張書旂是一位藝術(shù)的革新者，其卓越卻短暫的藝術(shù)事業(yè)橫跨中國(guó)和美國(guó)。他成就了一種獨(dú)特的藝術(shù)風(fēng)格，以西方繪畫的元素重新激發(fā)了傳統(tǒng)中國(guó)畫筆法和美學(xué)的生命力。在上個(gè)世紀(jì)50年代，他作為一名從中國(guó)來到美國(guó)的傳達(dá)藝術(shù)與友好的大使，通過自己的藝術(shù)將中國(guó)文化之美麗與優(yōu)雅充分地展現(xiàn)出來，完成了藝術(shù)和外交的雙重使命。

送給羅斯?？偨y(tǒng)的《百鴿圖》，

是第一幅進(jìn)入白宮的現(xiàn)代中國(guó)畫

6月的杭州，暑氣漸起。南山路邊的浙江美術(shù)館國(guó)際會(huì)議廳，一場(chǎng)名為“張書旂在美國(guó)的繪畫生涯”的講座吸引了許多聽眾。斯坦福大學(xué)歷史系教授張少書（即張書旂的兒子）向杭州的朋友們展示了張書旂在美國(guó)期間部分珍貴的影像資料和不為人知的趣聞?shì)W事。

同天上午，“張書旂作品展”在浙江美術(shù)館隆重開幕。張書旂的家人在美國(guó)通過好友得知，在張書旂先生的故鄉(xiāng)浙江，新建了一座目前國(guó)內(nèi)設(shè)施最先進(jìn)、藏品建設(shè)領(lǐng)先的美術(shù)館。為了實(shí)現(xiàn)張書旂先生生前欲回祖國(guó)故鄉(xiāng)的愿望，便希望捐贈(zèng)部分張書旂作品永久收藏在這座美術(shù)館。而這也是浙江美術(shù)館首次在境外接受藝術(shù)家家屬的捐贈(zèng)。

出身于浙江浦江書畫世家的張書旂，少年時(shí)就在繪畫方面展現(xiàn)出了一種早熟的天賦。張書旂畢業(yè)于金華浙江省立第七中學(xué)，于1921年成為劉海粟上海美術(shù)?？茖W(xué)校的首批學(xué)生之一，開始專攻西方繪畫技巧。未能滿足于西方畫藝的張書旂回到了傳統(tǒng)的中國(guó)畫，但是西方藝術(shù)技巧上的訓(xùn)練在他的藝術(shù)風(fēng)格上留下了不可磨滅的印記。

20世紀(jì)30年代，張書旂的事業(yè)飛速發(fā)展，并受聘任教于南京中央大學(xué)藝術(shù)系。他積極投身于以上海和杭州為中心的藝術(shù)圈。他的友人和同儕包括徐悲鴻、傅抱石、潘天壽、吳作人、劉子谷、許士騏、劉海粟、李毅士、艾中信、吳茀之等人。在1937年舉辦的第二屆全國(guó)美展上張書旂作品亦列入其中。此外，他的作品還入選巴黎、柏林、莫斯科及其他歐洲各大城市舉辦的中國(guó)當(dāng)代畫展。

歷史是如此巧合。

1940年，同時(shí)有兩件“和平鴿”題材的作品面世。一件是張書旂在重慶完成的《百鴿圖》，他以鴿子象征幸福、和平，稱之為“世界和平的信使”。另一件是畢加索在巴黎受鄰居老大爺所托描繪了一只被德軍槍殺的白鴿“蕭萊士”，畢加索以白鴿象征和平，榮稱“世界和平戰(zhàn)士”。在藝術(shù)的世界里，沒有國(guó)界、沒有戰(zhàn)爭(zhēng)，只有陽光、和平與快樂。

據(jù)張書旂后來回憶，當(dāng)時(shí)他是在外面日軍炮火紛飛的地下防空洞里完成《百鴿圖》（又名《世界和平的信使》）的創(chuàng)作的。他說持續(xù)的空襲威脅給創(chuàng)作過程帶來了諸多困難。中央大學(xué)被轟炸時(shí)，他不得不將這幅尚未完成的畫作夾在臂下趕往防空洞。數(shù)日后，作品基本完成但畫跡尚未干透。日軍再次空襲時(shí)，他不得不留下畫作趕鉆防空洞。他后來回憶道：“我想這一次不能再冒險(xiǎn)把它帶在身邊了。”幸運(yùn)的是，雖然此番轟炸對(duì)周邊地區(qū)破壞甚巨，但畫作本身并沒有受到損壞。他的和平鴿安全了─他將鴿子和畫作的安然無恙視作希望的象征。

