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五一节前后，北京高大的马缨花树散发出阵阵幽香，记者在一个风和日丽的上午，首次访问了著名画家裘沙先生和王伟君女士。裘沙和他的大儿子裘小鲁整天伏在电脑前绘画八年，终于编成了他们用心血凝结的著作《世界之鲁迅画传》。有关专家称，这是一部记叙鲁迅最为详尽的作品，使“鲁迅之世界”走向了“世界之鲁迅”，其学术价值是无法衡量的。今年元旦，《文化交流》又收到了他们为纪念鲁迅“取今复古，别立新宗100周年”而制作的新年贺卡。
34年前，历尽坎坷的裘沙及其夫人王伟君女士，决心把自己的后半生奉献给弘扬与传播鲁迅的事业。从创作《又为斯民哭健儿》到现在，他们从夫妻俩到第二代、第三代全家都投入了这一事业，他们收集了大量有关鲁迅的图片，创作了将近2000幅关于鲁迅的绘画作品，先后举办25次纪念鲁迅的个人画展，在国内外引起强烈反响。楼适夷说《阿Q正传二百图》“真正画出了鲁迅笔下的阿Q”，夫妇俩合作的画集，由人民美术出版社、香港中文大学出版社、日本岩波书店、法国LELIVER DE POCHE等出版社分别用中、日、法、英四种文字出版。经过这34年的拼搏，至今，他们创作的《鲁迅之世界画集》包含了《鲁迅全集》每一篇文章的作品之图。
喜为“鲁迅狂”
曾有人称裘沙为“鲁迅狂”，记者问裘沙对此怎么看?他坦率地回答说：“有人这样说过我，我自己没有这样说，但这也是事实。”他在中学一年级就崇拜鲁迅，1946年开始正式学画不久，就设法找到鲁迅病中编辑、出版的德国版画家《凯绥·珂勒惠支版画集》。1948年他在全国木刻协会学习木刻，为函授班第二期学员，1949年9月进杭州国立艺术专科学校（现为中国美术学院）学习，1951年3月提前毕业后到中国青年报社任美术编辑、记者、美术组组长等职。在团中央第一书记胡耀邦领导下，成为我国新闻战线一名活跃的画家。王伟君解放前也在杭州国立艺专西湖艺术研究所学习，专攻油画，1949年5月参加中国人民解放军，1951年参加中国人民志愿军赴朝鲜前线，1953年回国深造，1956年调共青团中央工作。在艺术上，她也是一位珂勒惠支的崇拜者，1957年他们因艺术志趣相同而结婚。1972年，夫妇俩又在逆境中感悟到鲁迅思想的真谛，于是，他们不计个人得失成败，全身心地投入了传播鲁迅的事业。他们1981年在北京举办了第一次纪念鲁迅的个人画展，1986年应邀访日并于东京、仙台举办画展，美国、意大利、韩国、英国、挪威、法国、秘鲁等国学者、记者的相继来访，进一步促使他们感悟到鲁迅思想的世界意义，于是他们又进一步从世界大视野中对“鲁迅主义”的全面深入探索。
第一次画鲁迅
谈到第一次画鲁迅的感觉，裘沙说，我第一次画鲁迅，是在1956年。这年全国纪念鲁迅逝世20周年，活动很多，北京鲁迅博物馆也是这一年落成的。中国青年报文艺部的同志叫我为文艺副刊画一幅鲁迅和郭沫若站在一起的素描，中国少年报的美编也叫我给周建人先生的女儿周晔所写的回忆文章配两幅插图。我记不清其中哪一幅是我画鲁迅的第一幅作品了，鲁迅是中国文化革命的主将，能为鲁迅先生的纪念活动献上一幅小画，心里很高兴。第二年，王伟君还专程到绍兴鲁迅故居去住了几天，画了一批很有价值的油画速写。裘沙说：“等到1972年，经历了‘文革’的空前浩劫、感悟到鲁迅思想的真谛之后，我们在劫难中拿起画笔为鲁迅造像，心情就更不同了：我们心中充满了为鲁迅事业而献身的激情！这就是我后来自称‘阿难’的那种心情。”
他理解的“鲁迅新宗”
2006年是鲁迅先生逝世70周年，所有热爱鲁迅的人们都以自己独特的方式纪念我们的“民族魂”。而裘沙做的，则是深刻探究鲁迅思想的真谛。他经过30余年的探索，认为鲁迅先生在1907年于《文化偏至论》中所宣告的“取今复古，别立新宗”的“新宗”便是鲁迅思想的精髓。从“鲁迅之世界”到“世界之鲁迅”，他们创作的主题向跨越时空的“鲁迅主义”进发，让为鲁迅先生所提出的建立“人国”的理想，便是中国古代思想家所提出的“立人”思想。鲁迅先生的“世界之思潮”，是指“人的解放”大潮。正如鲁迅先生在《文化偏至论》一文所说：“是故将生存两间，角逐列国是务，其首在立人，人立而凡事举；若其道术，乃必尊个性而张精神。假不如是，槁丧且不俟夫一世。”鲁迅先生从世界形势中希望能建立的“人国”，便是这样一个既互相尊重各自的个性，又共同张扬崇高精神的、充满“诚和爱”的和谐社会。可以说，这是鲁迅先生一生事业的思想纲领。过去大家认为，这只是一个无法实现的乌托邦，但它与今天中央提出的建立和谐社会是相吻合的。
力主建“世界之鲁迅”美术馆
裘沙与夫人王伟君为探索、弘扬与传播鲁迅新宗，几十年如一日地拼搏，付出的代价实在太大了！他们因此而被视为“狂人”也是顺理成章的事。鲁迅先生自己早就说过：“人生得一知己足矣，斯世当以同怀视之。”他们夫妇俩志同道合，殚精竭虑，可以说把自己的一生都贡献给了绘画与诠释鲁迅的事业。为此，上海鲁迅纪念馆在朝华文库中设立了“裘沙、王伟君专库”。
