也許是因為不久前我寫過一本《曾宓評傳》的緣故，《文化交流》雜志于曾宓先生在浙江博物館舉辦個人畫展并將展出作品捐贈給浙江省博物館的前一天打電話給我，希望我能夠就此寫一篇文章。

當(dāng)即與曾先生聯(lián)系，可是曾先生表示最好不要寫。這是因為曾先生一直很低調(diào)，不想就此事來一番操作，他是真誠的。之所以還是動筆，一則因為《文化交流》雜志的編輯是我十多年前就很熟悉的老朋友，再則這是文化雜志內(nèi)容的需要，我不動筆雜志照樣也會刊登這方面內(nèi)容的文章，何況藝術(shù)家捐贈作品給博物館是藝林佳話，在當(dāng)下這樣的環(huán)境里是很需要大力弘揚的事情。

3月15日，“山水清音——曾宓作品展”開幕式暨作品藏品捐贈儀式在浙江西湖美術(shù)館舉行，曾宓先生將66幅經(jīng)過精心挑選的作品及珍藏多年的20件唐、宋、明和近代等各個年代的文物古玩一起捐贈給了浙江省博物館。浙江省博物館常務(wù)副館長陳浩稱：當(dāng)代著名畫家一次性向博物館捐獻如此多精美作品，這在浙博的歷史上十分罕見。

為表彰曾宓先生的義舉，浙江省文化廳代表浙江省人民政府向曾宓先生頒發(fā)了獎狀和獎金，浙江省博物館也向曾先生頒發(fā)了收藏證書。

曾宓，號三石樓主，1933年冬出生在福州東街一個名叫竹林里的知識分子家庭，1962年畢業(yè)于浙江美術(shù)學(xué)院中國畫系，為浙江畫院專職畫家、國家一級美術(shù)師，六、七、八屆浙江省政協(xié)委員，獲國務(wù)院“有突出貢獻專家”稱號，享受國務(wù)院頒發(fā)的政府特殊津貼。

無論山水、花鳥、人物畫曾宓都能夠隨意揮灑，從心所欲不逾矩。因此，他的作品也充滿了生活情趣，最勝人之處在于能夠有感而發(fā)自出機杼，這或許就是畫家自己所說的隨緣性。

曾宓是中國畫壇一位極有個性、筆墨精湛而富有情趣、藝術(shù)觀念開放、思想敏銳的畫家，他的繪畫作品筆墨粗獷酣暢，意在筆先，渾厚華滋。在他的畫中既保留了傳統(tǒng)文人畫中的那種天籟、率意、自在、樸拙，在形式上又融入了西方繪畫的構(gòu)成，傳統(tǒng)筆墨與現(xiàn)代構(gòu)成有機結(jié)合，具有極強的視覺沖擊力，功力十分深厚。

曾宓在他的作品中吸收、融合、發(fā)展了黃賓虹的筆墨、潘天壽的構(gòu)圖、林風(fēng)眠的色彩，而且常常富有豐子愷的情趣與慧心。當(dāng)然，盡管曾宓像一只蜂蜜辛勤采花百家，最后釀就的還是他自我風(fēng)格的“真蜜(曾宓)”。

這次展出與捐贈的作品，反映了曾先生歷年來的藝術(shù)里程和藝術(shù)成就。山水畫《山間小屋》《山水清音》《牧歸》筆墨精到，平面和空間構(gòu)成很見匠心，典型地反映了曾宓的畫風(fēng)；人物畫《月上柳梢》《七月流火》《愛之歌》線條沉著簡練，體現(xiàn)出畫家對生活的熱愛和觀察生活的細微；而《望子成龍》《雨中行》又充滿著畫家對現(xiàn)實的思考，融入了畫家的創(chuàng)作激情。

還有兩幅畫是曾宓在美院上學(xué)期間的習(xí)作，一幅是《臨任伯年仕女圖》，另一幅是臨黃賓虹的《秋山蕭寺圖》。那幅《秋山蕭寺圖》還有一個與潘天壽有關(guān)的故事：曾宓在美院上學(xué)的時候，當(dāng)時學(xué)院并不提倡學(xué)生學(xué)習(xí)黃賓虹，因為美院生怕學(xué)生在沒有領(lǐng)會到黃老先生的筆墨精髓之前，就染上老氣橫秋的習(xí)氣。

課堂上沒有安排臨習(xí)黃賓虹的畫，曾宓就在星期天自己悄悄地臨摹，慢慢地體會，臨畢他將這幅臨黃賓虹的習(xí)作掛在教室墻上忘了取下來。第二天大清早，一個頎長的身影在教室里踱來踱去，那是潘天壽院長。潘天壽在曾宓臨習(xí)黃賓虹先生的習(xí)作下停住了腳步，默默地注視了一會。曾宓與同學(xué)們一見院長發(fā)現(xiàn)了此畫，不由得心頭一陣緊張，猜想這下準(zhǔn)會挨批了!但這位作畫、治學(xué)一向十分嚴(yán)謹?shù)脑洪L，此時嘴角邊竟流露出一絲不易察覺的微笑，他講了一句使曾宓也使在場的同學(xué)深感意外的話：“黃賓虹的畫，曾宓倒是可以臨習(xí)的。”這個評語證明了曾宓當(dāng)時對黃賓虹的理解，這也是研究曾宓畫風(fēng)形成的一件難得珍品。

