“圆合”该画。孔教授总体策划设计出小构图后,画家们一起合临了五幅《富春山居图》,分藏海峡两岸。这成就了我国绘画史上的一件佳事。
一大两小
孔先生作品数以千计,优秀作品上百件,得奖的、捐赠的、被收藏的,也记不太清。有三幅作品值得一提,我称其为“一大两小”。“大”的一幅作于1982年,是孔仲起与父亲孔小瑜、哥哥孔伯容、女儿孔贻奋,在杭州九莲村书斋里合作的《瑞花图》。老爷子画红梅白梅,仲起兄弟画寿石、牡丹,贻奋则添小竹一枝。祖孙三代四人合作的这幅画,不仅洋溢着自家人的天伦之乐,而且成为沪杭书画界的美谈趣闻。
“小”的两幅,一是作于1990年的《醉仙》。那年,温岭画家郭修琳偶拾一块花岗石,样子极像孔先生模样,便相赠。孔先生即兴寥寥几笔,将其状画了下来,并题款:“妙哉得吾形神……大凡富于想象之艺人,每每放意相物,见物见人。郭兄味像取石,念友之情,心物相印,得千里神驰之妙。”
另一幅小品是书法,作于2000年11月19日傍晚,是受他的同宗族孙、孔氏南宗家庙管委会主任孔祥楷(孔仲起大名孔庆福,孔子73世孙,故也是祥楷的族长)“启发”而即兴写在《孔仲起画集》的扉页上,且盖了七枚印章。题记全文如下:“庚辰十月上浣薄游衢州登烂柯山不慎遗包石梁归孔府中途始觉误事尤为惶恐者一盒印章亦在其中幸衢州民风淳朴且得族棣祥楷张罗寻觅抑先祖有荫须臾复得喜甚喜甚万幸万幸兹盖失而复得之印其左孔仲起”。这本扉页上有作者特殊经历题记的画册,已被视作孔氏南宗家庙当代的“镇庙之宝”之一。
赠饼赠书
2004年9月28日,衢州孔氏南宗家庙恢复中止了半个多世纪的祭孔典礼。孔先生是孔子73世孙,应邀来衢州参加祭祀。27日,我们又一次相聚,孔先生还特意赠我一盒有“锦江月”三字的月饼。
“这盒月饼,非你庄月江莫属。”孔先生说,“上海一位朋友昨天特快专递寄到杭州,素芬嫂子拆开一看,有你名字,我们今天带来,正好给你家里过中秋。这就叫缘分。”我心存感念。
2008年,孔先生又出三种画集,来衢州时带了两大箱,嘱我分赠与他相识的衢州画家和一些熟人。我照办。
2010年9月,衢州图书馆办农村书屋。我考虑到喜欢学画的农村青年难有机会接触到高雅精致的山水画作品,于是将尚存的110册画集悉数捐出。我写信给孔先生陈述代为捐书之由,孔先生电话回话:“创造艺术的最终目的是和大众共享其成,同游其间,为之怡情,为之陶冶,这自然既要有有效的艺术感染力,又要有明确的公众群体意识。” (本文照片由作者提供)
My Friendship with Master Kong Zhongqi
By Zhuang Yuejiang
Probably it was my destiny to know Master Kong Zhongqi, a professor with China Academy of Art in Hangzhou. Our first contact was a phone call at the home of a mutual friend. It was toward the end of October 2000. We spoke on the phone and we hit off immediately. I felt he was a graceful man with a big heart. Half a month later Kong and his wife came to Quzhou where I live and work. As soon as I saw Kong, I thought I had been right about what kind of man Kong was. He looks like Maitreya, or the fat laughing Buddha that hundreds of millions of Chinese people worship.
I have come to admire the man for his art and for the way he deals with the world and people since we met on the platform of Quzhou Railway Station twelve years ago.
Kong Zhongqi was born into a family of artists in 1934. He dropped out of middle school in 1948 after spending only a semester there. He took care of younger siblings, did house chores, and even worked as a street peddler for a while. In 1949, he began to work in a factory. All these years he managed to find time for art. In the autumn of 1955, the 21-year-old Kong was enrolled into East China Academy, a branch of the Central Academy of Fine Arts. Two years later, Kong, a major of traditional Chinese art, was supposed to choose a focus for further studies. Was he to choose landscape, or figure painting, or flower and birds? In the summer vacation, he came back to Shanghai and consulted his father. Kong Zhongqi and his father went to meet Qian Shoutie and Tang Yun, two prominent artists based in Shanghai. The two artists differed in their opinion. Kong Zhongqi was finally advised to take landscape, because, it was explained to him, landscape was one of the best subjects in traditional Chinese painting and it allowed the artist to unleash imagination and explore all kinds of possibilities in brushstrokes and ink techniques and explore the spirituality shared by nature and man. Qian and Tang demonstrated by creating paintings on the spot.
