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也许是因为不久前我写过一本《曾宓评传》的缘故，《文化交流》杂志于曾宓先生在浙江博物馆举办个人画展并将展出作品捐赠给浙江省博物馆的前一天打电话给我，希望我能够就此写一篇文章。
当即与曾先生联系，可是曾先生表示最好不要写。这是因为曾先生一直很低调，不想就此事来一番操作，他是真诚的。之所以还是动笔，一则因为《文化交流》杂志的编辑是我十多年前就很熟悉的老朋友，再则这是文化杂志内容的需要，我不动笔杂志照样也会刊登这方面内容的文章，何况艺术家捐赠作品给博物馆是艺林佳话，在当下这样的环境里是很需要大力弘扬的事情。
3月15日，“山水清音——曾宓作品展”开幕式暨作品藏品捐赠仪式在浙江西湖美术馆举行，曾宓先生将66幅经过精心挑选的作品及珍藏多年的20件唐、宋、明和近代等各个年代的文物古玩一起捐赠给了浙江省博物馆。浙江省博物馆常务副馆长陈浩称：当代著名画家一次性向博物馆捐献如此多精美作品，这在浙博的历史上十分罕见。
为表彰曾宓先生的义举，浙江省文化厅代表浙江省人民政府向曾宓先生颁发了奖状和奖金，浙江省博物馆也向曾先生颁发了收藏证书。
曾宓，号三石楼主，1933年冬出生在福州东街一个名叫竹林里的知识分子家庭，1962年毕业于浙江美术学院中国画系，为浙江画院专职画家、国家一级美术师，六、七、八届浙江省政协委员，获国务院“有突出贡献专家”称号，享受国务院颁发的政府特殊津贴。
无论山水、花鸟、人物画曾宓都能够随意挥洒，从心所欲不逾矩。因此，他的作品也充满了生活情趣，最胜人之处在于能够有感而发自出机杼，这或许就是画家自己所说的随缘性。
曾宓是中国画坛一位极有个性、笔墨精湛而富有情趣、艺术观念开放、思想敏锐的画家，他的绘画作品笔墨粗犷酣畅，意在笔先，浑厚华滋。在他的画中既保留了传统文人画中的那种天籁、率意、自在、朴拙，在形式上又融入了西方绘画的构成，传统笔墨与现代构成有机结合，具有极强的视觉冲击力，功力十分深厚。
曾宓在他的作品中吸收、融合、发展了黄宾虹的笔墨、潘天寿的构图、林风眠的色彩，而且常常富有丰子恺的情趣与慧心。当然，尽管曾宓像一只蜂蜜辛勤采花百家，最后酿就的还是他自我风格的“真蜜(曾宓)”。
这次展出与捐赠的作品，反映了曾先生历年来的艺术里程和艺术成就。山水画《山间小屋》《山水清音》《牧归》笔墨精到，平面和空间构成很见匠心，典型地反映了曾宓的画风；人物画《月上柳梢》《七月流火》《爱之歌》线条沉着简练，体现出画家对生活的热爱和观察生活的细微；而《望子成龙》《雨中行》又充满着画家对现实的思考，融入了画家的创作激情。
还有两幅画是曾宓在美院上学期间的习作，一幅是《临任伯年仕女图》，另一幅是临黄宾虹的《秋山萧寺图》。那幅《秋山萧寺图》还有一个与潘天寿有关的故事：曾宓在美院上学的时候，当时学院并不提倡学生学习黄宾虹，因为美院生怕学生在没有领会到黄老先生的笔墨精髓之前，就染上老气横秋的习气。
课堂上没有安排临习黄宾虹的画，曾宓就在星期天自己悄悄地临摹，慢慢地体会，临毕他将这幅临黄宾虹的习作挂在教室墙上忘了取下来。第二天大清早，一个颀长的身影在教室里踱来踱去，那是潘天寿院长。潘天寿在曾宓临习黄宾虹先生的习作下停住了脚步，默默地注视了一会。曾宓与同学们一见院长发现了此画，不由得心头一阵紧张，猜想这下准会挨批了!但这位作画、治学一向十分严谨的院长，此时嘴角边竟流露出一丝不易察觉的微笑，他讲了一句使曾宓也使在场的同学深感意外的话：“黄宾虹的画，曾宓倒是可以临习的。”这个评语证明了曾宓当时对黄宾虹的理解，这也是研究曾宓画风形成的一件难得珍品。
曾宓是一位学养深厚、更是一位严肃而有责任感的画家。他认为人们需要艺术，就是因为艺术生动、鲜活能感化心灵。
曾宓的画在艺术品拍卖会上被爱好者、收藏家连连追捧，作品在艺术市场上价格坚挺，但曾宓想得很远，他觉得作为一个有成就的画家，更应该做到宠辱不惊，保持一种过俭朴生活的绿色理念。正因为他那平凡而崇高的社会使命感，使他萌生了把自己的艺术精品捐献给博物馆的想法，并且得到家人的支持。曾宓先生说：“我是国家培养的画家，我的理想就是把艺术奉献给国家，而我的作品进入到浙江博物馆，是它们最理想的归宿。”他觉得自己创作的艺术作品能够进博物馆垂范后世，对艺术家而言实在是一种无上的荣耀。他有画语云：“艺术思想之光，只能在不知不觉中照进人的心灵，而这不知不觉的渠道，只有是被净化了的自然形态，因为整个人类是在大自然的怀抱中走过来的。”
大自然的山山水水，哺育了一个优秀的画家。曾宓通过自己的创作，把作品本身蕴涵的精神寄托与社会价值奉献给人们的同时，又完成了一件宏大的行为艺术——把自己的精心之作捐献给博物馆，让美术作品最大限度地发挥出它的艺术价值和社会价值，这确实是一种值得大力颂扬的文明!
