江碧波：笔道神游中华史

◇ 文|陈科龙 图|游 宇 受访者提供

江碧波：笔道神游中华史

◇ 文|陈科龙 图|游 宇 受访者提供

历史的天空，闪烁着多少颗星星？文明的大地，印下了多少足迹？于高山之巅仰望，于峡谷深处寻觅。我们不仅是自己，更是他们的延续……

2009年的一天，江碧波坐在狮子山“碧波山庄”的平台上，远眺滔滔江水。东逝的江水不舍昼夜，七十高龄的江碧波百感交集，夐绝的宇宙意识在她心中荡漾起一个念头——用艺术的形式去表现五千年的华夏文明。

Recollecting those eminent figures and their tremendous achievements in history,we realized that we are not only ourselves,but even their promising successors.

One day in 2009,seated on the platform of Bibo Mountain Vila in Lion Rock,Jiang overlooked the river rolling to the east on and on,never to return.Mixed feelings surged up within this seventy-year-old lady,and then she felt obligated to vividly present us this magnificent Chinese civilization.

游于艺，志于道

An Ambitious Artist

早在1985年，江碧波在北美当客座教授的时候，她就从西方哲学家的书本里，读到了对于中华文明卓尔不群的见解，从而萌生了发扬中华文明的念头。

“黑格尔在追寻人类古文明的残存碎片时发现，古埃及、古巴比伦、古印度，包括玛雅文明都只剩下文明的碎片，只有黄河、长江流过的中华文明才是世界上惟一恒久的国家。”江碧波意识到闪烁着智慧之光的中华文明必能带给今日世界有益的启示，“1988年，世界诺贝尔奖获得者在巴黎发表共同宣言，人类要在21世纪生存下去，必须回头在2500年前中国的孔子、老子那里寻求智慧。”

不仅如此，常年浸润于道家“自然”思想和儒家“仁爱”思想的江碧波相信，中国人与生俱来的宇宙意识将伴随人类走得更加久远，中国人尚德的精神可以赋予人类更多精神财富，以人为本的精神不仅仅是儒家的，也不只是属于中国的，而应该是全人类的宝贵财富。

随着自身文化责任意识的不断增强，江碧波决定以中华文明进程中重要节点上的人物或历史场景为素材，通过艺术的色彩和线条进行情感的传达，表达自己对中国文化和生命的感悟，表现自己对中国艺术语言表现力和中国文化旺盛生命力的理解。

Early in 1985 when Jiang was a guest professor in North America,she intended to carry forward Chinese civilization after learning those unique Western perspectives related to our civilization.

“Georg Wilhelm Friedrich Hegel (also known as Georg Hegel) attempted to seek ancient civilization,if any.Unfortunately,the civilizations of ancient Egypt,Babylon,India and Maya all fell into pieces.China,however,was the only lasting and surviving country with the nourishment of the Yellow River and Yangtze River.”Jiang realized brilliant Chinese civilization would enlighten the world today.“In 1988,the winner of Nobel Prize delivered a joint declaration that human beings whoever wanted to survive in the 21st century must learn from Confucius and Lao-Tzu who lived some 2,500 years ago.

Deeply influenced by Taoism’s “nature”and Confucianism’s “benevolence”,Jiang is convinced that Chinese’innate concept of universe will thrive and Chinese’worship of virtue will enrich human’s minds.Peopleoriented idea is not limited to Confucianism or China,but the treasure of human kind.

The enhancement of cultural responsibility urged Jiang to express her re fl ection on Chinese culture and life based on historical figures or events in certain important period in Chinese history via artistic colors and lines.She desired to deliver her understanding on exuberant force of Chinese art and culture.