Kong Zhongqi took landscape as his career direction. This decision has proven to be right. In 1959, he created three landscape paintings, which were highly appreciated. Afterwards, he painted ten must-see scenic spots of the West Lake in partnership with Yao Gengyun. Kong made his initial reputation as a good landscape artist.
Upon his graduation, he became a teacher at his alma mater. In 1964, he painted Tides of Qiantang River, which catapulted him to national fame. Kong loves painting clouds and waters because he loves the movement of clouds and waters. They go in a carefree and liberating manner and nothing can stop them.
He has published a collection of 36 paintings of clouds and waters. Thirteen are about the tides of Qianjiang River, a subject that repeats itself frequently in Kong’s dream and art.
“Tides of Qiantang River” was the result of field studies he and his classmates did in Haining, a vantage spot near Hangzhou to watch the spectacular river tides. Under the guidance of a teacher, the young students went to watch the tides and listen to their roaring noises every night. The experience of watching and hearing the tides changed him forever. He created the painting in a sanatorium in 1964 where he met his future wife. She happened to be a native of Haining. This is a favorite topic that frequently pops up when it comes to destiny.
Kong is a 73rd-generation descendant of Confucius. By the family pedigree, he is a granduncle of Kong Xiangkai, director of the management committee of the Confucius Temple in the South. On November 19, 2000, Kong Zhongqi wrote an 89-word inscription on the title page of a copy of his art collection. He printed seven private stamps beside the inscription. This album with the inscription is now considered a treasure in the collection of the temple.
On September 28, 2004, Kong Zhongqi came to attend a memorial service at the temple. The ceremony resumed after a hiatus of more than 50 years. Kong and I met again a day before the ceremony. Master Kong presented me with a box of moon cakes. It was the moon festival and the moon cake box carried the two characters that happen to be part of my name. Kong said it was destiny.
Kong Zhongqi has created several thousands of paintings and he considers about 100 as his best. He does not remember exactly how many awards he has won, how many artworks he has donated to charity undertakings, and how many of his masterpieces are in the collection of various institutions and private collectors.
In 2008, Kong published three collections of paintings and brought two large cartons of his books to Quzhou. He asked me to give the copies away to fellow artists and friends in Quzhou. I did. In September 2010, Quzhou Library started a project to set up village libraries. At that time I still had 110 copies of Kong’s albums. Thinking that rural artists rarely had an opportunity to view masterpieces, I made a decision and donated all the books on behalf of Master Kong. Later I wrote him a letter reporting the donation and explaining my decision. He called me and said i made a good decision. He said that the ulterior purpose of art was for people to enjoy, share, and make themselves better.
也许是一种缘分,2000年10月底,我在杭州张蒟林女士家里第一次与中国美院教授孔仲起先生通电话,就同他很讲得来。听言谈,我觉得他是一位淳厚长者、谦谦君子。半个月后,张女士同孔先生夫妇到衢州,我在火车站一见到孔先生那一副弥勒佛相,便证实了我的“先见之明”。
与孔先生相识相交十二个年头,对他的治学和为人,实在敬佩。孔先生在其艺术随笔《尊受居画谈》中,开头即夫子自道:“乐天吾所求。父母赐我一副喜欢菩萨相,谬受诸好称道。常言:自得其乐、知足常乐、助人为乐!‘知足常乐’似乎成了我的人生信条!”