现在，他们已经完成了“鲁迅之世界”到“世界之鲁迅”这两大系列，并详细诠释了《文化偏至论》等五篇鲁迅用文言写成的重要论文，以后他们还要做些什么呢？裘沙说：最后还想完成的一个任务，那就是希望有一大间普通的房子，能像敦煌莫高窟的某一窟那样，或者像罗马梵蒂冈西斯廷礼拜堂那样，或者像曲阜大成殿最后一殿那样，建起一座“世界之鲁迅”的美术馆，在四壁画上一套能极其精炼地展示出这位“新中国圣人”世界意义的壁画，以供国内外热爱人类进步事业的人们瞻仰。
Lifelong Craze for Lu Xun
By Qian Rouyi
I visited eminent painter Qiu Sha and his wife Wang Weijun one breezy and sunny morning in May, 2006. Qiu Sha and his eldest son Qiu Xiaolu had spent eight years painting A Pictorial Biography of the International Lu Xun. Some experts believe that the biography, by far the most complete and detailed work on the Chinese literary master of the 20th century, has turned Lu Xun’s world into the world’s Lu Xun. The Cultural Dialogue received a New Year card from the couple the other day. It was made in memory of Lu Xun’s significant role in a century when China waved farewell to the past and welcomed a new era.
The pictorial biography is not an outcome of impulse or whim of Qiu Sha and his wife. As early as 34 years ago, they were determined to devote their shared life to the crusade of promoting and disseminating Lu Xun back. Over the decades since then, the couple and their children and grandchildren have thrown themselves to the cause. So far, they have collected a great deal of photographs of Lu Xun and created nearly 2,000 paintings of Lu Xun. They have successfully staged 25 painting exhibitions on the great thinker and literary master. The husband and wife’s joint painting collections have been published at home and abroad in Chinese, Japanese, French and English. The latest biography has paintings for each of the articles in the Complete Works of Lu Xun.
Qiu Sha admired Lu Xun when he was in the first year of middle school. Shortly after he began learning fine art in 1946, he managed to acquire A Collection of Prints by Kathe Kollwitz edited and published by Lu Xun. In 1948, he studied woodcut at the National Woodcut Association. In 1949, he studied at the National Fine Arts School (today’s China Academy of Arts based in Hangzhou) and graduated in March, 1951 and worked for China Youth Daily. Wang Weijun was in the Korean War as an artist. She was an admirer of Kathe Kollwitz long before she met Qiu Sha. The likemindedness brought them together and the two married in 1957.
