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2017年是20世纪中国画大师潘天寿先生诞辰120周年。5月，“民族翰骨：潘天寿诞辰120周年纪念活动”在北京隆重举行。活动以“潘天寿与文化自信”为主题，不仅意在缅怀大师的卓越贡献，更旨在揭示潘先生对于弘扬中华精神、树立文化自信、传承民族艺术的价值意义。
从2017年12月1日至2018年1月14日，“民族翰骨：潘天寿诞辰120周年纪念大展”作为2017年国家艺术基金传播交流推广项目，移师浙江美术馆展出。展览此番巡回到杭州，回到潘天寿工作和生活的地方，在展示上突出潘天寿的教育形象和教育贡献以及中国画学脉传承的绵延不绝。展览还进一步展现了潘天寿对传统的创造性转化和创新性发展，激励广大文艺工作者坚持文化自信，坚守中国特色，立足中国现实，创作出更多无愧于时代的精品力作，不断铸就中华文化新辉煌。
史上规模最大的潘天寿展览 120余幅代表作讲述艺术人生
作为史上最大规模的潘天寿作品展，本次展览展出来自中国美术馆、潘天寿纪念馆、中国美术学院美术馆、中国美术学院国画系、宁海县文物办、西泠印社等120余幅潘天寿代表作，及其手稿文献等。展览分为“高风峻骨”“饮水生涯”“一味霸悍”“奇崛明豁”“雁荡山花”和“守常达变”六大板块。从艺术风骨、教育贡献、画学思想、笔墨成就、构图章法、写生造化、传承创新等多个方面出发，将画作、画论、诗词编织为一体，全方位地讲述作为艺术家、教育家、画学家的潘天寿，向观众展现这位立体的画史伟人。
“高风峻骨”板块展示潘天寿成熟期的代表性巨作，力求突出潘天寿艺术的最大特点——“风骨”。“一味霸悍”板块重点展现潘天寿作品的笔墨成就。“奇崛明豁”板块聚焦潘天寿在中国画章法上的创造匠心。“雁荡山花”板块以潘天寿20世纪50年代中期开始的雁荡山写生为切入口，展示潘天寿“传统出新”创作之路的思想轨迹和实践求索。“守常达变”板块展示潘天寿在艺术创造上的传承和创新。“饮水生涯”板块通过档案、手稿等文献，全面呈现潘天寿生平、教育贡献和画学思想。
潘天寿家乡宁海还为此次展览出借了潘天寿早年作品，与潘天寿历年作品一起，组成一个完整的笔墨發展脉络，从中可以充分领略潘天寿笔墨上的杰出成就。
多件大作初现浙江 两件巨幅水牛图首次合璧展出
牛是潘天寿重要的艺术创作题材。展览首次将潘天寿两件巨幅水牛图合璧展出。一幅是潘天寿创作于1948年的《耕罢》，由宁海文物办收藏，另一幅是潘天寿纪念馆收藏的创作于20世纪60年代的《夏塘水牛图》。
《耕罢》图中牛背以泼墨和干擦为之，将老牛身上脏兮兮的泥、毛混在一起的状态表现出来。《夏塘水牛图》则气势恢宏，用湿笔把老牛劳动过后到河里洗澡的疲惫不堪状态表现得生动形象。这两幅作品中的牛都画得厚重、怪拙，体现了牛的本性。丑中见美是潘天寿一贯追求的美学本质。
潘天寿生于乡村，长于乡村，对乡村怀有深深的眷恋。他从小便在家旁的山上放牛。这两幅水牛图创作时间虽相隔有十几年，但都表达了潘天寿内心对家乡和童年生活的情感。通过这两件巨幅画作，观众们可以充分领略潘天寿在创作上的精益求精、不断探索。
宽2.65米、长6.85米的《光华旦旦》是潘天寿现存作品中尺寸最大的一幅，是其于1964年应杭州饭店的要求而创作的。画面上，苍鹰劲松，山高水长，潘天寿用雄浑霸悍的笔墨、古雅而辉煌的格调，热烈祝贺祖国生日。画上题诗为《卿云歌》：“卿云烂兮，纠缦缦兮。日月光华，旦复旦兮。1964年新中国成立十五周年国庆，为作卿云歌辞意颂之。”词意是“吉祥的彩云烂漫无边，如同金带迂回舒卷。日月的光华普照，永恒的朝霞满天。”画面意境隽永而昂扬，歌颂了国家的昌盛与永恒。
此幅画作于20年前潘天寿100周年纪念大展及2017年5月的120周年纪念大展时在北京展出过两次。这次在浙江美术馆展出，是这件巨制多年来第一次在浙江公开展示，让观众一饱眼福。
一位真正的创新巨匠 一位坚定的文化传承者
“对民族艺术一定要有自信”，这是潘天寿先生在20世纪五六十年代发出的呼吁。这绝不仅仅是句口号，潘天寿先生是以切实的创新途径和教育方法对传统艺术进行了创造性转化和创新性发展。
在艺术实践上，潘天寿先生坚守传统中国画的特点和高度，有选择地汲取西方艺术营养，直面现代社会和生活的挑战，为中国画的现代性探索做出了杰出贡献，证明了中国画内生的创造活力。
在美术教育上，潘天寿先生是中国近代较早参与传统书画教育模式转型的教育家，是现代中国画和现代书法教育的奠基者，建立了一套独立完整的中国书画教育体系。
在画学思想上，潘天寿先生视民族艺术为民族精神之象征，以广远之视域、阔大之格局深入剖析中西文化关系，提出“中西方艺术是世界上的两座高峰”和“中西绘画拉开距离”的理论，以鲜明的文化立场和高度的文化自觉扶扬时代文运，为20世纪中国思想文化史作出了突出贡献。
展览通过融合潘天寿生平、教育贡献和画学思想，展示潘天寿“传统出新”创作之路的思想轨迹和艺术创造上的传承和创新。同时还围绕“潘天寿对传统的创造性转化”“潘天寿的艺术问题”等主题举行学术研讨会，并开展多场画家导览及丰富多彩的公共教育活动。
Exhibition Commemorates the 120th Anniversary of Pan Tianshou
By Liu Hui
The year 2017 marked the 120th anniversary of the birth of Pan Tianshou （1897-1971）， a 20th-century art master of the country. In May 2017， a memorial event was held in Beijing to commemorate his career and contribution. Pan’s self-confidence in the Chinese culture was especially mentioned and honored. The event launched an exhibition that featured over 120 masterpieces of Pan Tianshou. The masterpieces came back to Zhejiang in December. The exhibition at Zhejiang Art Museum lasted from December 1， 2017 to January 14， 2018.