提篮丹青
孔仲起1934年生于上海,出身丹青之门家境却清寒。1948年,他只读了半年初中就失学,带弟妹,做家务,还提篮小卖。
1951年,孔仲起进厂当工人。工余时间,他喜欢作画,特别是漫画,得到过漫画大师米谷和版画界前辈杨可扬的指导。
1955年秋,全国总工会保送孔仲起进中央美院华东分院深造。
1957年,美院国画系拟以人物、山水、花鸟分科办班。暑假期间,孔仲起回上海征求父亲的意见。那天,他父亲正好与钱瘦铁、唐云在家里小酌。唐云主张他学人物画;钱瘦铁则认为他应当学山水,因为山水画有中国画中最富传统的学问,且是笔墨间最能饱含感情价值和精神内涵的画种。钱瘦铁当场拿来纸笔画了两幅给他作示范,唐云也画了一幅山水画给他,以示鼓励。就这样,孔仲起师从顾坤伯,一头扑进了山水画的学习和创作中。1959年,他创作了《建设中的新安江》等三幅画。嗣后,他与姚耕云以“西湖十景”为题材创作了十幅册页。他在山水画范畴初次显露出才气。
1960年,孔仲起毕业,留校执教。1964年,他的成名作《浙江潮》及《日日升》问世。
云水情
懂画的朋友看孔先生的《浙江潮》,会想到宋代画家李嵩的《观潮图》。孔先生对《观潮图》虽有借鉴,但又修正了李嵩的图式;画面的主题充分体现出20世纪中国人开阔的胸怀和鲜明的时代精神。
孔先生喜画云与水,如是说:“我爱行云流水。爱其生气流动,无塞无虑,无碍无际。”他专门有一种《孔仲起云水》画册,所选36幅作品中,直接和间接画钱江潮水的就有13幅之多。我与孔先生开玩笑,是不是因为爱海宁籍妻子而爱海宁潮水。孔先生笑道:“我画海宁潮时,还未曾与她认识。但我1964年画《浙江潮》,倒是在她工作的疗养院;不久认识了她,是缘分。”孔先生告诉我,画潮水的起因,是当年老师带着他们同学到海宁蹲点体验生活,日日夜夜看潮、听潮,他便深深爱上了钱江潮水摧枯拉朽的气概和一往无前的精神,潮水成了他创作的重要题材。孔先生曾写下文字:“我爱画水!”孔先生有一幅表现大海的作品《观无涯》,“气势浩大”,展现“光明前景,激励人民去开拓……”我想,这就是前人所说的“品其味,全其意,明其志”吧。
圆合佳事
读孔仲起的画,我的直观印象是:刚则刚,柔则柔。
孔先生也有刚柔并济的大作,譬如《黄山揽胜图》。写作黄山,可谓是中国山水画中的一个“永恒主题”。孔先生此图突破旧囿,力求用现代观念全方位、多角度地表现黄山。这幅42厘米×700厘米的长卷,将黄山的诸多名胜尽收笔底。陆俨少在卷尾题曰“仲起兄曾六上黄山,山中景物因能熟记而默识之矣。今拓为长卷笔墨又足以发之……”隽秀与壮丽“一色”“齐飞”!
1999年,孔先生做了一件有意义的事。
元代画家黄公望的《富春山居图》“一分为二”,残卷分藏台湾故宫博物院与浙江省博物馆。7月中旬,大陆方面以中国美院为主干、由孔仲起教授为主导,台湾方面以中华艺文交流协会为主干、由史元钦会长为主导,“圆合”该画。孔教授总体策划设计出小构图后,画家们一起合临了五幅《富春山居图》,分藏海峡两岸。这成就了我国绘画史上的一件佳事。
一大两小
孔先生作品数以千计,优秀作品上百件,得奖的、捐赠的、被收藏的,也记不太清。有三幅作品值得一提,我称其为“一大两小”。“大”的一幅作于1982年,是孔仲起与父亲孔小瑜、哥哥孔伯容、女儿孔贻奋,在杭州九莲村书斋里合作的《瑞花图》。老爷子画红梅白梅,仲起兄弟画寿石、牡丹,贻奋则添小竹一枝。祖孙三代四人合作的这幅画,不仅洋溢着自家人的天伦之乐,而且成为沪杭书画界的美谈趣闻。
“小”的两幅,一是作于1990年的《醉仙》。那年,温岭画家郭修琳偶拾一块花岗石,样子极像孔先生模样,便相赠。孔先生即兴寥寥几笔,将其状画了下来,并题款:“妙哉得吾形神……大凡富于想象之艺人,每每放意相物,见物见人。郭兄味像取石,念友之情,心物相印,得千里神驰之妙。”
另一幅小品是书法,作于2000年11月19日傍晚,是受他的同宗族孙、孔氏南宗家庙管委会主任孔祥楷(孔仲起大名孔庆福,孔子73世孙,故也是祥楷的族长)“启发”而即兴写在《孔仲起画集》的扉页上,且盖了七枚印章。题记全文如下:“庚辰十月上浣薄游衢州登烂柯山不慎遗包石梁归孔府中途始觉误事尤为惶恐者一盒印章亦在其中幸衢州民风淳朴且得族棣祥楷张罗寻觅抑先祖有荫须臾复得喜甚喜甚万幸万幸兹盖失而复得之印其左孔仲起”。这本扉页上有作者特殊经历题记的画册,已被视作孔氏南宗家庙当代的“镇庙之宝”之一。
赠饼赠书
2004年9月28日,衢州孔氏南宗家庙恢复中止了半个多世纪的祭孔典礼。孔先生是孔子73世孙,应邀来衢州参加祭祀。27日,我们又一次相聚,孔先生还特意赠我一盒有“锦江月”三字的月饼。
“这盒月饼,非你庄月江莫属。”孔先生说,“上海一位朋友昨天特快专递寄到杭州,素芬嫂子拆开一看,有你名字,我们今天带来,正好给你家里过中秋。这就叫缘分。”我心存感念。
2008年,孔先生又出三种画集,来衢州时带了两大箱,嘱我分赠与他相识的衢州画家和一些熟人。我照办。
2010年9月,衢州图书馆办农村书屋。我考虑到喜欢学画的农村青年难有机会接触到高雅精致的山水画作品,于是将尚存的110册画集悉数捐出。我写信给孔先生陈述代为捐书之由,孔先生电话回话:“创造艺术的最终目的是和大众共享其成,同游其间,为之怡情,为之陶冶,这自然既要有有效的艺术感染力,又要有明确的公众群体意识。” (本文照片由作者提供)
My Friendship with Master Kong Zhongqi
By Zhuang Yuejiang
Probably it was my destiny to know Master Kong Zhongqi, a professor with China Academy of Art in Hangzhou. Our first contact was a phone call at the home of a mutual friend. It was toward the end of October 2000. We spoke on the phone and we hit off immediately. I felt he was a graceful man with a big heart. Half a month later Kong and his wife came to Quzhou where I live and work. As soon as I saw Kong, I thought I had been right about what kind of man Kong was. He looks like Maitreya, or the fat laughing Buddha that hundreds of millions of Chinese people worship.
