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去年金秋，在第八届西湖艺术博览会上，杜巽创作的一幅题为《五峰直上插银河》的丈八匹山水画，赫然位居浙江世贸中心一楼展厅中堂，引来众多观众驻足欣赏。这幅画气势磅礴、墨彩飞扬，在格局上有北方画派大刀阔斧的雄奇险峻，在细微处则有南方画派的细腻润泽。画面通过峥嵘的山川、湍急的瀑布，表现出高山流水的雄奇与壮美，带给人们一个博大、空灵、广袤的天地，画中所贯通的韵势，更是折射出画家胸有丘壑、气吞山河的壮怀，令人为之震撼折服。著名美术史论家王伯敏先生对他画里表现出来的“大貌、大势、大要”，表示了由衷赞赏。
杜巽，原名英信，祖籍浙江宁波，1940年生于上海，自幼沐浴在浙东青山绿水的大自然中，对江南水乡的田园风光有着深深的眷恋之情。1955年考入中央美院华东分院附中，1958年以优异成绩破格升入浙江美术学院中国画系，受业于潘天寿、陆抑非、陆维钊、陆俨少、周昌谷、李震坚等名家大师。在校时主攻人物，山水也佳。毕业时他创作的表现江南风情、人物与山水相结合的《水乡春意》图，被遴选赴上海、北京、加拿大等地展出，后被故宫博物院收藏。因学业出类拔萃，杜巽被潘天寿院长指名留校任教，这在潘老所授百千爱徒中，获此殊荣者仅二人。那时候的杜巽作为莘莘学子中的佼佼者，被视为未来的“希望之星”。
1965年夏，杜巽因才艺出众，应中央文化部之召参与人民大会堂西藏厅的设计布置，并随中央代表团深入西藏腹地及川藏公路写生采风，历时四月有余，他精心创作的人物画《羌塘草原之春》，曾被人民大会堂布展收藏。
然而，正当画家在艺海中乘风扬帆之时，却被卷入“文革”风暴，人生之路大起大落。所幸的是他尔后又重拾画笔，继续自己的艺术生涯。
上世纪80年代后期，杜巽在天目山区青山湖畔工作与生活了一段时期，那里蔚郁秀丽的山水景色燃起了他对山水画的炽烈之情。他决心进一步系统研习山水画传统技法，对宋人小品和元、明、清名家名画无不潜心临习。他将构图灵动别致、景象壮观宏伟、线条和谐完美、人物刻画和景物描绘形神毕肖的北宋张择端的《清明上河图》作为自己的学习范本，多次精心临摹，每次临摹时间均长达四个月。他常常夜以继日，废寝忘食，深掘中国画长卷内蕴，细细揣摩画家概括生活与提炼题材诸方面的高度组织技巧和表现能力，还专门撰写了一篇题为《中国山水画长卷溯源》的学术论文。著名山水画大师陆俨少先生仙逝前一年，观看了他的第三卷临本后赞叹不已，在引首题曰：“可下真迹一等”。
精心临摹《清明上河图》为杜巽日后长卷画艺术创作夯实了基础，又由于青年时代西藏的采风写生之行久久萦回于心中，20年后他激起了欲将神秘瑰丽的西藏绘成长卷之念。于是他再次踏上了“西藏万里行”的艺术征途，只身远涉丝绸古道，漫游八百里秦川，西出阳关遥望昆仑嘉峪，深入新疆戈壁腹地，这次“远征”行程长达1.4万公里，燃起了他描绘西藏的灵感与激情，于是，一个雄浑壮阔、圣洁美丽的长达40余米、宽41厘米的纸本设色巨幅长卷《西藏万里行》在画家笔端脱颖而出，它艺术地再现了峥嵘的横断山脉、皑皑的雪域群山、莽莽苍苍的原始森林、浩淼宁谧的高原圣湖、辽阔壮美的羌塘草原以及孕育了东亚远古文明的雅鲁藏布江和银峰高耸的喜玛拉雅、金碧辉煌的布达拉宫等。此画运用全景式构图、散点透视等中国山水画“咫尺千里之趣”的表现手法，以首尾连贯、极富变化的宏大结构、有张有弛的无穷变幻，对西藏的风情物貌进行了重新组合，达到新的艺术审美高度。此外，杜巽的新近创作的另一幅18米的长卷《江南古镇》，同样以构图宏大严谨、线条流畅遒劲的手法巧取江南六大古镇周庄、同里、直、乌镇、南浔、西塘之精华，评论界称此长卷“填补传统山水画描绘水乡民俗之空白”，被誉为“现代清明上河图”。
