内容提要
序一
西泠湖山一画杰
20世纪上半叶,中国迎来了社会体制和经济文化急剧的“变革期”。同时,中国美术也充满新旧交替、中西交融、变化无穷的特点,形成了自己独特的艺术面貌。不能说西方的艺术形态完全改变了中国美术的境况,但确实有众多的艺术家接触到了西方的艺术思潮和流派风格展开
序一
西泠湖山一画杰
20世纪上半叶,中国迎来了社会体制和经济文化急剧的“变革期”。同时,中国美术也充满新旧交替、中西交融、变化无穷的特点,形成了自己独特的艺术面貌。不能说西方的艺术形态完全改变了中国美术的境况,但确实有众多的艺术家接触到了西方的艺术思潮和流派风格,受到了深刻的影响,有的甚至旅居海外,把“取经”与“传道”结合起来,在立足于中国传统绘画的同时,致力于融合西方现代艺术的演进,积极肩负起推动中国文化艺术走向国际的历史重任。张书旂先生就是其中一位典型代表人物,他在中国花鸟画的传承发展,中外文化艺术的交流合作,以及促进中美两国之间的交流和友谊等方面,都作出了巨大的贡献。他以自己独特的艺术实践活动,为现代中国美术史增添了崭新的内容。
(一)
张书旂,原名张世忠,1900年出生于浙江省浦江县礼张村。浦江山明水秀,风光优美,人杰地灵,明代大学士宋濂称之为“天地间秀绝之区”。历代来,这里孕育出众多杰出的文人学士、诗人画家,如南宋的倪朴,元末的吴莱、柳贯,明代的宋濂,清代的倪仁吉,直到现代的吴茀之、张振铎、张子屏、郑祖伟,现今的柳村、方增先、张世简、张岳健、吴山明等一大批书画名家。邑人书画蔚然成风,文脉勃发,素有“书画之乡”之称。这块风物清嘉、文化昌盛的土地,对张书旂卓越的艺术成就产生了重要的影响。
张书旂出身于礼张村一个书香家庭。祖父张有烈(号梅卿)是清朝贡生,为私塾及本县小学教师。父亲张道行(号义甫)是个秀才,善诗文、懂医学。叔父张道垲(号爽甫),擅长诗文、书法、绘画,闻名于时,一生从事教育。张书旂幼时深受熏陶,自小潜心文史,喜好绘画,偶尔涂抹,倍受长辈赞许。张书旂在这样的生长环境之中,有秀绝美景供其游,有古书字画博其览,有良师益友励其学,自然就很快领悟到中国传统绘画的精妙之处。
1922年,张书旂进入上海美术专门学校,拜吕凤子先生为师,成为凤先生诸多学生中的佼佼者。自此两人一直保持着亦师亦友的亲密关系。1956年前,凤先生在给张书旂女儿张宝莲的信中写道:“我最爱你父。我年六十七,精力已甚衰,希望他在我生前回来,以他卓绝的技能,参加新文化创造运动。新国家一定会以极高的热情来欢迎他。”张书旂在1957年7月的绝笔信中提到:“请凤先生及其他如许士骐、柳子谷诸兄(为《张书旂画集》)作序文。”师生情意可见一斑。
1926年,张书旂任教福建厦门集美学校,后又任教于厦门大学艺术系,作品日益丰富。1929年夏,徐悲鸿应邀赴福州游览,在展览上看到张书旂的花鸟画后,大为赞赏,许为奇才,并即聘其到南京中央大学任教。1930年张书旂到南京中央大学后,开始在中国艺术的核心圈崭露头角。1932年,与潘天寿、吴茀之、诸闻韵、张振铎成立“白社”,倡导继承优秀绘画传统,革新开拓中国画发展。他的绘画创作日臻成熟,且为艺术教育事业孜孜勤业,精益求精。
张书旂的绘画,人物山水、走兽虫鱼,花卉翎毛,无一不精,尤以花鸟画技最为精湛。张书旂的花鸟画,追师古人,集吕纪、周之冕、八大山人、李复堂、任伯年等诸家之长,特别是对任伯年的笔意有精到的领悟。他从任氏绘画的技法布局上得益匪浅,但不死搬硬摹,而是加以发挥,走取法写生、妙造自然的新路,显示出自己强烈的个性化特征。吕凤子先生曾评价说:“书旂之画,自有面目。画花似闻香,画鸟若欲语,技法卓绝,当代无与抗衡者。”
张书旂的花鸟画,章法呼应巧妙,布局虚实有致,画面起承转合极具韵律感,风格瑰丽绚烂,明净清新,浓艳中蕴藏静雅,生动处笔笔灵动,雅俗共赏,令人叹服。张书旂中西兼容,别开生面,他的彩墨画巧妙地吸收了水粉和水彩画的技巧,在传统中国水墨画技法中融合了西洋画的用色方法,改变了传统水墨画的面貌。他在技法上最大的特点是善于用白粉。他用白粉一如用黑墨之法,有轻有重、有厚有薄、有枯有湿、有生动之妙。纸与粉相映成趣、温和明快,粉因笔风雅宜人,富丽高雅。其用粉之道,可称为绝技。张书旂以其特异之处,形成其独特的绘画特色,卓然成家。诚如方增先先生在《张书旂百鸽图》一书序文中说的:“张氏(书旂)的写生花鸟画,获得了很高的成就,在近代花鸟画史上作出了重大的贡献。有人说水墨花鸟写生的圣手第一代是任伯年。第二代则无疑应属张书旂。”
(二)
历史是如此巧合,也是如此公正。
1940年,在世界法西斯的侵略压迫下,同时有两件“和平鸽”题材的作品面世。一件是张书旂在重庆完成的《百鸽图》,张书旂以鸽子象征幸福、和平,称为“世界和平的信使”。另一件是毕加索在巴黎受邻居老大爷所托描绘了一只被德军枪杀的白鸽“萧莱士”,毕加索以白鸽象征和平,荣称“世界和平战士”。在艺术的世界里,没有国界、没有战争,只有阳光、和平与快乐。
1941年12月,太平洋战争爆发,美国正式参战。罗斯福连续第三次当选美国总统,在国际上传为盛事。为争取反法西斯战争的最后胜利,争取实现世界和平,在举行罗斯福总统就职盛典的时候,包括中国在内的各同盟国都派出友好代表团赴美祝贺。张书旂的《百鸽图》就是在这样的国际时代背景下产生的。当时,张书旂先生是南京中央大学艺术系教授,在抗战时期“大后方”思潮的影响下,也在文化界多位朋友的促请下,他创作了这幅作品,并赠送美国罗斯福总统以示祝贺。《百鸽图》被称为第一幅进入白宫的中国画,是中国艺术家以艺术的方式维护正义与和平,反对邪恶与战争的体现,它在加强全世界人民反法西斯斗争和争取世界和平,增进中美联系和友谊方面发挥了重要作用。《百鸽图》现藏美国罗斯福总统图书博物馆。今年2月,为筹办张书旂作品展借展《百鸽图》,我有幸在藏馆中得以拜读。时隔七十余年,画面依然完整无损,可见作品倍受保管者弥足珍惜,深感欣慰。
据美国国家档案署泰瑞女士介绍,《百鸽图》的出借是美国国家文献馆藏档案首次来到中国。《百鸽图》借展成功,才得以使其在这次在杭州的“张书旂作品展”和重庆的“张书旂中国画艺术及其传承作品展览”中展出。白鸽纷飞,历史沧桑,我们依然能够感受到画作上洋溢的郁勃生气和满腔希望。在新时期的境遇中,面对张书旂如此气势恢宏、充满寓意的巨制,更增添了我们对和谐生活、美好前景的无比信心。