張書旂在1940年12月23日中央大學(xué)舉辦的贈(zèng)送儀式暨張書旂畫展上，親自將完成的《百鴿圖》交給時(shí)任美國(guó)駐華大使尼爾森·約翰遜(Nelson Johnson)，請(qǐng)他轉(zhuǎn)贈(zèng)美國(guó)總統(tǒng)羅斯福，祝賀他第三次當(dāng)選美國(guó)總統(tǒng)。約翰遜將畫作寄往白宮，并在寫給羅斯?？偨y(tǒng)的附信中談及這件作品象征了美國(guó)總統(tǒng)對(duì)正在進(jìn)行的世界大戰(zhàn)的立場(chǎng)。此圖經(jīng)空運(yùn)、海運(yùn)，送到羅斯福手中，后收藏于羅斯福總統(tǒng)圖書館。

張書旂完成《百鴿圖》用時(shí)三周，在一天之內(nèi)就繪出50只鴿子，并在隨后的時(shí)間完成了剩余部分。畫中的每只鴿子位置不同，形態(tài)各異，栩栩如生，強(qiáng)烈地吸引著觀者。約翰遜特別提及了畫作豐富的色彩和獨(dú)特的視角，這些對(duì)于他的西方式感知有著巨大的魅力。這幅大型畫作跨越半個(gè)地球，從重慶運(yùn)抵華盛頓。根據(jù)當(dāng)?shù)貓?bào)紙報(bào)道，畫作在白宮陳列展出。隨后，紐約市一所主要藝術(shù)館法拉吉爾畫廊(FerargilGalleries)向白宮借出畫作，并在1942年5月舉辦的中國(guó)藝術(shù)展上展出。羅斯?？偨y(tǒng)向中方致函，并在信中表達(dá)對(duì)這幅“美麗的作品”的欣賞和他“收到這幅畫作的喜悅心情”。

據(jù)美國(guó)國(guó)家檔案署泰瑞女士介紹，《百鴿圖》的出借是美國(guó)國(guó)家文獻(xiàn)館館藏檔案首次來到中國(guó)。因此，在本次浙江美術(shù)館張書旂作品展現(xiàn)場(chǎng)，我們才有機(jī)會(huì)見證這幅名作的“廬山真面目”。

白鴿紛飛，歲月滄桑，但我們依然能夠感受到畫作上洋溢的郁勃生氣和滿腔希望。徐悲鴻曾評(píng)價(jià)張書旂“畫鴿應(yīng)屬古今第一”?！栋嬴潏D》是張書旂先生擅長(zhǎng)畫上用粉、精于花卉翎毛的經(jīng)典之作。

張少書教授介紹說，當(dāng)時(shí)贈(zèng)送《百鴿圖》給羅斯?？偨y(tǒng)的新聞迅速在西方世界傳了開來，所以香港新聞出版商陳孝威便邀請(qǐng)張書旂創(chuàng)作另一幅作品，以表示對(duì)英國(guó)首相丘吉爾的敬意。在友人趙少昂的鼓勵(lì)下，張書旂創(chuàng)作了《云霄一羽圖》，描繪了一只孤獨(dú)卻堅(jiān)毅的海鷹在波濤萬丈的海岸上空翱翔的圖景。這幅畫附有楊永璽為丘吉爾首相所作的長(zhǎng)詩，現(xiàn)今陳列于丘吉爾故居──英國(guó)查特韋爾莊園(Chartwell)。

他在美國(guó)浪漫而輝煌的繪畫、展覽，得到西方評(píng)論家的高度評(píng)價(jià)

《百鴿圖》連接了中美之間的友誼，也直接促成了張書旂浪漫而輝煌的跨洋繪畫之旅。在美國(guó)，他多次前往東海岸和中西部，直至大西洋沿岸。他在大學(xué)、民間團(tuán)體和畫廊舉辦了多場(chǎng)畫展，尤以華盛頓、波士頓、紐約以及芝加哥大都市區(qū)為最多。

那么美國(guó)觀眾對(duì)張書旂的畫展作何反應(yīng)呢？

從紀(jì)錄的影像可以看出，對(duì)于這些觀眾來說，他的中國(guó)畫的完整的獨(dú)特性在于強(qiáng)調(diào)并展現(xiàn)了生命力以及控制良好的自發(fā)性。《波士頓郵報(bào)》(Boston Globe)廣受尊敬的藝術(shù)批評(píng)家A·J·菲爾波特(A.J.Philpott)的文章非常具有代表性，在觀看過張書旂的一次在波士頓藝術(shù)博物館的畫展及現(xiàn)場(chǎng)作畫之后，菲爾波特寫道：張書旂的畫展是“我在波士頓曾經(jīng)看過的所有展出里最有趣的之一”，因?yàn)檫@是這樣的作品在這座城市里的首次展出，它是“讓人難以忘懷的技藝的展現(xiàn)，它與水彩畫的方法完全不同”。