近年来杜巽以长卷和巨幅山水彪炳画坛，一时名闻遐迩，此外他的雪景山水画也成了“杜氏一绝”：杜巽所绘的一幅幅独辟蹊径的雪景，大都取材于江南水乡之冬。他用皴纸法绘制，整幅画卷用夸张独特的构图意识、凝炼精奇的用笔、以黑为主辅以淡彩的基调加以精莹洁白的大块空白，使画面在清润毓秀中饱含苍茫浑厚的神韵，如梦似幻，达到“超以物象，得其环中”的佳境。王伯敏先生称其“用笔绵密，笔胜于墨，一点一拂，神采飘然”。
今年5月，杭州六和文化会所为杜巽举办了《杜巽画集》首发式暨画展。《杜巽画集》分山水卷、山水小品卷、长卷、人物卷、指画卷和异国风情卷，可谓洋洋大观，精彩纷呈。杭州西湖国画艺术研究院同时主办了杜巽作品研讨会，与会者都对杜巽在艺术上取得的成就给予高度评价，著名花鸟画大家卢坤峰教授称杜巽为“当今中国画坛不可多得之全才也。举凡山水、人物、花卉之属，无不精能”；王伯敏先生为《杜巽画集·山水卷》作《序》说，杜巽是位非常有作为的画家，不论画千山或万树，画行云或流水，无不“于施巧中而藏拙”，或“与拙味中而见巧趣”，获得这个成就是不容易的。他认为，杜巽的画还未定型。不少山水画前辈如黄宾虹早学晚成熟，七十岁作画未定型，到了八十岁画法大变，豁然神化。王伯敏说，杜巽的艺术有潜力、有发展的远大前景，预祝他今后“细研一斗墨，不只是落笔可人，还必将是落笔惊人”。
杜巽从教42年，从艺50余载，依然孜孜不息，视艺术家的一生是洗骨伐髓、苦修终身的一生。著名画家孔仲起、吴山明等诸多学友，希望杜巽继续保持周密不苟的创作特色，发展求索成果，使生活更斑斓，作品更璀璨，渐臻艺术至境！
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 PanÕs 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)
杜巽，原名英信，祖籍浙江宁波，1940年生于上海，自幼沐浴在浙东青山绿水的大自然中，对江南水乡的田园风光有着深深的眷恋之情。1955年考入中央美院华东分院附中，1958年以优异成绩破格升入浙江美术学院中国画系，受业于潘天寿、陆抑非、陆维钊、陆俨少、周昌谷、李震坚等名家大师。在校时主攻人物，山水也佳。毕业时他创作的表现江南风情、人物与山水相结合的《水乡春意》图，被遴选赴上海、北京、加拿大等地展出，后被故宫博物院收藏。因学业出类拔萃，杜巽被潘天寿院长指名留校任教，这在潘老所授百千爱徒中，获此殊荣者仅二人。那时候的杜巽作为莘莘学子中的佼佼者，被视为未来的“希望之星”。
1965年夏，杜巽因才艺出众，应中央文化部之召参与人民大会堂西藏厅的设计布置，并随中央代表团深入西藏腹地及川藏公路写生采风，历时四月有余，他精心创作的人物画《羌塘草原之春》，曾被人民大会堂布展收藏。
然而，正当画家在艺海中乘风扬帆之时，却被卷入“文革”风暴，人生之路大起大落。所幸的是他尔后又重拾画笔，继续自己的艺术生涯。