The paintings on display were from National Art Museum of China， Pan Tianshou Memorial Museum， the Art Museum of China Academy of Art， the Traditional Chinese Painting Department of China Academy of Art， Cultural Heritage Office of Ninghai County， and Xiling Seal Art Society. In addition to the 120 some paintings， also on display were some manuscripts， documents and publications.
The six sections of the exhibition respectively highlighted the key aspects of the master： artistic pursuit and style， art education， art theory， artistic characteristics， ink and brush techniques， tradition and innovation.
Some paintings at the exhibition are worth mentioning. Buffalo was a repeated theme in Pan Tianshou’s artistic creations. and ， created respectively in 1948 and the 1960s， were displayed at the exhibition. The two had never appeared together in exhibitions before. ， 2.65 meters in width and 6.85 meters in height， was the biggest painting Pan ever created. It was done in 1964 for the 15th anniversary of the founding of the People’s Republic of China at the request of Hangzhou Hotel.
The magnum opus had been exhibited to the general public only twice in history. The first time was twenty years ago to mark the 100th anniversary of the birth of Pan. The second time was May 2017 in Beijing to mark the 120th anniversary. For most people in Zhejiang， it was the first opportunity they had to view this giant painting.
A Banner in Art Education
Pan Tianshou stands out as not only for the creativity and innovation he brought to the traditional Chinese painting but also for his emphasis on the confidence in national art and his art education system.
As president of Zhejiang Academy of Fine Arts， the predecessor of China Academy of Art in Hangzhou， in the 1950s and the 1960s， Pan Tianshou did all he could to promote the national characteristics of Chinese art. He practiced art education early in his career and created a system that not only absorbed the elements of western art but also highlighted the best of the Chinese art. He proposed that the difference between Chinese art and the western art should be enhanced and he theorized that Chinese art and the western art were the two main peaks， each with a different system of aesthetics and practice and achievement. Pan is widely recognized as a pioneer in establishing a complete modern education system for Chinese painting and calligraphy.