張書旂在美國(guó)的公開畫展很多在劇場(chǎng)展出，他在聚集起來的觀眾面前多次現(xiàn)場(chǎng)作畫。他的畫作的公開展覽是如此的引人入勝，安大略博物館拍攝了關(guān)于他的影片，用鏡頭來捕捉他的色彩、筆法，以及作畫技巧。他恣意、迅捷、濕潤(rùn)和生機(jī)勃勃的作畫情景，與他的北美觀眾們所熟知的西方油畫傳統(tǒng)迥然不同。張書旂的作畫技法強(qiáng)調(diào)自發(fā)性、流動(dòng)性、恣意性，以及生命的表達(dá)力。照片展現(xiàn)出觀看張書旂作畫的觀眾全神貫注、流露出驚嘆與贊美的表情。

有西方評(píng)論家評(píng)論道：在他致力于完善其畫技與藝術(shù)理念的過程中，張書旂教授似乎顯得很傳統(tǒng)。但在他的藝術(shù)表達(dá)方式中，他卻是革新者。大多數(shù)中國(guó)藝術(shù)建構(gòu)在我們所說的“黑白”的基礎(chǔ)上，講究明暗深淺的變化。有時(shí)稍帶些許的彩色。張書旂這位藝術(shù)家按照自己的心意使用微妙的、謹(jǐn)慎卻明亮的色彩，并且使用白色顏料，從而打破了傳統(tǒng)。

另一位評(píng)論家寫道：中國(guó)繪畫和西方繪畫不同，后者關(guān)注更加實(shí)在的東西，并頌揚(yáng)人類個(gè)性；前者則傾向于一種客觀唯心主義、自然的詩意、事物本身的美而非其實(shí)用價(jià)值?！爱嬍菬o聲的詩”是一句古老的中國(guó)諺語，也是讀懂張書旂這樣一位畫家作品的關(guān)鍵。

1943年上半年，張書旂在華盛頓D.C.，希望能夠與羅斯?？偨y(tǒng)進(jìn)行私人會(huì)面。在等待機(jī)會(huì)的同時(shí)，他游歷了這個(gè)城市，并結(jié)交了各界名流。1月17日至2月4日之間，他在藝術(shù)俱樂部展出了87幅畫作，受到了當(dāng)?shù)厮囆g(shù)界及政界的熱烈歡迎。展覽得到了當(dāng)時(shí)中國(guó)一些文化名人的大力稱贊。諾貝爾文學(xué)獎(jiǎng)獲得者、《大地》(TheGoodEarth)的作者賽珍珠(PearlBuck)講述了中國(guó)繪畫的發(fā)展，并談到自己20世紀(jì)30年代早期住在南京的時(shí)候，曾經(jīng)看過張書旂的作品。她寫道：在張書旂的畫作里，“人們可以看到自信、平靜與堅(jiān)忍。但同時(shí)也存在著美，古老中國(guó)的美，這樣的美仍存在于中國(guó)人的永恒靈魂中。很重要的一點(diǎn)是，今天，在中國(guó)抵抗敵人的過程中，不是只有軍隊(duì)首領(lǐng)活著并且成功了。更有意義的事情在于，藝術(shù)家活著，并且成功了。”

在舊金山的家里，張書旂用水泥和磚蓋起魚池、露臺(tái)和讓他能夠回憶起中國(guó)的假山庭院。他精心制作了盆景并栽種了原產(chǎn)于中國(guó)的花卉，像山茶花、吊鐘花、杜鵑、茉莉、月季、櫻樹、李樹和竹。盡管遠(yuǎn)在大洋彼岸，但是思鄉(xiāng)之情卻濃烈而綿長(zhǎng)。

在美國(guó)期間，他一直在各地旅行，展覽他的作品，進(jìn)行現(xiàn)場(chǎng)作畫，同時(shí)也積極為美國(guó)援華聯(lián)合會(huì)募集資金，促進(jìn)中國(guó)和北美人民的友誼。他在旅居美國(guó)的歲月里，靠賣畫籌集了數(shù)十萬美元（相當(dāng)于今天的上百萬美元），用于援助中國(guó)。張少書教授認(rèn)為，父親為了祖國(guó)而進(jìn)行的募資，在個(gè)人博愛主義和慷慨解囊的意義上也是一個(gè)非凡的紀(jì)錄。

