才氣橫溢的畫壇全才

去年金秋，在第八屆西湖藝術(shù)博覽會(huì)上，杜巽創(chuàng)作的一幅題為《五峰直上插銀河》的丈八匹山水畫，赫然位居浙江世貿(mào)中心一樓展廳中堂，引來眾多觀眾駐足欣賞。這幅畫氣勢(shì)磅礴、墨彩飛揚(yáng)，在格局上有北方畫派大刀闊斧的雄奇險(xiǎn)峻，在細(xì)微處則有南方畫派的細(xì)膩潤澤。畫面通過崢嶸的山川、湍急的瀑布，表現(xiàn)出高山流水的雄奇與壯美，帶給人們一個(gè)博大、空靈、廣袤的天地，畫中所貫通的韻勢(shì)，更是折射出畫家胸有丘壑、氣吞山河的壯懷，令人為之震撼折服。著名美術(shù)史論家王伯敏先生對(duì)他畫里表現(xiàn)出來的“大貌、大勢(shì)、大要”，表示了由衷贊賞。

杜巽，原名英信，祖籍浙江寧波，1940年生于上海，自幼沐浴在浙東青山綠水的大自然中，對(duì)江南水鄉(xiāng)的田園風(fēng)光有著深深的眷戀之情。1955年考入中央美院華東分院附中，1958年以優(yōu)異成績(jī)破格升入浙江美術(shù)學(xué)院中國畫系，受業(yè)于潘天壽、陸抑非、陸維釗、陸儼少、周昌谷、李震堅(jiān)等名家大師。在校時(shí)主攻人物，山水也佳。畢業(yè)時(shí)他創(chuàng)作的表現(xiàn)江南風(fēng)情、人物與山水相結(jié)合的《水鄉(xiāng)春意》圖，被遴選赴上海、北京、加拿大等地展出，后被故宮博物院收藏。因?qū)W業(yè)出類拔萃，杜巽被潘天壽院長指名留校任教，這在潘老所授百千愛徒中，獲此殊榮者僅二人。那時(shí)候的杜巽作為莘莘學(xué)子中的佼佼者，被視為未來的“希望之星”。

1965年夏，杜巽因才藝出眾，應(yīng)中央文化部之召參與人民大會(huì)堂西藏廳的設(shè)計(jì)布置，并隨中央代表團(tuán)深入西藏腹地及川藏公路寫生采風(fēng)，歷時(shí)四月有余，他精心創(chuàng)作的人物畫《羌塘草原之春》，曾被人民大會(huì)堂布展收藏。

然而，正當(dāng)畫家在藝海中乘風(fēng)揚(yáng)帆之時(shí)，卻被卷入“文革”風(fēng)暴，人生之路大起大落。所幸的是他爾后又重拾畫筆，繼續(xù)自己的藝術(shù)生涯。

上世紀(jì)80年代后期，杜巽在天目山區(qū)青山湖畔工作與生活了一段時(shí)期，那里蔚郁秀麗的山水景色燃起了他對(duì)山水畫的熾烈之情。他決心進(jìn)一步系統(tǒng)研習(xí)山水畫傳統(tǒng)技法，對(duì)宋人小品和元、明、清名家名畫無不潛心臨習(xí)。他將構(gòu)圖靈動(dòng)別致、景象壯觀宏偉、線條和諧完美、人物刻畫和景物描繪形神畢肖的北宋張擇端的《清明上河圖》作為自己的學(xué)習(xí)范本，多次精心臨摹，每次臨摹時(shí)間均長達(dá)四個(gè)月。他常常夜以繼日，廢寢忘食，深掘中國畫長卷內(nèi)蘊(yùn)，細(xì)細(xì)揣摩畫家概括生活與提煉題材諸方面的高度組織技巧和表現(xiàn)能力，還專門撰寫了一篇題為《中國山水畫長卷溯源》的學(xué)術(shù)論文。著名山水畫大師陸儼少先生仙逝前一年，觀看了他的第三卷臨本后贊嘆不已，在引首題曰：“可下真跡一等”。