徐悲鸿曾评价张书旂“画鸽应属古今第一”。《百鸽图》是张书旂擅长用粉、精于花卉翎毛的经典之作,他也因为《百鸽图》赴美成就其传奇而辉煌的艺术人生。
(三)
犹如他的花鸟画,张书旂丰神俊朗,风度翩翩,加之他成名甚早,用现在的话说,完全是中国美术界的“偶像人物”。可惜天妒英才,他57岁因患病逝世,令人痛惜。但是张书旂先生的一生,有多方面值得令人关注:以文化艺术使者的身份,推进了中美两国的了解和友谊;积极推动中国画在美国的艺术普及,是真正把中国画带到美国的第一人;毕生致力于报效祖国,为民族艺术的国际化鞠躬尽瘁。张书旂的艺术人生极富传奇色彩,他的艺术活动对近现代中国的美术发展和对外文化交流,乃至对于国家、民族的利益都有着重要的贡献。
1941年,张书旂应邀访美,这是他第一次赴美。在他到美国之后的五年中,张书旂不断地在美国主要的博物馆举办展览,并对公众作画示范,以促进中美之间的理解和友谊,为中国文化在美国及西方国家的推广和交流作出了重要的贡献。当时,对大多数美国人来说,对中国传统艺术是非常陌生的,他们看不懂中国画写意精神的实质。在他们看来,张书旂的作品是属于传统中国画的范畴,由于他的绘画融汇了西方人的审美情趣,使之得到了普遍的接受。美国的许多人认为“正是张书旂把中国画带到了美国”。
张书旂在美国的艺术活动是卓有成效的。他的作品在美国各大城市展出,并在诸多博物馆、美术馆举办个展。这使他较早地意识并融入到现代美术体系中去,这对他的绘画创作帮助很大,同时也让更多的美国人民了解他的绘画艺术,了解中国传统文化。张书旂创立画室讲学,在美国大学讲课,也在洛杉矶、芝加哥和华盛顿特区等地公开演讲,讲述中国美术史、中国画精神和中国花鸟画技法。张书旂的艺术活动引起了社会大众和专业评论的广泛关注,特别是他的“对众演示”极大地激起民众对中国画的兴趣,受到了热忱欢迎。张书旂在展览、讲学期间,时常现场作画示范,既突破了中国画的传统创作习惯,又拉近了与观众交流的距离,在现场观赏神奇的毛笔创造出神奇的画卷,令人如痴如醉,叹为观止。有人赞赏他是“世界上最快速的水彩画艺术家之一”、“中国杰出的美术大师”。张书旂的艺术追求是革新、开拓,寻求传统中国画传承活力,创新和发展中国画鲜明的民族风格。
我们可以想象,张书旂独自在国外生活、创作、讲学,会遇到多少艰辛困苦,尤其是国家和人民正在遭受浩劫,让他心急如焚。但是他所怀抱的那颗报效祖国之心从来没有消沉过,宣传中国文化艺术不遗余力。越来越多的西方人民也通过他的艺术活动,了解到中国文化的历史和中国社会的现状,争取了更广大的同情和支持,为中国获得更有利的国际政治舆论作出了积极的贡献,同时,他还积极作画售卖,把卖画所得寄回国内,支援抗战。1947年1月,张书旂从海外归来,受到上海文艺界的热烈欢迎。但是,当时的内战形势让他难以忍受,决然于1949年2月第二次远赴美国。后闻新中国成立,欣喜若狂,急欲归国襄助祖国建设,终因身患疾病未能如愿。1957年8月18日,张书旂先生在美国旧金山去世,噩耗传来,举世惋惜。他在临终前给国内亲友的书信中自述“兄死无惜,唯祖国新兴气象不能一睹。”“解放了的祖国繁荣旺盛,未能一睹,遗憾未穷。”“所耿耿者祖国前途无限光明,日臻富强,恐难目睹,又未能为人民祖国尽一分力量,未免死得太早耳。”这些都表现出他爱国的拳拳之心。张书旂先生的精神鼓舞了后辈遵循他的足迹不断开拓,他在美国的一子张少书先生是斯坦福大学历史系从事国际关系研究的专家,另一子张美生先生从事生物研究和教学,还有更多的人从他的艺术和精神中汲取养分和动力,在更广阔的领域为中国与世界的交流协作、和谐共处,不断增添新的活力。这也可谓是张书旂先生传奇人生的一种延续吧。
(四)
2011年10月,我们通过美国旧金山硅谷艺术中心舒建华馆长与张书旂先生家属取得了联系,并获悉张书旂先生家属有意将部分张书旂作品捐赠浙江。今年2月,我与同事一行4人赴美国旧金山湾区圣塔克拉拉市硅谷亚洲艺术中心,参加“张书旂艺术在加州”展览演讲会暨张书旂作品捐赠仪式,接受张书旂先生家属张少书及夫人Victoria Sandin,张美生及夫人Sharon向浙江美术馆捐赠张书旂作品35件、创作手稿16件。这是浙江美术馆第一次在国外接受已故艺术家的作品捐赠。
张书旂对祖国魂牵梦绕,对故乡情深意重。他的美国华人朋友侯北人先生回忆道:“书旂先生他热爱同道,为人谦善,终身为宣扬中国绘画艺术,在海外孤身奋斗,对中国艺术的发扬上作出许许多多的贡献,使我们万分敬佩和尊敬。在他和我的交谈中,他无时不怀念祖国,无时不怀念江南,无时不怀念中国的山山水水。”这批张书旂宝贵的艺术财富永远留在故乡浙江,世世代代为人民群众所享用,一定是他所怀有的夙愿。浙江美术馆也将收藏珍惜这批艺术精品,并积极应用于展览、研究、教学和宣传等方面,使之产生更大的社会效益。
为展示和宣传张书旂的艺术成就,体现他热爱祖国、热爱和平的至深情怀,浙江美术馆、浦江县人民政府共同主办“张书旂作品展”,这是至今为止规模最大、展示作品最多的张书旂作品展览。展览的举办得到了浙江省文化厅、杭州海关等单位和张书旂亲属的大力支持,得到了张书旂纪念馆、浦江美术馆、台湾中国文化大学华冈博物馆、美国罗斯福总统图书博物馆等张书旂作品收藏单位和同仁的鼎力合作。在此,我们表示衷心感谢。
为配合“张书旂艺术作品展”,我们结集出版《张书旂作品集》以表达对张书旂先生的纪念和为传承弘扬中华优秀传统文化、关心支持浙江文化艺术事业人士的谢忱。
“云海茫茫,问故人何处?空留音容。金门桥畔,无边雨雾,遥望西泠湖山。”我们相信,张书旂先生的艺术精神、文化情操和爱国情怀,必将在新时期下得到继承和弘扬。
是为序。
浙江美术馆馆长 马锋辉
二○一二年五月二十九日
PrefaceⅠ
During the first half of 20th century China witnessed a “period of dramatic transformation” in social system, economy and culture.
Under this influence, the Chinese art, characterized by the alternation of modern and traditional, integration of East and West and fickle changes, has formed its unique art scenery.