20世紀(jì)40年代，張書旂樂觀地預(yù)言西方藝術(shù)和中國(guó)藝術(shù)將不斷深入地相互融合。他深切地期望終有一天，一種沒有任何地理和文化疆界隔閡的“藝術(shù)”將得以存在。他寫道：“就目前的趨勢(shì)來看，這似乎是預(yù)示了一個(gè)東方與西方的聯(lián)合?！闭窍駨垥鴶邕@樣一批批藝術(shù)家，連接起太平洋兩岸的繪畫與文化，為中西方文化藝術(shù)的交流作出了積極的貢獻(xiàn)。

Culture Ambassador Between China and America

By Li Zi

Zhang Shuqi (1901-1957)， an influential artist best known in the 1940s， was little known in Zhejiang for decades after he passed away， though the artist was a native of the province. He is no longer little known now thanks to a lecture by his son Zhang Shaoshu， a professor of history at Stanford University and thanks to an exhibition of more than 120 of his works at Zhejiang Art Museum. The lecture took place at the International Conference Center of Zhejiang Art Museum on the West Lake in Hangzhou on June 8， 2012. The exhibition ran from June 5 through 24， 2012.

After learning through some friends that Zhejiang now has a modern art museum， Zhang Shuqi’s relatives in America decided to donate part of the master’s works to the art museum. The donation includes 35 paintings and 16 drawings. This is the first time that Zhejiang Art Museum has received donated artworks from overseas. Other exhibits included those on loan from Zhang Shuqi Museum and the Hwa Kang Museum of Chinese Culture University based in Taiwan as well as from Franklin D. Roosevelt Presidential Library Museum.

Zhang Shuqi was best known in the 1940s when his Chinese watercolor called “100 Doves” was presented as China’s gift to American President Roosevelt in celebration of his winning the third run for presidency. The president later wrote a letter expressing his appreciation of the beautiful artwork and his joy at receiving the painting.

“100 Doves”， formally known as \"Messengers of World Peace\" (134.6cm by 272.4cm)， is painted in gouache， ink and wet colors on silk and mounted on paper.

In 1940 when World War II was going on， the world witnessed two paintings of doves of peace created by artists， according to some art historians. The better-known one was created by Picasso. The other one， much less known， was by Zhang Shuqi. Years later， Zhang remembered creating the painting during air raids in Chongqing， the wartime capital of China in the southwest. It took him three weeks to complete the painting. He painted the first 50 doves within one day. He spent the rest of the three weeks completing the other 50 doves and all the details. He was in the middle of creating this painting when air-raid alarm sounded. He rushed to the shelter with the unfinished painting under his arm. A few days later， the painting was almost finished when air-raid siren sounded again. In a hurry to the shelter， he did not take it with him. Fortunately， the painting survived the latest round of bombing although many buildings were gone during the blast. On December 23， 1940， Zhang presented “100 Doves” to Nelson Johnson， the American Ambassador to China at the opening ceremony of his solo exhibition. All the paintings at the exhibition were sold out. The money raised through the sales was donated for a scholarship foundation in commemoration of General Zhang Zizhong， who died in the resistance war against Japanese invasion.

The painting bears a poem by Luo Jialun， the president of National Central University. The painting also has an inscription by Chiang Kai-shek， the president of China during that time who ruled Taiwan for decades after the KMT government was defeated on the mainland.

Xu Beihong (1895-1953)， a highly distinguished Chinese artist in the 20th century， said none in China’s millennia-long art history could stand up to Zhang Shuqi in painting doves.

After learning about Zhang’s painting for American President Roosevelt， Chen Xiaowei， a Hong Kong-based publisher and retired general， commissioned Zhang Shuqi to create a painting in honor of UK Prime Minister Churchill. Zhang Shuqi painted a sea eagle flying over a choppy sea. The painting was presented together with a long poem to Churchill. The painting is now on display at Chartwell， the former residence of Churchill in UK.

After Zhang’s painting to President Roosevelt was made known to the American public， the artist was invited over to the USA. In 1941， Zhang Shuqi went to the United States. He held individual exhibitions in various cities such as Washington， Boston， New York， and Chicago. As Zhang had studied western art in the 1920s at Shanghai Academy of Arts， Zhang was one of the Chinese artists who painted in a style that shows the influence of both east and west. His one-man shows in America demonstrated his art to the Americans who knew little about contemporary Chinese art. His fresh painting style was amazing to the American people. Through selling paintings at the exhibitions， he raised several hundred thousands US dollars and donated the money to assist the Chinese resistance war against Japanese aggression.

As a celebrated artist， Zhang Shuqi demonstrated elegance and charisma of Chinese arts to thousands of westerners with his distinctive and typical style. He made great efforts to invigorate traditional Chinese paintings and add western touches to the Chinese art. He introduced Chinese art to the American public and served as an ambassador of art between China and America.