八年磨一剑

Eight Years’Efforts Make a Sword

于是，江碧波开始了中国画组画《上下五千年》的谋篇布局。从“盘古开天地”的神话传说开始，历时五千年，一直讲述到“开国大典”，涵盖了从远古神话到有文字记载的中华文明历史长河中最重要、最辉煌的人物与事件。同时画作中也表现了古代中国的民俗风情、市井生活等异彩纷呈的历史文化信息。其中，也有包含重庆元素的作品，如“大足石刻”“重庆谈判”。

为了安心创作，江碧波推掉了很多社会活动。每天几乎都是从早画到晚，除了吃饭和午休时间，她都在构思或挥动画笔。

为创作“杯酒释兵权”，江碧波对宋代历史进行了仔细的研究，对杯酒释兵权的前因后果和利益关系，以及宋代的文化、历史，乃至宋代南迁和灭亡的过程都进行了研究。“我认为宋太祖是一个很有办法和十分智慧的开国皇帝，他用这种出其不意的办法，和平地为国家解决了难题，也创造了一个繁荣的时代。”江碧波回忆起为创作“杯酒释兵权”而做的历史功课。

从2009年到2016年，八年磨一剑，江碧波独自创作完成了高2米、宽5米的204幅大型中国画组画《上下五千年》。

Therefore,Jiang started the creation The Five Thousand Years.From the creation of heaven and earth by Pan Gu to the founding of People’s Republic of China,The Five Thousand Years covered the most important figures and events in Chinese civilization.The painting also depicted China’s splendid folk custom and folk daily life related to history and culture.Chongqing elements were included in the painting,for instance,Dazu Rock Carvings and the Chongqing talks.

Jiang declined many social activities so as to work without distraction.She kept thinking and painting from dawn till dusk except dining time and afternoon nap.

Jiang did careful study on history of Song Dynasty,including the causes and effects of “ remove from military position by means of cups of wine”,culture and his-tory of Song Dynasty,Song’s migration to Lin’an ( now known as Hangzhou) and the fall of Song Dynasty.“I think Song Taizu (the founder of Song Dynasty) was a capable and wise emperor.He solved a tough problem and paved the way for a prosperous age.”Jiang recalled her preparing for “remove from military position by means of cups of wine”.

From 2009 to 2016,eight years’efforts make a sword.Jiang independently finished The Five Thousand Years consisted of 204 paintings in series,with a height of 2 meters and a width of 5 meters.

“我要为《上下五千年》加个副标题”

Add a Subtitle toFive Thousand Years

《上下五千年》描绘了在历史文化上对中华民族有着重大影响的人和事，这中间既有做出过伟大贡献的正面的精神典范，如政治家张居正、思想家庄子、书法家怀素、张旭等，也有让后人引以为戒的反面人物。

“有人问我为什么不画焚书坑儒，焚书坑儒在历史上可谓重大历史事件。”年近八旬的江碧波在主题的选择和艺术的取向上并不盲从，她说，“我选的题材，都体现了我个人的历史观和价值观。之所以不画焚书坑儒，我觉得秦代除此之外还有一些正面的素材，比如说度量衡的统一。我要为《上下五千年》加个副标题——江碧波笔道神游中华史。”

在历史题材的选取上，并不是所有题材都适合用绘画艺术来表现。江碧波在选取历史人物或事件时，有着自身的考量，从而选取那些能够更好地用绘画语言表现的历史故事。

儒家有“三不朽”的观念，即“立德”“立功”和“立言”，谈及《上下五千年》是否要为后人“立言”时，江碧波摇摇头说道，“我是基于自身对历史的感悟而书写，《上下五千年》并非如教材一般的历史，而是带有强烈江碧波色彩的个人化情绪化的历史。”

Five Thousand Years describes those people and events that have a great in fl uence on the Chinese nation both historically and culturally,which include not only positive models of human spirit who have made great contributions,such as the politician Zhang Juzheng,the thinker Chuangtzu,the calligrapher Zhang Xu,Huai Su and so on,but also villains who make later generations draw lessons.

“Someone asked me why I didn’t draw a picture about the great historical event；burning books and burying alive Confucian scholars,which was a great historical event.”Jiang Bibo,nearly eighty years old,does not follow blindly in terms of the selection of themes and the orientation of art.She said，“My subjects reflect my personal conception of history and value.The reason why I didn’t draw a picture about burning books and burying alive Confucian scholars is that there are many positive materials except the above one,like the unification of weights and measures.I want to add a subtitle for Five Thousand Years--Jiang Bibo Wanders in Chinese history with Brush.”

In the selection of historical themes,not all subjects are suitable to be presented by painting art.When choosing historical figures or events,Jiang has her own considerations and chooses the historical events that can be presented better by painting language.