While it can be hardly said that the Western art practice has brought a total change in the Chinese one, it is a fact that a large number of artists, after getting into contact with the Western art movements, has an immense influence, so much that some even settled overseas in the combination of “seeking for experience” and “preaching”. In their perseverance and innovation in the traditional Chinese painting, they were committed to mutual development of traditional Chinese culture, and shouldered the historical mission of promoting Chinese culture and art to the other world. Zhang Shuqi is the archetypal master; he has made an enormous contribution to the continuation and development of bird-and-flower painting. Promoting the understanding and amity of foreign exchange between China and United Sates, and cooperation in art and culture. The artist, with his unique artistic activities has instilled a new brand content into the modern Chinese art history
Ⅰ
Zhang Shuqi, original name Zhang Shizhong, was born in Lizhang village, Pujiang county, Zhejiang in 1900. Pujiang, a place of gorgeous scenery, having formed a vast number of outstanding people, was acclaimed as a “place of exceptional beauty under the heaven” by Song Lian (1310 - 1381), a literary and political adviser to the Ming dynasty founder. During the centuries, the place has witnessed a wealth of pre-eminent intellectuals, poets and artists, including Ni Pu of the Southern Song Dynasty, Wu Lai and Liu Guan of the Ming Dynasty, Song Lian of the Ming Dynasty, Ni Renji of the Qing Dynasty, and Wu Fuzhi, Zhang Zhenduo, Zhang Ziping and Zheng Zuwei of the modern times, living artists such as Liu Cun, Fang Zengxian, Zhang Shijian, Zhang Yuejian and Wu Shanming. With a strong learning environment and vitality of the literary field, Pujiang is named as the village of painting and calligraphy. For a place of gorgeous scenery and prosperous culture, exerted an enormous impact on the brilliant artistic talents of Zhang Shuqi.
Zhang Shuqi was born in a family of scholars, his grandfather Zhang Youlie (name Meiqing) was a student of the Imperial Academy during the Qing Dynasty, and a teacher in a traditional style private school and county school; his father Zhang Daoxing (name Yifu), well versed in poetry, prose and medicine, was a ‘Xiucai’, one who passed the imperial examination at the county level in the Ming and Qing Dynasties; his uncle Zhang Daokai (name Shuangfu), devoted to the education and an expert in poetry, prose, calligraphy and painting, was famous everywhere. Under this inspiring influence of the family, Zhang Shuqi had immersed himself in literature and history, painting and drawings was highly praised by his elders. Living under such an atmosphere—a place of magnificent scenery for relaxing, a family for studying of ancient culture and art, encouraged from teachers and friends, he quickly grasp in the exquisite and subtle essence of the traditional Chinese paintings.
In 1922, Zhang Shuqi enrolled the Shanghai Arts College and revealed himself as an outstanding student, under the leadership of Lü Fengzi. Since then, they always maintained an intimate relationship, either as friends or as teacher-student. In 1956, Mr. Lü wrote in a letter to Zhang Baolian, daughter of Zhang Shuqi: ‘I like your father so much; since I am in my 67, with weakening energy, before I leave this world it is my wish, that, with his outstanding capabilities to be engaged in the new culture development campaign, the new country would warmly welcome him’.
And in July 1957, Zhang Shuqi mentioned in his Last Words during Dying Breath that Mr. Lü and his intimate friends such as Xu Shiqi and Liu Zigu shall be invited to write the preface to the Collection of Works of Art by Zhang Shuqi. This is a particular evident for the teacher-student relationship.
In 1926, Zhang Shuqi created a variety of paintings while serving as a teacher at Xiamen Jimei College in Fujian, and then at the Arts Department of Xiamen University. In the summer of 1929, Xu Beihong, on a visit to Fuzhou for sightseeing, acclaimed Zhang Shuqi as an extraordinary talent on seeing his bird-and-flower paintings at the exhibition, and then proceeded to employ him as a teacher at the National Central University in Nanjing. Zhang Shuqi began to be a leading figure in the Chinese arts circle, while teaching at the National Central University; his paintings became more sophisticated over the time, and he was also committed to the art education.
Zhang Shuqi excels in all types of paintings, figures and landscape, animals and fish, but particular in the flower and bird painting. “Zhang Shaq’s paintings came with his own character; the flower and birds, with its sense of aroma and chirping, are true to life; “such outstanding skills of painting, that no one can rival himself in to the modern era,” remarked Lü Fengzi. The flower and bird painting by Zhang Shuqi has incorporated the strong influence of the old masters, including Lü Ji, Zhou Zhimian, Ba Da Shanren, Li Futang, Ren Bonian, especially in the comprehension of the brushwork of Ren Bonian. He derived tremendous benefit from the layout and brushwork of Ren Bonian, and applied what he learned into the natural realistic painting, with strong individual characteristics embedded in the paintings, not rigid imitation.
The flower and bird painting by Zhang Shuqi present a sense of rhythm in its ingenious and orderly composition and design, with the addition of fresh appearance and a sense of tranquility beneath the splendid style. One gasps in admiration at his paintings, for they appeal, both refined and popular tastes. Zhang Shuqi incorporated the east and west features in his unique style; his ink and color painting presents an ingenious combination of skills of oil painting, gouache and watercolor. For the traditional Chinese ink wash painting, he integrated the color methods of the Western painting to give it a new look. The most distinct feature of his methods is the application of gouache with its balanced proportion of various pigments and its scene of vitality, just like the use of ink. The paper and gouache enhance magnificence to each other to present a warm and lively feeling. The gouache takes more on of a sense of refinement and elegance with the addition of painting with brush. The application of gouache is a consummate skill for Zhang Shiqi. The painting with its unique features earned Zhang Shuqi a reputation as an accomplished master for his characteristics. As Mr. Fang Zengxian put it in the preface to the book A Hundred Doves by Zhang Shuqi: “The flower an bird painting by Zhang Shuqi have won him the ultimate honor, in the process he made an enormous contribution to the history flower and bird painting in the modern era.” As for the painting saint in the water ink flower and bird painting field, if in the first generation it was Ren Bonian, and the second generation belonged to Zhang Shuqi.
Ⅱ
In 1940, two peace dove–themed paintings came to light under the aggression and oppression of the fascism in the world; one is A Hundred Doves (also known as “Messengers of Peace”) finished by Zhang Shuqi at a time when Chongqing came under heavy bombardment by the Japanese artillery. Zhang Shuqi considered the dove as a sign of prosperity and peace and came to be known as the Messengers of Peace. Another one is the Pablo Picasso’s Dove of Peace, a scene of a dove shot by the German soldiers entrusted by an old man in the neighbor in Paris. Picasso was named as the “Soldier for World Peace” in his representation of dove for the peace. In the world of art, there are no borders, no war, only sunshine, peace and happiness.
During the Second World War, Roosevelt became US president for three consecutive times, a grand event in the world. The Unites States joined the war when the Pacific War broke out. In order to win the final victory against the fascist war and to bring about the world peace, all allies of the Second World War, including China, had sent friendship delegations to the US for congratulation at the swearing-in ceremony of President Roosevelt. Against a background of these international times came A Hundred Doves by Zhang Shuqi. At the time, under the influence of the thought of “rear area”—an area under KMT rule during the War of Resistance Against Japanese Aggression, and at the invitation of the friends in the arts field. Zhang Shuqi, a professor at that time in the arts department of the National Central University, produced this painting as a congratulatory gift for the Roosevelt Administration and himself. A Hundred Doves is the first Chinese painting housed at the White House, and played a vital role for improving the anti-fascist war in the world and the achievement of world peace, as well as enhancing the Sino-U.S. relations and friendship. The painting A Hundred Doves is housed in the Presidential Library and Memorial.
In February this year, I felt privileged to admire this painting while preparing the loaned works of art exhibition for Zhang Shuqi. Spanning a time of 70 years, the painting has withstood the test of time; it is such a comfort to see that the conservators must have cherished this work.