曾宓是一位學(xué)養(yǎng)深厚、更是一位嚴(yán)肅而有責(zé)任感的畫家。他認為人們需要藝術(shù)，就是因為藝術(shù)生動、鮮活能感化心靈。

曾宓的畫在藝術(shù)品拍賣會上被愛好者、收藏家連連追捧，作品在藝術(shù)市場上價格堅挺，但曾宓想得很遠，他覺得作為一個有成就的畫家，更應(yīng)該做到寵辱不驚，保持一種過儉樸生活的綠色理念。正因為他那平凡而崇高的社會使命感，使他萌生了把自己的藝術(shù)精品捐獻給博物館的想法，并且得到家人的支持。曾宓先生說：“我是國家培養(yǎng)的畫家，我的理想就是把藝術(shù)奉獻給國家，而我的作品進入到浙江博物館，是它們最理想的歸宿。”他覺得自己創(chuàng)作的藝術(shù)作品能夠進博物館垂范后世，對藝術(shù)家而言實在是一種無上的榮耀。他有畫語云：“藝術(shù)思想之光，只能在不知不覺中照進人的心靈，而這不知不覺的渠道，只有是被凈化了的自然形態(tài)，因為整個人類是在大自然的懷抱中走過來的。”

大自然的山山水水，哺育了一個優(yōu)秀的畫家。曾宓通過自己的創(chuàng)作，把作品本身蘊涵的精神寄托與社會價值奉獻給人們的同時，又完成了一件宏大的行為藝術(shù)——把自己的精心之作捐獻給博物館，讓美術(shù)作品最大限度地發(fā)揮出它的藝術(shù)價值和社會價值，這確實是一種值得大力頌揚的文明!

Painting

Artist Donates to Zhejiang Museum

By Li Zhongfang

Probably because I have recently written a book on Zeng Mi， a prominent artist in Zhejiang Province， I received a call from the Cultural Dialogue one day prior to Zeng Mi’s solo show at the Zhejiang Provincial Museum. I was asked to write a feature on the artist and his donation of the exhibits to the museum. I contacted Zeng. The 73-year-old artist said I should not write more about him if possible. Zeng Mi keeps an extremely low profile though his works have been selling quite well on the art product market in recent years.

But I decided to write about the artist for Cultural Dialogue， for it is quite rare in the history of the museum that a prominent artist in the province would donate so many works. On March 15， 2006， he donated 66 of his finest works and more than 20 antiques to Zhejiang Provincial Museum.

Zeng Mi was born in Fujian Province in the winter of 1933. He graduated from the Zhejiang Academy of Fine Arts (the predecessor of today’s China Academy of Fine Arts).A state first-class artist honored withspecial subsidy by the State Council， Zeng has been a deputy of CPPCC Zhejiang Branch for years.

As a master of traditional Chinese painting， Zeng is outstanding for his idiosyncrasy， his mastery of brushstrokes and interesting sentiments， his liberal art thoughts， and his sharp sensitivity to new ideas. His paintings retain the celestial innocence， carefree spirit and simplicity typical of scholarly paintings. Yet， they also remarkably display western elements.

The works he donated to the museum well describe his career development and achievement. Among the works donated are two painted during his college days. One of them is A Desolate Temple in an Autumn Mountain， a copy of a painting by Huang Binhong， a prominent artist in the history of Chinese painting in the 20th century.

There is an anecdote about this painting. During Zeng’s college days， students were not encouraged to copy Huang’s masterpieces for fear that the young students could unknowingly be influenced by the old man’s style and lose their youthful mentality if they did not fully understand the essence of the veteran master’s art. In order to avoid being noticed by teachers， Zeng copied Haung’s paintings secretly on Sundays. However， one day he forgot to take off his copy from the classroom. On Monday morning， Pan Tianshou， the president of the academy， came to the classroom and found the painting. Zeng Mi and his classmates became all keyed up. But Pan examined the copy carefully and then said that Zeng did quite well in copying the master. This comment from Pan， an experienced art educator and painting master， spoke volume for Zeng’s understanding of Huang’s art.

Though collectors vie to buy his works nowadays， Zeng Mi thinks the museum is the ideal home for his paintings. As an artist， he does not need material luxury. “I am an artist cultivated by the country. It is my ideal to donate my art to the country.”

It is not that Zeng Mi does not know the value of his paintings. The decision about donation is also based on his understanding of the value of the paintings: only valuable paintings can be accepted by a museum. It is a great honor for artists to have paintings at a museum. These paintings will show people in the future what an artist can achieve.

(Translated by David)