上世纪80年代后期，杜巽在天目山区青山湖畔工作与生活了一段时期，那里蔚郁秀丽的山水景色燃起了他对山水画的炽烈之情。他决心进一步系统研习山水画传统技法，对宋人小品和元、明、清名家名画无不潜心临习。他将构图灵动别致、景象壮观宏伟、线条和谐完美、人物刻画和景物描绘形神毕肖的北宋张择端的《清明上河图》作为自己的学习范本，多次精心临摹，每次临摹时间均长达四个月。他常常夜以继日，废寝忘食，深掘中国画长卷内蕴，细细揣摩画家概括生活与提炼题材诸方面的高度组织技巧和表现能力，还专门撰写了一篇题为《中国山水画长卷溯源》的学术论文。著名山水画大师陆俨少先生仙逝前一年，观看了他的第三卷临本后赞叹不已，在引首题曰：“可下真迹一等”。
精心临摹《清明上河图》为杜巽日后长卷画艺术创作夯实了基础，又由于青年时代西藏的采风写生之行久久萦回于心中，20年后他激起了欲将神秘瑰丽的西藏绘成长卷之念。于是他再次踏上了“西藏万里行”的艺术征途，只身远涉丝绸古道，漫游八百里秦川，西出阳关遥望昆仑嘉峪，深入新疆戈壁腹地，这次“远征”行程长达1.4万公里，燃起了他描绘西藏的灵感与激情，于是，一个雄浑壮阔、圣洁美丽的长达40余米、宽41厘米的纸本设色巨幅长卷《西藏万里行》在画家笔端脱颖而出，它艺术地再现了峥嵘的横断山脉、皑皑的雪域群山、莽莽苍苍的原始森林、浩淼宁谧的高原圣湖、辽阔壮美的羌塘草原以及孕育了东亚远古文明的雅鲁藏布江和银峰高耸的喜玛拉雅、金碧辉煌的布达拉宫等。此画运用全景式构图、散点透视等中国山水画“咫尺千里之趣”的表现手法，以首尾连贯、极富变化的宏大结构、有张有弛的无穷变幻，对西藏的风情物貌进行了重新组合，达到新的艺术审美高度。此外，杜巽的新近创作的另一幅18米的长卷《江南古镇》，同样以构图宏大严谨、线条流畅遒劲的手法巧取江南六大古镇周庄、同里、直、乌镇、南浔、西塘之精华，评论界称此长卷“填补传统山水画描绘水乡民俗之空白”，被誉为“现代清明上河图”。
近年来杜巽以长卷和巨幅山水彪炳画坛，一时名闻遐迩，此外他的雪景山水画也成了“杜氏一绝”：杜巽所绘的一幅幅独辟蹊径的雪景，大都取材于江南水乡之冬。他用皴纸法绘制，整幅画卷用夸张独特的构图意识、凝炼精奇的用笔、以黑为主辅以淡彩的基调加以精莹洁白的大块空白，使画面在清润毓秀中饱含苍茫浑厚的神韵，如梦似幻，达到“超以物象，得其环中”的佳境。王伯敏先生称其“用笔绵密，笔胜于墨，一点一拂，神采飘然”。
今年5月，杭州六和文化会所为杜巽举办了《杜巽画集》首发式暨画展。《杜巽画集》分山水卷、山水小品卷、长卷、人物卷、指画卷和异国风情卷，可谓洋洋大观，精彩纷呈。杭州西湖国画艺术研究院同时主办了杜巽作品研讨会，与会者都对杜巽在艺术上取得的成就给予高度评价，著名花鸟画大家卢坤峰教授称杜巽为“当今中国画坛不可多得之全才也。举凡山水、人物、花卉之属，无不精能”；王伯敏先生为《杜巽画集·山水卷》作《序》说，杜巽是位非常有作为的画家，不论画千山或万树，画行云或流水，无不“于施巧中而藏拙”，或“与拙味中而见巧趣”，获得这个成就是不容易的。他认为，杜巽的画还未定型。不少山水画前辈如黄宾虹早学晚成熟，七十岁作画未定型，到了八十岁画法大变，豁然神化。王伯敏说，杜巽的艺术有潜力、有发展的远大前景，预祝他今后“细研一斗墨，不只是落笔可人，还必将是落笔惊人”。
杜巽从教42年，从艺50余载，依然孜孜不息，视艺术家的一生是洗骨伐髓、苦修终身的一生。著名画家孔仲起、吴山明等诸多学友，希望杜巽继续保持周密不苟的创作特色，发展求索成果，使生活更斑斓，作品更璀璨，渐臻艺术至境！
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 PanÕs 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)