The painting A Hundred Doves for the exhibition of Zhang Shuqi’s art works was made possible with the support and cooperation of the Presidential Library Museum. According to Ms. Terry of the National Archives and Records Administration (NARA), A Hundred Doves for the first time is will be presence in China, a loan exhibited signaled the communication with NARA. From the scene of the doves flying whither and thither, and the changes of the history, we can still witness the vitality and burning wish of the painting. Under the new circumstances, we feel all the more confident about the life of peace, prosperity and the bright future when admiring the masterly work with its imposing manner by Zhang Shuqi.
Xu Beihong rated Zhang Shuqi’s dove painting as that of the highest order in the past and present. A Hundred Doves is a typical work for Mr. Zhang’s expert application in gouache and his skills in the flower and bird painting. Thus, A Hundred Doves going to the Unites States captured the legendary and glorious artistic life of Zhang Shuqi.
Ⅲ
Just like his flower and bird paintings, Mr. Zhang Shuqi enjoyed good looks and graceful bearing, coupled with his impressive rise to fame, in modern parlance, an icon in the Chinese arts field. It is to be greatly lamented that he passed away at the age of 57. The artistic life of Zhang Shuqi, however, is a fabulous one, in which his artistic activities have made a substantial contribution to the Chinese arts development in the modern era, and foreign cultural exchange, as well as the benefit to the country and nationality. Of particular note for the legendary life of Zhang Shuqi are: promoting the Sino-U.S. understanding and goodwill in his capacity as cultural envoy. Is first Chinese person bringing Chinese paintings in to the United States and its promulgation, lifelong commitment to serving for the country and the traditional Chinese art promotion to the world.
In 1941, Zhang Shuqi was invited to visit the U.S., which was his first visit. During this five years stay in the Unated States, the artist had exhibited at major U.S. museums, and made live demonstration in front of the public, with a view to promoting the unstinting and amity between China and the U.S. He has made an enormous contribution to the endorsement of Chinese art and culture, and the exchange with the United States and other Western countries. At the time, the great majority of the Americans were strangers to the traditional Chinese art, for they could not get a handle on the essence of the freehand brushwork in traditional Chinese painting. To their eyes, the works of Zhang Shuqi were the expression methods for the Chinese cultural tradition. The paintings were made accessible to the public due to his ingenious integration of Chinese and Western paintings. Many Americans hold the view that it is Zhang Shuqi who brought the Chinese painting to the United States.
The artistic activities of Zhang Shuqi in the United States met with great success, as can be seen from his works on exhibition in various cities of the United States and the personal painting exhibitions held in a host of museums and art galleries. All these allowed him to become aware and integrate into the modern art system at an early time, which was of tremendous benefit to his painting and made possible for the Americans to understand his art and the traditional Chinese culture. Zhang Shuqi expounded in great detail the history of Chinese art, essence of Chinese paintings and skills for making the flower and bird paintings thorough establishment of art academies and teaching at many institution of higher education in the United States, as well as the public speeches in Los Angeles, Chicago and Washington D.C.
The artistic activities of Zhang Shuqi had attracted wide attention from the public and the professional critics; in particular, his “live demonstration” considerably aroused the interest of the public in the Chinese paintings. During the period of exhibitions and lecturing, he often time conducted live painting demonstration to link with the public, which was a breakthrough for the normal way of painting production in China. The audience was spellbound by the gorgeous paintings under the magic brush painting, in the same way as watching or listening to a fantastic live classic music concert or ballet. His “live demonstration” had always attracted throngs of viewers, and he was hailed as “one of the world’s fastest watercolor artists”, and “pre-eminent Chinese maestro.”
Mr. Zhang Shuqi, however, did not just favor the Western painting art; rather, his objective was to inject vitality into the Chinese paintings and to promote innovation and development the distinguishing national style of the Chinese paintings. We can imagine the endless hardship and tribulation he suffered while living in a foreign country and engaging in painting creation and lecturing, especially at a time when his homeland and people there were subjected to a catastrophe, his heart was torn apart with anxiety. However, he was never dejected and depressed, and, with a passionate heart for serving the country, he engaged in painting creation, a lot of numerous fund-raising campaigns, with all the funds raised donated to the his home country. More importantly, an increasing number of Western people have got to know, through his artistic activities, the history of the Chinese and the status quo of the Chinese society.
Zhang Shuqi has made an active contribution to winning a favorable international political opinion, for these activities have won more wide-ranging support and sympathy. In January 1947, Zhang Shuqi returned to China, during the arts and literary circles in Shanghai. However, civil war was looming and the oppressive dictatorship was too hard for him to bear, thus his return once more to the United States.
In February 1949. On hearing the founding of the Peoples Republic of China, he went into raptures and was burning to make a contribution to the development of the homeland country, which failed to materialize due to his illness. On August 18, 1957, Zhang Shuqi passed away in San Francisco, United States, terrible news received with profound regret by the world. In his letter to his friends in China during his dying breath, he said, “my death is not to be regretted, on that I could not witness the new look of China. “It leaves profound regret that I could not witness the prosperity of China after the liberation.” “It is a premature death that I could not witness the dearly hoped-for great bright future and prosperity of my homeland, nor could I make any efforts to help the my country.” All these witness to the sincere and deep loving for his country. The spirit of Zhang Shuqi has inspired the younger generation to follow his suit in the unceasing exploration. His son in the United States, Zhang Shaoshu is an expert in international relations study for the history Department of Stanford University, and another son Zhang Meisheng engages in the biology study and mathematics. A vast number of people draw nourishment and motivation from his art and spirit, and make their contribution to the exchange and cooperation between China and the rest of the world in even more areas, and to the peaceful coexistence and vitality. This, it can be said, is another form of continuation of the legendry life of Zhang Shuqi.
Ⅳ
In October 2011, we got contact with his family by Shu Jianhua, Director of Silicon Valley Asian Art Center in San Francisco, and learned for the intention of the family of Mr. Zhang Shuqi to donate some of his works to Zhejiang Province. In February this year, my colleges from the Zhejiang Art Museum and I went to the Silicon Valley Asian Art Center in Santa Clara for attending the exhibition presentation of “Zhang Shuqi’s Art in California” and attend the donation ceremony of the art works by Zhang Shuqi.
Gordon H Chang(Zhang Shaoshu) and his wife Victoria Sandin, Enerst H Chang(Zhang Meisheng) and his wife Sharon, donated a total 35 pieces of works of art and 16 pieces of manuscripts by Zhang Shuqi to Zhejiang Art Museum. This was the first time that Zhejiang Art Museum received the donation of works of art by departed artist in a foreign country.
The nostalgia for homeland country had always haunted in the mind of Zhang Shuqi’s mind, which held the native place in high regard.
“Shuqi was modest and good-tempered, and amiable to his colleges. He committed his whole life to the art of Chinese painting single-handedly in a foreign country, and made numerous contributions to the development of Chinese art and culture; we are filled with awe and respect for him. From our conversations, we know that he cherished the memory of the homeland all the time, Jiangnan and the every inch of the land,” recollected Hou Beiren, his Chinese friend in the United States. This series of art treasures by Zhang Shuqi will be preserved in Zhejiang forever for the benefit of the public; this must be the dream long cherished by him. Zhejiang Art Museum will house this batch of priceless art treasures, and maximize its social benefit through exhibition, study, teaching, publicity etc.