It was in 1972 during the Cultural Revolution (1966-1976) that the couple got to understand the truth of Lu Xun’s ideas about China and decided to do everything possible to promote Lu Xun in the way they knew as artists. Their first exhibition in memory of Lu Xun was held in Beijing in 1981. In 1986, they were invited to hold their exhibitions in Tokyo and Sendai of Japan, where Lu Xun once studied and lived. Noticing their unique dedication to Lu Xun, the international media have covered the couple extensively, which, in turn, has made the couple more aware of the international importance of Lu Xun’s thinking. They have explored in depth the significance of what they call the Lu-Xun-ism from an international perspective.
Qiu Sha remembers clearly his first effort to paint Lu Xun in 1956 when the country memorialized the 20th anniversary of the master’s demise. The Lu Xun Museum in Beijing was built that year and many memorial activities were held in the same year.Qiu drew a few illustrations to go with an essayfor the literary supplement of China Youth Daily. In 1957, Wang Weijun stayed for a few days at Lu Xun’s former residence in Shaoxing, Zhejiang Province and created a few oil paintings there. By 1972 they had experienced the brunt of the brutal chaos unleashed by the Cultural Revolution, which turned their admiration for Lu Xun to an understanding of the value of the master for the country. Since then they have painted Lu Xun with a different emotion.
The year 2006 marked the 70th anniversary of the master’s demise, people across the country commemorated the great writer in various ways and Qiu Sha explored the essence of Lu Xun’s thought. Qiu Sha believes that the essence of Lu Xun’s thought can be attributed to a new ideology for the country the master mentioned in a literary critique in 1917.
Qiu Sha and his wife Wang Weijun are known to some people as the crazy couple. For decades of their individual campaign, they have paid a dear price. Today, their understanding of Lu Xun and their craze for the great writer have become more accessible to more people. The Shanghai Lu Xun Museum has assigned a specific space to the couple’s works in its library.
By now, they have completed their dream series about Lu Xun’s world and the world’s Lu Xun and annotated Lu Xun’s early five essays in the classical style of writing, which they believe embody the essence of Lu Xun’s thought. Their last dream is to have a large space, like a grotto in the Mogao Grottos in Gansu Province, where they can paint frescos on the four walls to illustrate the significance of the “Saint of New China”for people to admire.
(Translated by David)