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)
当即与曾先生联系，可是曾先生表示最好不要写。这是因为曾先生一直很低调，不想就此事来一番操作，他是真诚的。之所以还是动笔，一则因为《文化交流》杂志的编辑是我十多年前就很熟悉的老朋友，再则这是文化杂志内容的需要，我不动笔杂志照样也会刊登这方面内容的文章，何况艺术家捐赠作品给博物馆是艺林佳话，在当下这样的环境里是很需要大力弘扬的事情。
3月15日，“山水清音——曾宓作品展”开幕式暨作品藏品捐赠仪式在浙江西湖美术馆举行，曾宓先生将66幅经过精心挑选的作品及珍藏多年的20件唐、宋、明和近代等各个年代的文物古玩一起捐赠给了浙江省博物馆。浙江省博物馆常务副馆长陈浩称：当代著名画家一次性向博物馆捐献如此多精美作品，这在浙博的历史上十分罕见。
为表彰曾宓先生的义举，浙江省文化厅代表浙江省人民政府向曾宓先生颁发了奖状和奖金，浙江省博物馆也向曾先生颁发了收藏证书。
曾宓，号三石楼主，1933年冬出生在福州东街一个名叫竹林里的知识分子家庭，1962年毕业于浙江美术学院中国画系，为浙江画院专职画家、国家一级美术师，六、七、八届浙江省政协委员，获国务院“有突出贡献专家”称号，享受国务院颁发的政府特殊津贴。
无论山水、花鸟、人物画曾宓都能够随意挥洒，从心所欲不逾矩。因此，他的作品也充满了生活情趣，最胜人之处在于能够有感而发自出机杼，这或许就是画家自己所说的随缘性。
曾宓是中国画坛一位极有个性、笔墨精湛而富有情趣、艺术观念开放、思想敏锐的画家，他的绘画作品笔墨粗犷酣畅，意在笔先，浑厚华滋。在他的画中既保留了传统文人画中的那种天籁、率意、自在、朴拙，在形式上又融入了西方绘画的构成，传统笔墨与现代构成有机结合，具有极强的视觉冲击力，功力十分深厚。
曾宓在他的作品中吸收、融合、发展了黄宾虹的笔墨、潘天寿的构图、林风眠的色彩，而且常常富有丰子恺的情趣与慧心。当然，尽管曾宓像一只蜂蜜辛勤采花百家，最后酿就的还是他自我风格的“真蜜(曾宓)”。
这次展出与捐赠的作品，反映了曾先生历年来的艺术里程和艺术成就。山水画《山间小屋》《山水清音》《牧归》笔墨精到，平面和空间构成很见匠心，典型地反映了曾宓的画风；人物画《月上柳梢》《七月流火》《爱之歌》线条沉着简练，体现出画家对生活的热爱和观察生活的细微；而《望子成龙》《雨中行》又充满着画家对现实的思考，融入了画家的创作激情。
还有两幅画是曾宓在美院上学期间的习作，一幅是《临任伯年仕女图》，另一幅是临黄宾虹的《秋山萧寺图》。那幅《秋山萧寺图》还有一个与潘天寿有关的故事：曾宓在美院上学的时候，当时学院并不提倡学生学习黄宾虹，因为美院生怕学生在没有领会到黄老先生的笔墨精髓之前，就染上老气横秋的习气。
课堂上没有安排临习黄宾虹的画，曾宓就在星期天自己悄悄地临摹，慢慢地体会，临毕他将这幅临黄宾虹的习作挂在教室墙上忘了取下来。第二天大清早，一个颀长的身影在教室里踱来踱去，那是潘天寿院长。潘天寿在曾宓临习黄宾虹先生的习作下停住了脚步，默默地注视了一会。曾宓与同学们一见院长发现了此画，不由得心头一阵紧张，猜想这下准会挨批了!但这位作画、治学一向十分严谨的院长，此时嘴角边竟流露出一丝不易察觉的微笑，他讲了一句使曾宓也使在场的同学深感意外的话：“黄宾虹的画，曾宓倒是可以临习的。”这个评语证明了曾宓当时对黄宾虹的理解，这也是研究曾宓画风形成的一件难得珍品。
曾宓是一位学养深厚、更是一位严肃而有责任感的画家。他认为人们需要艺术，就是因为艺术生动、鲜活能感化心灵。
曾宓的画在艺术品拍卖会上被爱好者、收藏家连连追捧，作品在艺术市场上价格坚挺，但曾宓想得很远，他觉得作为一个有成就的画家，更应该做到宠辱不惊，保持一种过俭朴生活的绿色理念。正因为他那平凡而崇高的社会使命感，使他萌生了把自己的艺术精品捐献给博物馆的想法，并且得到家人的支持。曾宓先生说：“我是国家培养的画家，我的理想就是把艺术奉献给国家，而我的作品进入到浙江博物馆，是它们最理想的归宿。”他觉得自己创作的艺术作品能够进博物馆垂范后世，对艺术家而言实在是一种无上的荣耀。他有画语云：“艺术思想之光，只能在不知不觉中照进人的心灵，而这不知不觉的渠道，只有是被净化了的自然形态，因为整个人类是在大自然的怀抱中走过来的。”
大自然的山山水水，哺育了一个优秀的画家。曾宓通过自己的创作，把作品本身蕴涵的精神寄托与社会价值奉献给人们的同时，又完成了一件宏大的行为艺术——把自己的精心之作捐献给博物馆，让美术作品最大限度地发挥出它的艺术价值和社会价值，这确实是一种值得大力颂扬的文明!
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)