Confucianism has the concept of “Three Immortality”,which are “morality”,“contributions”and “works”.When it came to whether Five Thousand Years would expound ideas for later generations,Jiang shook her head and said: “I drew this painting on the basis of my own perception of history.Five Thousand Years is not the history that is the same with teaching materials,but the history with a strong color of Jiang Bibo,which is personal and emotional.”

向高峰攀登的尝试

The Trial of Climbing the Summit

《上下五千年》讲述的是中国的历史，主要以中国画的表现形式为主，运用中国画的艺术特点以及书法、国画的笔墨和线条，呈现“意在笔先、气韵生动”的画理。

此外，得益于青年时期在版画、雕塑、油画上打下的深厚功底，以及北美的留学经历，江碧波把当代艺术、印象派以及国际上的艺术研究成果都融合到了《上下五千年》中。因而，我们所看到的《上下五千年》并非传统意义上的中国画。

众所周知，中国画讲究笔墨居多，构图、造型乃至色彩都是其短板。江碧波笔走龙蛇的《上下五千年》是大写意的巨幅彩墨画，扩大了中国画的内涵和外延。中国国家画院副院长张江舟看过江碧波的作品后赞叹道，“江先生的作品充满了独特的语言形式，鲜活的当代气息，丰富的人文精神，过人的绘画功底和深邃的历史思辨，弥补了中国画多年来在色彩上的短板。”

我们当前处于有“高原”而缺“高峰”的时代，中国艺术研究院研究员李一说，江先生的作品就是由高原向高峰攀登的一次尝试。

Featuring in the form of Chinese painting,the Five Thousand Years applies not only artistic characteristics of Chinese painting but also skills of handling inks and lines in Chinese calligraphy,thus representing a vivid Chinese history and a painting theory of “theme then drawing makes a vital and vigor painting ”.

In addition,thanks to her deep foundation established in youth towards the printmaking,sculpture,oil painting as well as her North American study experience,Jiang integrated contemporary art,Impressionism and international art research results into the Five Thousand Years.Therefore,the masterpiece we enjoy is not merely a traditional Chinese painting.

It is well known that Chinese painting is adept at wielding ink,however,composition,modeling and even coloring are its short boards.Jiang’s work,nevertheless,is a giant enjoyable painting of color ink,which extends the connotation and extension of Chinese painting.After appreciating Jiang’s work,Zhang Jiangzhou,deputy dean of National Painting Academy of China,acclaimed that “the Five Thousand Years is full of unique language forms,fresh contemporary atmosphere and rich humanistic spirit.It is the extraordinary painting skills and profound history speculation of Jiang that make up for the Chinese painting in the short board of coloring over the past thousands of years”.

Currently,we are in an age of “a plateau without summits”,the Chinese Academy of Art researcher Li Yi said that Jiang’s work is just the trial of climbing to the arts summit.

Jiang Bibo:Indulge in Five-Thousand-Year hinese History with a Paint Brush

Article | Chen Kelong Pictures | You Yu Interviewee

江碧波 Jiang Bibo 1939年出生于贵州贵阳，1962年毕业于四川美术学院，先后任四川美术学院绘画系主任、重庆大学人文艺术学院院长、重庆美术家协会副主席等职。1962年创作的套色版画《飞夺泸定桥》，收入小学课本并被中国历史博物馆收藏。1980年参与创作《歌乐山烈士群雕》，荣获全国首届城市雕塑最佳奖。从2009年开始，她历时8年，独自完成了204幅大型中国画组画《上下五千年》的创作。

Jiang Bibo,born in Guiyang,Guizhou province in 1993,graduated from Sichuan Fine Arts Institute in 1962.Then she successively served as director of Department of Painting in Sichuan Fine Arts Institute,Dean of College of Humanities and Arts in Chongqing University,Vice Chairman of Chongqing Artists Association.In 1962,her work Swiftly Taking Luding Bridge，a chromatic print enjoyed great popularity both in primary textbook and National Museum of Chinese History.In 1980,she engaged in the creation of Geleshan Cemetery of Revolutionary,winning the first prize in the first National Urban Sculpture.Since 2009,she spent 8 years on 204 Chinese paintings in series named Five-Thousand-Year Chinese History.