精心臨摹《清明上河圖》為杜巽日后長卷畫藝術(shù)創(chuàng)作夯實(shí)了基礎(chǔ)，又由于青年時(shí)代西藏的采風(fēng)寫生之行久久縈回于心中，20年后他激起了欲將神秘瑰麗的西藏繪成長卷之念。于是他再次踏上了“西藏萬里行”的藝術(shù)征途，只身遠(yuǎn)涉絲綢古道，漫游八百里秦川，西出陽關(guān)遙望昆侖嘉峪，深入新疆戈壁腹地，這次“遠(yuǎn)征”行程長達(dá)1.4萬公里，燃起了他描繪西藏的靈感與激情，于是，一個(gè)雄渾壯闊、圣潔美麗的長達(dá)40余米、寬41厘米的紙本設(shè)色巨幅長卷《西藏萬里行》在畫家筆端脫穎而出，它藝術(shù)地再現(xiàn)了崢嶸的橫斷山脈、皚皚的雪域群山、莽莽蒼蒼的原始森林、浩淼寧謐的高原圣湖、遼闊壯美的羌塘草原以及孕育了東亞遠(yuǎn)古文明的雅魯藏布江和銀峰高聳的喜瑪拉雅、金碧輝煌的布達(dá)拉宮等。此畫運(yùn)用全景式構(gòu)圖、散點(diǎn)透視等中國山水畫“咫尺千里之趣”的表現(xiàn)手法，以首尾連貫、極富變化的宏大結(jié)構(gòu)、有張有弛的無窮變幻，對(duì)西藏的風(fēng)情物貌進(jìn)行了重新組合，達(dá)到新的藝術(shù)審美高度。此外，杜巽的新近創(chuàng)作的另一幅18米的長卷《江南古鎮(zhèn)》，同樣以構(gòu)圖宏大嚴(yán)謹(jǐn)、線條流暢遒勁的手法巧取江南六大古鎮(zhèn)周莊、同里、直、烏鎮(zhèn)、南潯、西塘之精華，評(píng)論界稱此長卷“填補(bǔ)傳統(tǒng)山水畫描繪水鄉(xiāng)民俗之空白”，被譽(yù)為“現(xiàn)代清明上河圖”。

近年來杜巽以長卷和巨幅山水彪炳畫壇，一時(shí)名聞遐邇，此外他的雪景山水畫也成了“杜氏一絕”：杜巽所繪的一幅幅獨(dú)辟蹊徑的雪景，大都取材于江南水鄉(xiāng)之冬。他用皴紙法繪制，整幅畫卷用夸張獨(dú)特的構(gòu)圖意識(shí)、凝煉精奇的用筆、以黑為主輔以淡彩的基調(diào)加以精瑩潔白的大塊空白，使畫面在清潤毓秀中飽含蒼茫渾厚的神韻，如夢(mèng)似幻，達(dá)到“超以物象，得其環(huán)中”的佳境。王伯敏先生稱其“用筆綿密，筆勝于墨，一點(diǎn)一拂，神采飄然”。

今年5月，杭州六和文化會(huì)所為杜巽舉辦了《杜巽畫集》首發(fā)式暨畫展。《杜巽畫集》分山水卷、山水小品卷、長卷、人物卷、指畫卷和異國風(fēng)情卷，可謂洋洋大觀，精彩紛呈。杭州西湖國畫藝術(shù)研究院同時(shí)主辦了杜巽作品研討會(huì)，與會(huì)者都對(duì)杜巽在藝術(shù)上取得的成就給予高度評(píng)價(jià)，著名花鳥畫大家盧坤峰教授稱杜巽為“當(dāng)今中國畫壇不可多得之全才也。舉凡山水、人物、花卉之屬，無不精能”；王伯敏先生為《杜巽畫集·山水卷》作《序》說，杜巽是位非常有作為的畫家，不論畫千山或萬樹，畫行云或流水，無不“于施巧中而藏拙”，或“與拙味中而見巧趣”，獲得這個(gè)成就是不容易的。他認(rèn)為，杜巽的畫還未定型。不少山水畫前輩如黃賓虹早學(xué)晚成熟，七十歲作畫未定型，到了八十歲畫法大變，豁然神化。王伯敏說，杜巽的藝術(shù)有潛力、有發(fā)展的遠(yuǎn)大前景，預(yù)祝他今后“細(xì)研一斗墨，不只是落筆可人，還必將是落筆驚人”。