34年前，历尽坎坷的裘沙及其夫人王伟君女士，决心把自己的后半生奉献给弘扬与传播鲁迅的事业。从创作《又为斯民哭健儿》到现在，他们从夫妻俩到第二代、第三代全家都投入了这一事业，他们收集了大量有关鲁迅的图片，创作了将近2000幅关于鲁迅的绘画作品，先后举办25次纪念鲁迅的个人画展，在国内外引起强烈反响。楼适夷说《阿Q正传二百图》“真正画出了鲁迅笔下的阿Q”，夫妇俩合作的画集，由人民美术出版社、香港中文大学出版社、日本岩波书店、法国LELIVER DE POCHE等出版社分别用中、日、法、英四种文字出版。经过这34年的拼搏，至今，他们创作的《鲁迅之世界画集》包含了《鲁迅全集》每一篇文章的作品之图。
喜为“鲁迅狂”
曾有人称裘沙为“鲁迅狂”，记者问裘沙对此怎么看?他坦率地回答说：“有人这样说过我，我自己没有这样说，但这也是事实。”他在中学一年级就崇拜鲁迅，1946年开始正式学画不久，就设法找到鲁迅病中编辑、出版的德国版画家《凯绥·珂勒惠支版画集》。1948年他在全国木刻协会学习木刻，为函授班第二期学员，1949年9月进杭州国立艺术专科学校（现为中国美术学院）学习，1951年3月提前毕业后到中国青年报社任美术编辑、记者、美术组组长等职。在团中央第一书记胡耀邦领导下，成为我国新闻战线一名活跃的画家。王伟君解放前也在杭州国立艺专西湖艺术研究所学习，专攻油画，1949年5月参加中国人民解放军，1951年参加中国人民志愿军赴朝鲜前线，1953年回国深造，1956年调共青团中央工作。在艺术上，她也是一位珂勒惠支的崇拜者，1957年他们因艺术志趣相同而结婚。1972年，夫妇俩又在逆境中感悟到鲁迅思想的真谛，于是，他们不计个人得失成败，全身心地投入了传播鲁迅的事业。他们1981年在北京举办了第一次纪念鲁迅的个人画展，1986年应邀访日并于东京、仙台举办画展，美国、意大利、韩国、英国、挪威、法国、秘鲁等国学者、记者的相继来访，进一步促使他们感悟到鲁迅思想的世界意义，于是他们又进一步从世界大视野中对“鲁迅主义”的全面深入探索。
第一次画鲁迅
谈到第一次画鲁迅的感觉，裘沙说，我第一次画鲁迅，是在1956年。这年全国纪念鲁迅逝世20周年，活动很多，北京鲁迅博物馆也是这一年落成的。中国青年报文艺部的同志叫我为文艺副刊画一幅鲁迅和郭沫若站在一起的素描，中国少年报的美编也叫我给周建人先生的女儿周晔所写的回忆文章配两幅插图。我记不清其中哪一幅是我画鲁迅的第一幅作品了，鲁迅是中国文化革命的主将，能为鲁迅先生的纪念活动献上一幅小画，心里很高兴。第二年，王伟君还专程到绍兴鲁迅故居去住了几天，画了一批很有价值的油画速写。裘沙说：“等到1972年，经历了‘文革’的空前浩劫、感悟到鲁迅思想的真谛之后，我们在劫难中拿起画笔为鲁迅造像，心情就更不同了：我们心中充满了为鲁迅事业而献身的激情！这就是我后来自称‘阿难’的那种心情。”
他理解的“鲁迅新宗”
2006年是鲁迅先生逝世70周年，所有热爱鲁迅的人们都以自己独特的方式纪念我们的“民族魂”。而裘沙做的，则是深刻探究鲁迅思想的真谛。他经过30余年的探索，认为鲁迅先生在1907年于《文化偏至论》中所宣告的“取今复古，别立新宗”的“新宗”便是鲁迅思想的精髓。从“鲁迅之世界”到“世界之鲁迅”，他们创作的主题向跨越时空的“鲁迅主义”进发，让为鲁迅先生所提出的建立“人国”的理想，便是中国古代思想家所提出的“立人”思想。鲁迅先生的“世界之思潮”，是指“人的解放”大潮。正如鲁迅先生在《文化偏至论》一文所说：“是故将生存两间，角逐列国是务，其首在立人，人立而凡事举；若其道术，乃必尊个性而张精神。假不如是，槁丧且不俟夫一世。”鲁迅先生从世界形势中希望能建立的“人国”，便是这样一个既互相尊重各自的个性，又共同张扬崇高精神的、充满“诚和爱”的和谐社会。可以说，这是鲁迅先生一生事业的思想纲领。过去大家认为，这只是一个无法实现的乌托邦，但它与今天中央提出的建立和谐社会是相吻合的。
力主建“世界之鲁迅”美术馆
裘沙与夫人王伟君为探索、弘扬与传播鲁迅新宗，几十年如一日地拼搏，付出的代价实在太大了！他们因此而被视为“狂人”也是顺理成章的事。鲁迅先生自己早就说过：“人生得一知己足矣，斯世当以同怀视之。”他们夫妇俩志同道合，殚精竭虑，可以说把自己的一生都贡献给了绘画与诠释鲁迅的事业。为此，上海鲁迅纪念馆在朝华文库中设立了“裘沙、王伟君专库”。
现在，他们已经完成了“鲁迅之世界”到“世界之鲁迅”这两大系列，并详细诠释了《文化偏至论》等五篇鲁迅用文言写成的重要论文，以后他们还要做些什么呢？裘沙说：最后还想完成的一个任务，那就是希望有一大间普通的房子，能像敦煌莫高窟的某一窟那样，或者像罗马梵蒂冈西斯廷礼拜堂那样，或者像曲阜大成殿最后一殿那样，建起一座“世界之鲁迅”的美术馆，在四壁画上一套能极其精炼地展示出这位“新中国圣人”世界意义的壁画，以供国内外热爱人类进步事业的人们瞻仰。
Lifelong Craze for Lu Xun
By Qian Rouyi
I visited eminent painter Qiu Sha and his wife Wang Weijun one breezy and sunny morning in May, 2006. Qiu Sha and his eldest son Qiu Xiaolu had spent eight years painting A Pictorial Biography of the International Lu Xun. Some experts believe that the biography, by far the most complete and detailed work on the Chinese literary master of the 20th century, has turned Lu Xun’s world into the world’s Lu Xun. The Cultural Dialogue received a New Year card from the couple the other day. It was made in memory of Lu Xun’s significant role in a century when China waved farewell to the past and welcomed a new era.