I have come to admire the man for his art and for the way he deals with the world and people since we met on the platform of Quzhou Railway Station twelve years ago.
Kong Zhongqi was born into a family of artists in 1934. He dropped out of middle school in 1948 after spending only a semester there. He took care of younger siblings, did house chores, and even worked as a street peddler for a while. In 1949, he began to work in a factory. All these years he managed to find time for art. In the autumn of 1955, the 21-year-old Kong was enrolled into East China Academy, a branch of the Central Academy of Fine Arts. Two years later, Kong, a major of traditional Chinese art, was supposed to choose a focus for further studies. Was he to choose landscape, or figure painting, or flower and birds? In the summer vacation, he came back to Shanghai and consulted his father. Kong Zhongqi and his father went to meet Qian Shoutie and Tang Yun, two prominent artists based in Shanghai. The two artists differed in their opinion. Kong Zhongqi was finally advised to take landscape, because, it was explained to him, landscape was one of the best subjects in traditional Chinese painting and it allowed the artist to unleash imagination and explore all kinds of possibilities in brushstrokes and ink techniques and explore the spirituality shared by nature and man. Qian and Tang demonstrated by creating paintings on the spot.
Kong Zhongqi took landscape as his career direction. This decision has proven to be right. In 1959, he created three landscape paintings, which were highly appreciated. Afterwards, he painted ten must-see scenic spots of the West Lake in partnership with Yao Gengyun. Kong made his initial reputation as a good landscape artist.
Upon his graduation, he became a teacher at his alma mater. In 1964, he painted Tides of Qiantang River, which catapulted him to national fame. Kong loves painting clouds and waters because he loves the movement of clouds and waters. They go in a carefree and liberating manner and nothing can stop them.
He has published a collection of 36 paintings of clouds and waters. Thirteen are about the tides of Qianjiang River, a subject that repeats itself frequently in Kong’s dream and art.
“Tides of Qiantang River” was the result of field studies he and his classmates did in Haining, a vantage spot near Hangzhou to watch the spectacular river tides. Under the guidance of a teacher, the young students went to watch the tides and listen to their roaring noises every night. The experience of watching and hearing the tides changed him forever. He created the painting in a sanatorium in 1964 where he met his future wife. She happened to be a native of Haining. This is a favorite topic that frequently pops up when it comes to destiny.
Kong is a 73rd-generation descendant of Confucius. By the family pedigree, he is a granduncle of Kong Xiangkai, director of the management committee of the Confucius Temple in the South. On November 19, 2000, Kong Zhongqi wrote an 89-word inscription on the title page of a copy of his art collection. He printed seven private stamps beside the inscription. This album with the inscription is now considered a treasure in the collection of the temple.
On September 28, 2004, Kong Zhongqi came to attend a memorial service at the temple. The ceremony resumed after a hiatus of more than 50 years. Kong and I met again a day before the ceremony. Master Kong presented me with a box of moon cakes. It was the moon festival and the moon cake box carried the two characters that happen to be part of my name. Kong said it was destiny.
Kong Zhongqi has created several thousands of paintings and he considers about 100 as his best. He does not remember exactly how many awards he has won, how many artworks he has donated to charity undertakings, and how many of his masterpieces are in the collection of various institutions and private collectors.
In 2008, Kong published three collections of paintings and brought two large cartons of his books to Quzhou. He asked me to give the copies away to fellow artists and friends in Quzhou. I did. In September 2010, Quzhou Library started a project to set up village libraries. At that time I still had 110 copies of Kong’s albums. Thinking that rural artists rarely had an opportunity to view masterpieces, I made a decision and donated all the books on behalf of Master Kong. Later I wrote him a letter reporting the donation and explaining my decision. He called me and said i made a good decision. He said that the ulterior purpose of art was for people to enjoy, share, and make themselves better.