从2017年12月1日至2018年1月14日，“民族翰骨：潘天寿诞辰120周年纪念大展”作为2017年国家艺术基金传播交流推广项目，移师浙江美术馆展出。展览此番巡回到杭州，回到潘天寿工作和生活的地方，在展示上突出潘天寿的教育形象和教育贡献以及中国画学脉传承的绵延不绝。展览还进一步展现了潘天寿对传统的创造性转化和创新性发展，激励广大文艺工作者坚持文化自信，坚守中国特色，立足中国现实，创作出更多无愧于时代的精品力作，不断铸就中华文化新辉煌。
史上规模最大的潘天寿展览 120余幅代表作讲述艺术人生
作为史上最大规模的潘天寿作品展，本次展览展出来自中国美术馆、潘天寿纪念馆、中国美术学院美术馆、中国美术学院国画系、宁海县文物办、西泠印社等120余幅潘天寿代表作，及其手稿文献等。展览分为“高风峻骨”“饮水生涯”“一味霸悍”“奇崛明豁”“雁荡山花”和“守常达变”六大板块。从艺术风骨、教育贡献、画学思想、笔墨成就、构图章法、写生造化、传承创新等多个方面出发，将画作、画论、诗词编织为一体，全方位地讲述作为艺术家、教育家、画学家的潘天寿，向观众展现这位立体的画史伟人。
“高风峻骨”板块展示潘天寿成熟期的代表性巨作，力求突出潘天寿艺术的最大特点——“风骨”。“一味霸悍”板块重点展现潘天寿作品的笔墨成就。“奇崛明豁”板块聚焦潘天寿在中国画章法上的创造匠心。“雁荡山花”板块以潘天寿20世纪50年代中期开始的雁荡山写生为切入口，展示潘天寿“传统出新”创作之路的思想轨迹和实践求索。“守常达变”板块展示潘天寿在艺术创造上的传承和创新。“饮水生涯”板块通过档案、手稿等文献，全面呈现潘天寿生平、教育贡献和画学思想。
潘天寿家乡宁海还为此次展览出借了潘天寿早年作品，与潘天寿历年作品一起，组成一个完整的笔墨發展脉络，从中可以充分领略潘天寿笔墨上的杰出成就。
多件大作初现浙江 两件巨幅水牛图首次合璧展出
牛是潘天寿重要的艺术创作题材。展览首次将潘天寿两件巨幅水牛图合璧展出。一幅是潘天寿创作于1948年的《耕罢》，由宁海文物办收藏，另一幅是潘天寿纪念馆收藏的创作于20世纪60年代的《夏塘水牛图》。
《耕罢》图中牛背以泼墨和干擦为之，将老牛身上脏兮兮的泥、毛混在一起的状态表现出来。《夏塘水牛图》则气势恢宏，用湿笔把老牛劳动过后到河里洗澡的疲惫不堪状态表现得生动形象。这两幅作品中的牛都画得厚重、怪拙，体现了牛的本性。丑中见美是潘天寿一贯追求的美学本质。
潘天寿生于乡村，长于乡村，对乡村怀有深深的眷恋。他从小便在家旁的山上放牛。这两幅水牛图创作时间虽相隔有十几年，但都表达了潘天寿内心对家乡和童年生活的情感。通过这两件巨幅画作，观众们可以充分领略潘天寿在创作上的精益求精、不断探索。
宽2.65米、长6.85米的《光华旦旦》是潘天寿现存作品中尺寸最大的一幅，是其于1964年应杭州饭店的要求而创作的。画面上，苍鹰劲松，山高水长，潘天寿用雄浑霸悍的笔墨、古雅而辉煌的格调，热烈祝贺祖国生日。画上题诗为《卿云歌》：“卿云烂兮，纠缦缦兮。日月光华，旦复旦兮。1964年新中国成立十五周年国庆，为作卿云歌辞意颂之。”词意是“吉祥的彩云烂漫无边，如同金带迂回舒卷。日月的光华普照，永恒的朝霞满天。”画面意境隽永而昂扬，歌颂了国家的昌盛与永恒。
此幅画作于20年前潘天寿100周年纪念大展及2017年5月的120周年纪念大展时在北京展出过两次。这次在浙江美术馆展出，是这件巨制多年来第一次在浙江公开展示，让观众一饱眼福。
一位真正的创新巨匠 一位坚定的文化传承者
“对民族艺术一定要有自信”，这是潘天寿先生在20世纪五六十年代发出的呼吁。这绝不仅仅是句口号，潘天寿先生是以切实的创新途径和教育方法对传统艺术进行了创造性转化和创新性发展。
在艺术实践上，潘天寿先生坚守传统中国画的特点和高度，有选择地汲取西方艺术营养，直面现代社会和生活的挑战，为中国画的现代性探索做出了杰出贡献，证明了中国画内生的创造活力。
在美术教育上，潘天寿先生是中国近代较早参与传统书画教育模式转型的教育家，是现代中国画和现代书法教育的奠基者，建立了一套独立完整的中国书画教育体系。
在画学思想上，潘天寿先生视民族艺术为民族精神之象征，以广远之视域、阔大之格局深入剖析中西文化关系，提出“中西方艺术是世界上的两座高峰”和“中西绘画拉开距离”的理论，以鲜明的文化立场和高度的文化自觉扶扬时代文运，为20世纪中国思想文化史作出了突出贡献。
展览通过融合潘天寿生平、教育贡献和画学思想，展示潘天寿“传统出新”创作之路的思想轨迹和艺术创造上的传承和创新。同时还围绕“潘天寿对传统的创造性转化”“潘天寿的艺术问题”等主题举行学术研讨会，并开展多场画家导览及丰富多彩的公共教育活动。
Exhibition Commemorates the 120th Anniversary of Pan Tianshou
By Liu Hui
The year 2017 marked the 120th anniversary of the birth of Pan Tianshou （1897-1971）， a 20th-century art master of the country. In May 2017， a memorial event was held in Beijing to commemorate his career and contribution. Pan’s self-confidence in the Chinese culture was especially mentioned and honored. The event launched an exhibition that featured over 120 masterpieces of Pan Tianshou. The masterpieces came back to Zhejiang in December. The exhibition at Zhejiang Art Museum lasted from December 1， 2017 to January 14， 2018.