The pictorial biography is not an outcome of impulse or whim of Qiu Sha and his wife. As early as 34 years ago, they were determined to devote their shared life to the crusade of promoting and disseminating Lu Xun back. Over the decades since then, the couple and their children and grandchildren have thrown themselves to the cause. So far, they have collected a great deal of photographs of Lu Xun and created nearly 2,000 paintings of Lu Xun. They have successfully staged 25 painting exhibitions on the great thinker and literary master. The husband and wife’s joint painting collections have been published at home and abroad in Chinese, Japanese, French and English. The latest biography has paintings for each of the articles in the Complete Works of Lu Xun.
Qiu Sha admired Lu Xun when he was in the first year of middle school. Shortly after he began learning fine art in 1946, he managed to acquire A Collection of Prints by Kathe Kollwitz edited and published by Lu Xun. In 1948, he studied woodcut at the National Woodcut Association. In 1949, he studied at the National Fine Arts School (today’s China Academy of Arts based in Hangzhou) and graduated in March, 1951 and worked for China Youth Daily. Wang Weijun was in the Korean War as an artist. She was an admirer of Kathe Kollwitz long before she met Qiu Sha. The likemindedness brought them together and the two married in 1957.
It was in 1972 during the Cultural Revolution (1966-1976) that the couple got to understand the truth of Lu Xun’s ideas about China and decided to do everything possible to promote Lu Xun in the way they knew as artists. Their first exhibition in memory of Lu Xun was held in Beijing in 1981. In 1986, they were invited to hold their exhibitions in Tokyo and Sendai of Japan, where Lu Xun once studied and lived. Noticing their unique dedication to Lu Xun, the international media have covered the couple extensively, which, in turn, has made the couple more aware of the international importance of Lu Xun’s thinking. They have explored in depth the significance of what they call the Lu-Xun-ism from an international perspective.
Qiu Sha remembers clearly his first effort to paint Lu Xun in 1956 when the country memorialized the 20th anniversary of the master’s demise. The Lu Xun Museum in Beijing was built that year and many memorial activities were held in the same year.Qiu drew a few illustrations to go with an essayfor the literary supplement of China Youth Daily. In 1957, Wang Weijun stayed for a few days at Lu Xun’s former residence in Shaoxing, Zhejiang Province and created a few oil paintings there. By 1972 they had experienced the brunt of the brutal chaos unleashed by the Cultural Revolution, which turned their admiration for Lu Xun to an understanding of the value of the master for the country. Since then they have painted Lu Xun with a different emotion.
The year 2006 marked the 70th anniversary of the master’s demise, people across the country commemorated the great writer in various ways and Qiu Sha explored the essence of Lu Xun’s thought. Qiu Sha believes that the essence of Lu Xun’s thought can be attributed to a new ideology for the country the master mentioned in a literary critique in 1917.
Qiu Sha and his wife Wang Weijun are known to some people as the crazy couple. For decades of their individual campaign, they have paid a dear price. Today, their understanding of Lu Xun and their craze for the great writer have become more accessible to more people. The Shanghai Lu Xun Museum has assigned a specific space to the couple’s works in its library.
By now, they have completed their dream series about Lu Xun’s world and the world’s Lu Xun and annotated Lu Xun’s early five essays in the classical style of writing, which they believe embody the essence of Lu Xun’s thought. Their last dream is to have a large space, like a grotto in the Mogao Grottos in Gansu Province, where they can paint frescos on the four walls to illustrate the significance of the “Saint of New China”for people to admire.
(Translated by David)