In order to demonstrate and publicize the artistic attainments of Zhang Shuqi, and show his deep affection for his loving of homeland and peace, Zhejiang Art Museum and Pujiang People’s Government have jointly held the “Exhibition of Works of Art by Zhang Shuqi”, the largest of its kind in terms of scale and number of art works. This exhibition has won huge support from the Department of Culture of Zhejiang Province, Hangzhou Customs Department etc., as well as cooperation from Zhang Shuqi Memorial in Pujiang, Huagang Museum of Chinese Culture University in Taiwan, Presidential Library Museum, which house the works of art by Zhang Shuqi. We shall offer our acknowledgements here.
Accompanying the “Exhibition of Works of Art by Zhang Shuqi”, we have published the Collection of Works of Art by Zhang Shuqi, in memory of Zhang Shuqi and for our genuine gratitude for the people who have carried forward the excellent traditional Chinese culture and supported the culture and art causes in Zhejiang.
”Amidst the sea of clouds, where the departed master has gone to? Only a wall of silence. Watch from afar the scenery around Xiling Society of Seal Arts through boundless rain and fog on the bridge.” It is our belief that the artistic spirit, cultural sentiment and loving for the homeland exhibited by Zhang Shuqi will be carried forward and expanded in a new era.
Ma Fenghui,
Director of Zhejiang Art Museum
序二
跨越太平洋的作品:张书旂在美国的绘画生涯
(译文)
张书旂(1900——1957)卓越却短暂的艺术事业横跨中国和美国。他成就了一种独特的艺术风格,以西方绘画的元素重新激发了传统中国画笔法和美学的生命力。正因如此,他在那些开创了20世纪早期中国艺术领域新的理念、风格、途径、主题和方法的中国艺术家中占有了极重要的位置,即使这些艺术家尊崇着中国的艺术传统。由于张书旂很大部分重要的艺术生涯在海外度过,学者们未能对他的毕生作品重新进行一个全面的欣赏与评价。美国学者鲜有机会研究他在中国的作品,而中国专家则对他在美国的活动与工作知之甚少。重新整合张书旂在太平洋两岸事业的不同元素将有助于对他的艺术建立一个整体的理解。
近年来,一些重要的研究和著作帮助人们更多地了解了张书旂的生活与工作,但几乎都仅仅关注了他在中国的活动。2006年,斯坦福大学坎托艺术中心展出了一系列张书旂作品及其个人书画收藏,本次展览的图录包括一篇张书旂的传记,这篇传记超越了先前用英语写作的相关文献。本文试图建立在这篇传记的基础上,并主要关注张书旂在1941年至1946年和1949年至1957年两个时期在美国的生活与工作。
张书旂(原名张世忠)1900年生于浙江省浦江县。 出身于书画世家的他,在少年时就在绘画方面展现出了一种早熟的天赋。张书旂毕业于金华浙江省立第七中学,于1921年成为刘海粟上海美术专科学校的首批学生之一,开始专攻西方绘画技巧。未能满足于此的他张书旂回到了传统的中国画,但是西方艺术技巧上的训练在他的艺术风格上留下了不可磨灭的印记。他于1924年从上海美术专科学校毕业后回到金华浙江省立第七中学任教,两年后即转职福建省厦门集美学校。
1929年,由中华民国教育部在上海举办的第一届全国美展展出了张书旂的作品。20世纪30年代,张书旂的事业飞速发展,并受聘任教于南京中央大学艺术系。他积极投身于以上海和杭州为中心的艺术圈。他的友人和同侪包括徐悲鸿、傅抱石、潘天寿、吴作人、柳子谷、许士骐、刘海粟、李毅士、艾中信、吴茀之等人。教育部在1937年第二届全国美展时亦将张书旂作品包括其中。此外,他的作品还入选巴黎、柏林、莫斯科及其他欧洲各大城市举办的中国当代画展。1937年日本侵华后,张书旂随中央大学迁至战时首都重庆。
1940年下半年,他受命创作一幅由中国政府赠送给罗斯福总统的纪念性作品,以表对其第三次出任美国总统的祝贺。据张书旂后来回忆,他是在外面日军炮火纷飞的地下防空洞里完成《百鸽图》(又名《世界和平的信使》)的创作的。他说持续的空袭威胁给创作过程带来了诸多困难。中央大学被轰炸时,他不得不将这幅尚未完成的画作夹在臂下赶往防空洞。数日后,作品基本完成但画迹尚未干透。日军再次空袭之时,他不得不留下画作赶往防空洞。他后来回忆道:“我想这一次不能再冒险把它带在身边了。” 幸运的是,虽然此番轰炸对周边地区破坏甚巨,画作本身却没有受到损坏。他的和平鸽安全了──他将鸽子和画作的安然无恙视作希望的象征。
张书旂在1940年12月23日中央大学举办的赠送仪式暨张书旂画展中,亲自将完成的《百鸽图》赠送给时任美国驻华大使的尼尔森•约翰逊(Nelson Johnson)。在画展上,张书旂的画作悉数售出,画款被用于建立一项奖学基金,以纪念在抗战中牺牲的张自忠将军。到场的名流还包括孔祥熙以及中央大学校长罗家伦。约翰逊将画作寄往白宫,并在写给罗斯福总统的附信中谈及这件作品象征了美国总统对正在进行的世界大战的立场。张书旂完成《百鸽图》用时三周,在一天之内就绘出五十只鸽子,并在随后的时间完成了剩余部分。画中的每只鸽子位置不同,形态各异,画面栩栩如生,并强烈吸引着观者。约翰逊特别提及了画作丰富的色彩和深刻的视角,这些对于他的西方式感知有着巨大的魅力。蒋介石为画作题词“信义和平”四字,罗家伦亦在画上题诗。这幅大型画作跨越半个地球,从重庆运抵华盛顿。根据当地报纸报道,画作在白宫陈列展出。随后,纽约市一所主要艺术场馆法拉吉尔画廊(Ferargil Galleries)向白宫借出画作,并在1942年5月的中国艺术展上展出。罗斯福总统向中方致函,表达对这幅“美丽的作品”的欣赏,并表达了他“收到这幅画作的喜悦心情”。
张书旂赠予美国总统画作的新闻迅速传播开来。香港新闻出版商、前国民党陆军中将陈孝威邀请张书旂创作另一幅作品,以表示对英国首相丘吉尔的敬意。在友人赵少昂的鼓励下,张书旂创作了《云霄一羽图》,描绘了一只孤独却坚毅的海鹰在波澜万丈的海岸上空翱翔的图景。这幅画附有杨永玺为丘吉尔首相所作的长诗,现今陈列于丘吉尔故居──英国查特韦尔庄园(Chartwell)。