The paintings on display were from National Art Museum of China， Pan Tianshou Memorial Museum， the Art Museum of China Academy of Art， the Traditional Chinese Painting Department of China Academy of Art， Cultural Heritage Office of Ninghai County， and Xiling Seal Art Society. In addition to the 120 some paintings， also on display were some manuscripts， documents and publications.
The six sections of the exhibition respectively highlighted the key aspects of the master： artistic pursuit and style， art education， art theory， artistic characteristics， ink and brush techniques， tradition and innovation.
Some paintings at the exhibition are worth mentioning. Buffalo was a repeated theme in Pan Tianshou’s artistic creations. and ， created respectively in 1948 and the 1960s， were displayed at the exhibition. The two had never appeared together in exhibitions before. ， 2.65 meters in width and 6.85 meters in height， was the biggest painting Pan ever created. It was done in 1964 for the 15th anniversary of the founding of the People’s Republic of China at the request of Hangzhou Hotel.
The magnum opus had been exhibited to the general public only twice in history. The first time was twenty years ago to mark the 100th anniversary of the birth of Pan. The second time was May 2017 in Beijing to mark the 120th anniversary. For most people in Zhejiang， it was the first opportunity they had to view this giant painting.
A Banner in Art Education
Pan Tianshou stands out as not only for the creativity and innovation he brought to the traditional Chinese painting but also for his emphasis on the confidence in national art and his art education system.
As president of Zhejiang Academy of Fine Arts， the predecessor of China Academy of Art in Hangzhou， in the 1950s and the 1960s， Pan Tianshou did all he could to promote the national characteristics of Chinese art. He practiced art education early in his career and created a system that not only absorbed the elements of western art but also highlighted the best of the Chinese art. He proposed that the difference between Chinese art and the western art should be enhanced and he theorized that Chinese art and the western art were the two main peaks， each with a different system of aesthetics and practice and achievement. Pan is widely recognized as a pioneer in establishing a complete modern education system for Chinese painting and calligraphy.