杜巽從教42年，從藝50余載，依然孜孜不息，視藝術(shù)家的一生是洗骨伐髓、苦修終身的一生。著名畫家孔仲起、吳山明等諸多學(xué)友，希望杜巽繼續(xù)保持周密不茍的創(chuàng)作特色，發(fā)展求索成果，使生活更斑斕，作品更璀璨，漸臻藝術(shù)至境！

Artist Creates Panoramic Paintings

By Du Xuping， Pan Guojun

Du Xun's passion for landscape painting can be traced back to his ancestral roots in eastern Zhejiang. Though born in 1940in Shanghai， he grew up in Ningbo where scenic views typical of the southern Yangtze River Delta abound.

The youthful passion found a sound and better outlet in 1958 when Du Xun entered the Zhejiang Academy of Fine Arts， the predecessor of China Academy of Fine Arts， and studied the under the tutelage of masters such as Pan Tianshou. Talent， passion， fine teachings from masters all combined to make him an outstanding graduate. His graduate work was exhibited in Shanghai and Beijing and in Canada and later went into the art collection of the Palace Museum， a great honor for a budding artist. President Pan Tianshou went out of his way to say that Du should be retained as a teacher at the academy. Du was one of the only two of PanOtilde;s hundreds of students whom Pang handpicked personally to stay at the academy as teachers.

In the summer of 1965， Du Xun was engaged by the Ministry of Culture to help chart the interior decoration of the Tibetan Hall at the Great Hall of the People in Beijing. The appointment enabled him to visit Tibet.

Though the Cultural Revolution (1966-1976) derailed his art career， Du Xun came back strong in the late 1980s when he worked for a while in the Tianmu Mountains dozens of kilometers west of downtown Hangzhou. During this period， he devoted himself to the studies of the traditional landscape painting techniques developed by ancient masters. In particular， he spared no efforts repeatedly copying Life along the River at the Qingming Festival， a classic masterpiece by Zhang Zeduan， an artist of the Northern Song Dynasty (960-1127). It took him four months to complete one copy detail by detail and he worked out a number of copies. The meticulous study was part of his efforts to master the ancient art of painting landscape in the format of a long horizontal scroll. It offered him insight into the ancient landscape brilliance and he wrote an extensive thesis on the study results.

With the rekindled passion and a profound understanding of the art and its techniques， Du Xun set out to visit Tibet after a hiatus of more than 20 years. The 27，000-kilometer journey opened his eyes to the vast vistas in northern and western China. One of the results is a landscape painting more than 40 meters in length and 0.41 meter in height. The artwork highlights snow-capped mountains， verdant primitive forests， lakes at high altitudes， grasslands， the Brahmaputra River， the Himalaya Mountains， and the Potala Palace. The panoramic magnum opus presents a multiple-focus perspective typical of Chinese landscape painting. Another of Du’s masterpieces measures 18 meters in length and portrays six ancient water towns in the southern Yangtze River region， his favorite topic.

Today， Du is critically acclaimed as a master of monumental artworks. His techniques of painting snow are also highly recognized. At the Eighth West Lake Art Expo in 2005， a walloping painting by Du took the center stage in the exhibition hall at the Zhejiang World Trade Center Hotel， which was a great honor and recognition for his achievement as an artist.

As an art teacher for 42 years and a creative artist for more than 50 years， Du has produced a full range of masterpieces， as testified by Selected Works by Du Xun released in May 2006. Yet， Wang Bomin， a prominent art critic， points out that， unlike some artists who have climaxed at a certain age and have nowhere further to go， Du still has a full range of promising potentialities to tap into. The critic compares Du with Huang Binhong who was still exploring vast possibilities at the age of 70 and became truly great at the age of 80. Du’s friends also hope that Du will paint truly great things in his golden years.

(Translated by David)