1941年夏天,教育部任命张书旂为艺术专员及亲善大使,前往美国增进中美友好关系,那时美国尚未对日宣战。在完成了香港的展览工作以后,张书旂持外交文书,于1941年9月11日离港,登上了美国总统轮船公司(the United President Lines Ship)“哈里森总统”号轮船(the President Harrison)。三周后,他带着他的四百余幅作品,抵达旧金山。当地中国总领事立即请他对中国的目前战况发表一个演讲。张书旂此行的目的旨在增进美国对中国的同情,并作为一种文化外交的手段增进美国人民对于中国艺术遗产的理解与欣赏。
在大使馆,张书旂讲述了在饱受战乱摧残的祖国维持艺术传统生机的艰难。他说:“我五岁起就坚持作画,并教给我的学生西洋文化诞生前就业已繁盛的中国艺术的神秘。” 但是他又说:“战事的紧迫让我们必须关闭除中央大学以外的所有院校的艺术课程。我们在危险的环境中工作着。教学工作在地面上进行,但是一旦空袭警报响起班级就得解散。学生们赶往地下防空洞,在一小时后解除警报信号响起时才能重新集合。”
随后在11月, 张书旂前往南加州,并在那里展出了自己的八十余幅画作。赞助这次艺术展的社会名流包括:洛杉矶市市长弗莱彻•鲍伦(Fletcher Bowron),《洛杉矶时报》实力雄厚的出版商诺曼•钱德勒(Norman Chandler),诺贝尔物理学奖得主及加州理工大学校长罗伯特•安德鲁•密立根(Robert A. Millikan)以及享有盛名的洛杉矶艺术家斯坦顿•麦克唐纳•莱特(Stanton McDonald Wright)。《洛杉矶时报》盛赞张书旂为“在世的最伟大的中国画家”。该报是如何得出这样的结论我们不得而知,但它热烈的赞扬反映了张书旂以及他的作品开始在美国引起积极的反响。张书旂的画作在美国如此迅速地受到欢迎,连位于好莱坞著名的格劳曼中国大剧院都为展览他的七十五幅作品而提供了展厅。然而不久, 1941年12月7日日军袭击珍珠港的美国太平洋舰队彻底改变了张书旂的生活和这个世界。次日美国对日宣战,使中美正式成为同仇敌忾的盟国。张书旂本打算在美国停留一年,此时却发现自己不得不滞留美国而无法返回故土。将近五年之后他才得以回到祖国。张书旂的母亲、妻子和四个孩子都留在浙江,与他失去了联系。
张书旂的家在旧金山,但是他一直在各地旅行,展览他的作品,进行现场作画,为美国援华联合会募集资金,促进中国和北美人民的友谊与同盟关系。他在旅居美国的岁月里,靠卖画筹集了数十万美元(相当于今天的上百万美元),用于援助中国。他为了祖国而进行的募资,在个人博爱主义和慷慨解囊的意义上也是一个非凡的纪录。在1942年的春天张书旂进行了首次跨北美旅行,他先前往芝加哥,随后穿越了加拿大。
张书旂的第一次跨北美旅行始于1942年春。他去了芝加哥、纽约,然后到了加拿大。张书旂以他在美国的经历而著名,他在加拿大也度过了相当长的一段时间,在那里,他同样得到了积极的反响,并结识了众多社会名流。他于1942年10月到达加拿大,并在首都渥太华的国家美术馆(National Art Gallery in Ottawa)展出了八十幅作品。其间他住在中国大使馆。中国驻加拿大大使刘师舜于10月10日以官方名义宣布展览开幕,作为辛亥革命纪念仪式的一部分。著名的加拿大总理麦肯齐•金(Mackenzie King)以及国际外交使团核心成员参加了开幕式,总理就这次展览及其历史意义发表了富有感染力的讲话。他很高兴迎来加拿大的首次中国画展,并将画展与中国在反对日本侵略寻求自由的抗争中所扮演的英雄角色联系起来。总理前不久刚宣布了加拿大政府准备放弃英国早年在中国攫取的治外法权。
张书旂专门为金总理作画,总理全神贯注地观摩了作画过程。据刘师舜描述,金总理是当时展览上最认真的观众之一。在总理当晚的私人日记中,他写道:张书旂“美丽的画作”使他从“战争的丑恶”中振奋一新,他还写道:“我非常高兴遇到这些人,也很高兴观摩艺术家当场作画。”他后来从刘师舜那里得到了张书旂的一幅作品。这是两年之中张书旂第三次赠送给西方领导人的画作。在致刘师舜的感谢信中,金总理将这幅作品形容为一棵“松树”上的“松枝双鸽”,而这棵已经荫庇东方长达千年的“松树”现在也开始泽被整个世界。虽然张书旂仍在学习英语而尚未能够完善地阐述自己的想法,但他还是表达了把绘画与世界面临的危机联系起来的愿望。他说中华民族是爱好和平的民族,因而中国艺术家着眼于描绘自然、花鸟、动物和风景。在他之后对媒体发表的一次评论中,他再一次强调了他希望在一个动荡的世界里追寻美的愿望。“有人曾经问过我为什么不画枪炮,”他说,“我没有在坦克一类的东西中看到美。战争是不美的,并且它不会持久。花鸟却是美的,如果人们多想想这些东西,他们就不会想到战争了。美会战胜战争的。”
在渥太华停留两个星期后,张书旂前往多伦多,先后在皇家安大略博物馆(Royal Ontario Museum)、安大略省伦敦市的威廉姆斯纪念美术馆(Williams Memorial Museum)以及蒙特利尔艺术协会(Art Association in Montreal)展出了自己的作品。皇家安大略博物馆馆长、杰出的中国艺术研究学者威廉•怀特(William C. White)在展览的出版图录中盛赞张书旂。他写道:(张书旂的画作与展览)犹如一阵来自东方的芬芳的微风,触动我们的灵魂,以新鲜的视觉感受唤醒我们,激励我们迈开崭新的一步。《多伦多环球邮报》(Toronto Globe and Mail)的艺术评论敏锐地评价了张书旂的作品,介绍了他的作品是如何在一个并不熟知中国绘画的西方艺术世界里得到接受的:
在他致力于完善其画技与艺术理念的过程中,张书旂教授似乎显得很传统。但在他的艺术表达方式中,他却是革命者。大多数中国艺术建构在我们所说的“黑白”的基础上,讲究明暗深浅的变化。有时稍带些许的彩色。张书旂这位艺术家按照自己的心意使用微妙的、谨慎却明亮的色彩,并且使用白色颜料从而打破了传统。
此外,我们该怎样描述他那些画作里所固有的毫无疑问具有现在性的东西呢?这是一种对美的有节制的激情,让我们想起了他自己的评论:在美和自由受到威胁的时候,一个人才能前所未有地看清现实。在精致严谨的外表下,他拥有那么一种自由翱翔的不受拘束的想象力,因为有一种贵族式的优雅。
另一位评论家写道:
中国绘画和西方绘画不同:后者关注更加实在的东西,并颂扬人类个性;前者则倾向于一种客观唯心主义、自然的诗意、事物本身的美而非其实用价值。“画是无声诗”是一句古老的中国谚语,也是读懂张书旂这样一位画家的作品的关键。
他的画作的公开展览是如此地引人入胜,皇家安大略博物馆拍摄了关于他的影片,来捕捉他的色彩、笔刷,以及作画技巧的镜头。他恣意、迅捷、湿润和生机勃勃的作画,与他的北美观众们所熟知的西方油画传统迥然不同。张书旂的作画技法强调自发性、流动性、恣意性,以及生命力的表达。照片里的观看张书旂作画的观众都全神贯注,流露出惊叹与赞美的表情。
1943年上半年,张书旂在华盛顿D.C.,希望能够与罗斯福总统进行私人会面。在等待机会的同时,他游历了这个城市,并结交了各界名流。1月17日至2月4日之间,他在艺术俱乐部展出了八十七幅画作,受到了当地艺术界及政界的热烈欢迎。展览得到了当时中国一些文化名人的大力称赞。诺贝尔文学奖获得者、《大地》(The Good Earth)的作者赛珍珠(Pearl Buck)讲述了中国绘画的发展,并谈到自己20世纪30年代早期住在南京的时候,曾经看过张书旂的作品。她写道,在张书旂的画作里,“人们可以看到自信、平静与坚忍。但同时也存在着美,古老中国的美,这样的美仍存在于中国人的永恒灵魂中。很重要的一点是,今天,在中国抵抗敌人的过程中,不是只有军队首领活着并且成功了。更有意义的事情在于,艺术家活着,并且成功了。”刚刚结束了中国驻美大使馆工作的胡适,赞扬张书旂是“当今中国新生代艺术家最好的代表人物之一”,胡适写到张书旂“在他的祖国得到了完整的艺术训练”,他“充分体会到对于更广阔的世界产生艺术影响的重要性”。书旂是“一位谦虚的学生,但绝不仅仅是中国绘画正典传统的模仿者。他的作品展示出他对于细节精确敏锐的观察力,以及勇敢的实验精神”。著名作家、中美文化的转译者林语堂,讲述了他欣赏张书旂画作的欣喜之情。张书旂对毛笔的透彻把握,使这位画家在他的作品中能够保持“新鲜与活力”,林语堂写道,“如同一位大师级的诗人掷出的华丽诗行”,“张书旂所画的线条,无论是柳枝、花朵抑或是果树都出类拔萃,结合了优雅与力量,这正是所有中国优秀画家所向往的审美目标”。
在公众场合,张书旂更喜欢让他的画笔来代替他“说话”,他自己偶尔提供一些个人经历的评论。仍然存于他的档案里。书旂喜欢分享一些自己的轶闻趣事,这使得他与公众更加亲密。例如,在“我绘画生涯的故事”里,张书旂讲述了他儿时画画的第一次尝试。他说尽管他的父母不会画画,他的叔叔却非常擅长。叔叔在山中有一间画室,画室周围长满了树和花。那里“安静而平和”。在家的时候,书旂说自己“非常淘气”,但是与叔叔在一起的时候,他就变得“很安静”,尤其是在叔叔作画的时候。他回忆当他小的时候,他看着叔叔作画,在叔叔画完之后,书旂就会试着模仿这幅作品。他把他的画挂在叔叔的画旁边,叔叔看到了,问:“这是谁画的?”家里没有一个人能够回答,书旂走上前来说:“是我画的。你离开之后,我想我能复制这幅画,就试了一下。”叔叔说:“现在,孩子,不要说谎,肯定是有人帮助你画的。”我说:“不,叔叔,真的是我画的。唯一说谎的是我们的鹦鹉。”在书旂画了一些其他的作品之后,叔叔信服了这个孩子的天才,并开始给他上课。书旂说,这便是他绘画生涯的开端。
书旂未曾在华盛顿会见过总统,同年晚些时候宋美龄访美,记者们在对她的采访中提到了张书旂留下来的画作装点了中国大使馆的墙壁。张书旂在华盛顿的中国大使馆庆祝了中国新年,此后,他进入了他事业生涯的一段忙碌而激动人心的阶段。1943年春夏,书旂多次往返于东海岸和中西部,直至大西洋沿岸。他在大学、民间团体和画廊举办了多场画展,尤以华盛顿、波士顿、纽约市,以及芝加哥大都市区为最多。在纽约,他与作家赛珍珠一起在她的东西方联合会(East and West Association)中工作,致力于促进艺术教育和国际间的理解。纽约的出版业巨头亨利•卢斯(Henry Luce)购买了他的数幅画作,博物馆、赞助人、收藏家亦是如此,例如芝加哥的弗雷德里克•吉布斯及其夫人厄娜•吉布斯(Dr. Frederic A. and Erna Gibbs) ,与书旂成为了亲密的朋友,并对书旂开放了他们位于新罕布什尔州美丽的白山区域 (White Mountains) 的避暑山庄。《生活》(Life)杂志在1943年3月的一篇文章中特刊了张书旂的专题,描述了他的绘画风格,并刊登一些他已完成作品的照片。在纽约的时候,纽约的哈蒙基金会(Harmon Foundation)及美国华美协进社(China Institute of America)拍摄了以他为主题的纪录片。纪录片由Wan-go Weng作讲述人,特写了张书旂用毛笔展现出的精湛的绘画记忆。时至今日,我们仍能看到这部纪录片。张书旂还在巴尔的摩艺术博物馆(Baltimore Museum of Art),芝加哥艺术学院(the Art Institute of Chicago)举办了大型个展,画展展出了他的三十八幅作品。7月7日,一百位艺术家、学者及学生出席了张书旂在芝加哥大学的画展。到场的艺术专家包括露西•德里斯科尔教授(Lucy Driscoll),尤里奇•米德尔多夫教授(Ulrich A. Middeldorf),路德维希•巴赫霍夫教授(Ludwig Bachhofer),阿尔伯特•奥姆斯戴德教授(A.T. Olmstead),邓嗣宇教授,和G•H•亨特利教授(G.H. Huntley)。他曾四次在堪萨斯市的威廉•罗克希尔•内尔森画廊(William Rockhill Nelson Gallery)展出他的四十幅作品。这些博物馆和画廊都属于美国最重要的知名艺术场所之列。
美国观众对张书旂的画展作何反应呢?从纪录的影像可以看出,对于这些观众来说,他的中国画的完整的独特性在于强调并展现了生命力以及控制良好的自发性。《波士顿邮报》(Boston Globe)广受尊敬的艺术批评家A•J•菲尔波特(A.J. Philpott)的文章非常具有代表性:在观看过张书旂的一次在波士顿艺术博物馆的画展及现场作画之后,菲尔波特写道,张书旂的画展是“我在波士顿蹭看过的所有展出里最有趣的之一”。因为这是这样的作品在这座城市里的首次展出:它是“让人难以忘怀的技艺的展现,它与水彩画的方法完全不同”。
他不用画架。他在一张大的硬纸上作画──一种中性的灰色──平铺在他面前的桌上。他的颜料放在他右边的另一张桌子上的杯子和浅碟里。有一会儿,他凝视着面前的纸张,同时小口地啜饮着一杯茶。之后,他点燃一支香烟,缓缓地吐出几口烟圈之后,他拿起了六英寸长的毛笔,用拇指、食指及中指稳稳地持住毛笔。他盯着画纸看了一会儿,然后以闪电般的速度在画纸的下半区画了一些对角的直线,以一种中性的色调。然后他拿起另一支毛笔,在盛着蓝绿色颜料的浅碟里轻轻地蘸了蘸,然后在线条之间快速地描画。他画的是水面,在这水面之上,他画了一只小鸟飞落在樱花的枝头。他用粉白来画樱花,并有着颜色的深浅变化。他迅速地加上了多种色调的叶子,在你还没来得及反应的时候,一幅大的美丽画作已经诞生了。
这是全凭记忆的作画。在开始作画之前,他便早已胸有成竹了──他想象并计划好了画中各部分的样子;准备好了他的颜料,一笔筒的可供挑选的毛笔。然后,这个人的技艺──令人惊艳的技艺──显而易见是长期认真学习和训练的结果。
1943年至1944年的冬天,张书旂回到了旧金山湾区。11月,他举办了旧金山迪扬美术馆(DeYoung Museum)张书旂个人系列画展中的第一场。这场得到大力宣传的画展展出了他的八十余幅作品,画展持续了一个月。《旧金山纪事报》(San Francisco Chronicle)享有盛名的艺术批评家阿尔弗莱德•弗兰根斯坦(Alfred Frankenstein)在他的评论文章的开头便对张书旂和中国给予了高度赞扬:“英国人送给了我们关于伦敦大轰炸的画作,以及被德国炸毁的废墟重建的照片,”他写道,“俄国人送给了我们招贴画和野蛮的漫画。中国人送给了我们张书旂。”弗兰根斯坦继续把张书旂的艺术和技巧同著名的小提琴家亚莎海菲兹(Jascha Heifetz)作了比较。“技艺和训练,”这位批评家写道,他的画作正因此“获得了自由”。书旂自己喜欢把他的作品同其他艺术所要求的物质性作比较──“绘画正如舞蹈一样”,他常常喜欢这么说。
张书旂的公开画展以剧场的形式进行,他在聚集起来的观众面前进行自觉的现场作画表演。尽管他不是一个多言的人,他通常还是会讲述一些亲切的平易近人的个人的轶闻趣事,并且向会场、参加者和主办城市致以感谢和敬意。对于任何表演来说,都有一些巧妙的元素,一个手势,热闹的气氛,或者犹豫不决都有可能造就一个戏剧性的瞬间,但这样的瞬间是微妙的,不会影响事情的主题。基本上,书旂生动的作画展示体现了他艺术创造力的审美方式。他用头脑和心在作画,他的灵感、主题和创作成分来源于心,而非可见的模型或展品。他快速地作画,为了抓住自然(空气、光线、运动、瞬间)的生机。这些元素不仅存在于他的那些在公开场合快速完成的小幅画作,同时也是他大幅的杰作的重要标志。他的作品浑然天成,毫无造作。
现场观赏了他作画的观众们得到的不仅仅是一幅画,一件用来被称赞的物品,而是一次鲜活生动的体验。他们是一次再也不可能复制的演出的观众。现场的作画不是一段音乐或者舞蹈的体验,而是时间的富有创造力的片段,这种艺术性的表现记录了流动的瞬间。张书旂的画,实际上是对瞬时性的一种捕捉,是一个时间片段的可视化。每一幅完成的作品都是单独的,正如每一个存在的瞬间,是独一无二而不可复制的。而这样的画作也挑战着观者再创造或复现这一创造性的过程:思考它的构图,最初的几笔,接下来的手势,不同的专门的颜色在合适的时刻的谨慎运用,最终完成的高潮的点睛之笔、结局和收尾。每幅画作都邀请了几位认真的观者来重建这一瞬时性:那些更熟悉毛笔的人也许更能够完整和贴切地将绘画看成一个过程,而非仅仅是一幅图画。然而甚至那些缺乏经验的人,至少是那些花了一会儿时间来思考他们面前这幅作品的人,都会想要知道每条可见的笔画之间的关系。哪一条是最先画出来的?哪一个是后面一个的基础?特定的线条是怎样同时既作为原因又作为结果展现的呢?
张书旂的话能够提供一次体验双重瞬时性的机会:一个是在创作中展现出来的书旂自身活着的时刻,另一个是观众自己的直接的、与所处环境和自身偏好相关的观赏体验的瞬时性。从这种意义上来说,张书旂的作品不同于传统的西方艺术。传统西方绘画看重外观或信息的精细的表现,由于介质的原因,西方绘画不关心或不能够捕捉时间的片段,并提取出一个独特的瞬间。换句话说,在中国绘画传统中,与他人相比,书旂的作品实际上拥有了三维空间,如果时间的片段可以作为一个元素算在其中的话。
旧金山湾区和整个西海岸,是尤其欢迎书旂的一片地区。他的作品得到了热烈的评论及广泛的欢迎,他亦在华裔美国人和非华人中结识了许多密友。他在画展期间很少休息,坚持工作。2月,他去到俄勒冈州的波特兰(Portland),当地的报纸《俄勒冈日报》(The Oregon Daily Journal)在一篇动人的评论里给予了他高度赞扬。“当我们美国和中国同仇敌忾时,”文章写道,“我们不仅是为了解救中国人民于日本人的恐怖威胁之下而战斗……我们还为了一个国家能够拥有产生像张书旂这样的强大和令人敬爱的人物的权利而战斗。他的人格不是奴化的产物。毫无疑问地,波特兰的人们在欣赏张教授的画作和见到这位艺术家时,将会更好地了解中国人民和他们的将来,了解那些出自他们的心灵和双手的价值与美,了解他们的技艺与天才。”
接下来,他去了西雅图。在那里,从2月2日至27日,他在志愿者公园(Volunteer Park)的西雅图艺术博物馆(Seattle Museum of Art)展出了他的五十八幅作品。理查德•富勒(Richard Fuller),美国博物馆馆长中提倡收藏亚洲艺术作品的先驱之一,是这次活动的主办方。从1944年3月7日至19日,他在斯坦福大学的托马斯•威尔顿斯坦福画廊(Thomas Welton Stanford Art Gallery at Stanford University)展出了他的五十四幅作品。3月,他访问了加州大学伯克利分校,在那里,他展出了他的作品,并像在这个国家的其他大学进行的巡回表演那样,进行了现场作画。伯克利分校授予其荣誉教授,他穿戴着华丽的帽子与礼服绕行了伯克利分校的校园。1944年春天,他在南加州度过了几个月,在那里,他在洛杉矶郡立美术馆(Los Angeles County Museum)举行了七十幅画作的为期一个月的展出(4月9日至5月7日),并在欧特斯艺术学院(Otis Art Institute),圣巴巴拉艺术博物馆(the Santa Barbara Museum of Art),和其他当地高校及民间组织举办了画展。
他所到之处,张书旂也与当地的中国居民见面,并在兄弟组织和社区俱乐部展出他的作品。他会见在美的亚裔艺术家并支持他们的工作,例如1944年6月,他担任了旧金山华人艺术家协会(San Francisco Chinese Artists Club)赞助的一次展览的荣誉主席,这次展览还展出了Hu Wai Kee和董金明的作品。中国城的画展纪念了中国八年抗日战争的历史。在他的旅行中,生活清贫的书旂与美籍华人待在一起,他们为他提供住所,并在那些战争年代的艰难岁月里作为他的支撑。
1944年8月,张书旂在著名的卡梅尔艺术村(California art colony of Carmel)展出了他的作品。在那里,他受到了极其热烈的欢迎。他的访问更突出了他的艺术与抗日战争之间的紧密联系。他爱上了卡梅尔,一个在未来他还将多次回来的地方。“卡梅尔很可爱──它太精美了!”在访问南加州海岸线边的这一小镇时,张书旂赞叹道。他在镇上的艺术联合会画廊展出了他的作品。他的一幅主要作品是美丽的海岸线风景,他的画展的开幕式吸引了五百多名观众,据报道,这是这样的活动有史以来最为盛大的一次。在这个系列的最后一次画展上,著名美国将军约瑟夫•史迪威(Joseph Stilwell)的夫人,特地举办了向张书旂致意的茶会。史迪威夫妇是当地居民,他们的女儿艾莉森(Alison),其本人也是一位有抱负的艺术家。
艾莉森•史迪威在当地报纸上发表了关于张书旂的诗意的描写:“张教授,”她写道,“他的绘画技巧已经出神入化──看着他的画笔在纸上游走,在左边染出点点桃红,或是一只飞翔的小鸟,真是一次激动人心的体验。脑海中浮现的第一个感觉是他的作品是如此栩栩如生,如此鲜活和精确。在一幅画里,一只公鸡看起来似乎要跳出大门,在小鸡中间奔跑;他画的蝴蝶看起来好像要飘到下一朵他可能会在任何一个时刻画出来的花上,他画的花和竹子似乎都在抖动。”
在1944年接下来的时间里,张书旂再一次游遍了西部地区。他在加州首府萨克拉门托的埃德温•布拉恩特•克罗克博物馆(Edwin Bryant Crocker Museum)举办展览,随后北上温哥华在温哥华美术馆(Vancouver Art Gallery)展出作品。加拿大驻华公使维克托•奥德伦(Victor W. Odlum) 将军宣布展览的官方开幕。由加拿大艺术家协会(Federation of Canadian Artists)赞助,张书旂访问了位于温哥华岛的维多收起