1901年12月7日，柳子谷生于江西省玉山县下镇乡柳村塘尾一户书香家庭。父亲系前清秀才，乡间郎中；母早丧，由祖母抚养。4岁即随父亲读书，自幼酷爱绘画，自学《芥子园画谱》，悟性极高，深得其精髓，15岁便以工书善 画闻名乡里。

1919年只身赴南昌探求新知；以笔会友，结识了同在省城读书的傅抱石。

1923年3月，为求学转赴上海，寄宿在同乡家，白天就读于大同中学，晚上及假日多用来访师会友，浏览书店，或给朵云轩、九华堂、九裕堂、五星记等扇面庄绘扇面及美术小品以维持生计。形单影只，少衣短食，曾写诗自嘲这段生活是：“身穿破衣烂鞋，怀揣干粮半截。”尽管生活拮据，仍以“取财有道”自信自律，曾作诗日：“取不伤廉让水泉，襟怀未许俗尘牵；胸有修竹卖无尽，不使人间造孽钱。”

4月参观豫园书画善会举办之画展，初识该会会员吴昌硕、黄旭初、蒲作英、杨了公、马企周、程瑶笙、张善子、王一亭、汪冲山等名画家。

6月，参观上海美专二院师范科国画展，初识该校校长刘海粟、教授汪亚尘和上级生张书旗。

8月，在上海美专二院参观绘画展，并初识潘天寿、谢公展、许士骐等。

1924年3月，参观江苏省第一届美展，见到了汪冲山、雷家骏、莫延禧、高剑父、贺天健、黄宾虹、钱化佛等名家作品，并识高剑父。

9月，入上海美专一年级，插班生，同学有张天翼、黄羲等。师从刘海粟、潘天寿；课余时常去画家汪冲山、程瑶笙、马企周等人家中干杂役，不为报酬，只为学画。王英瑜在《中央日报》上曾撰文说：“吾于子谷友十五年矣，以处之久，则知之深，而今可以言子谷矣。忆昔与子谷读于中学时，子谷画兰菊至勤。宣纸不易致也。毛边纸价亦不贱，而其作画勤，谓不经济，卒以裱芯纸代之，日辄二三十幅，同学笑为画痴，而子谷自若也。其后求学沪上，费用至为困窘。与之共赁小楼于永里，境愈困而志益坚。当其时也，人谓子谷可以舍此而从他矣。然而子谷以意诚，则行之明，谓此一时之厄，吾但以诚恒处之，吾艺必有佳境；故操丹青绢素如恒也。 ．

1925年2月在徐园参观“时人书画展”，再读任伯年、吴秋农、颜若波、任立凡等名家之作。

4～12月在校内外参观画展时，得识朱屺瞻、王济远、钱瘦铁、王陶民、杨东山、唐吉生等书画家；6月，上海美专举办全校美术展览时有多幅习作参加。

1926年3月，初识徐悲鸿及张聿光、唐家伟、关良、潘绍棠等画家。

4月美专师生赴杭州写生，5月参加师生旅杭写生作品展。

12月参加北伐革命，在林伯渠领导下的国民革命军第六军总政治部任美术干事。以笔为武器，随军转战南北，曾作《雪中从军图》，诗题：“北风瑟瑟透征衣，号角声声催战费騑，料得将军传檄日，血花并作雪花飞。”林老看后甚为赞赏，补题五言一绝：“万里长征人，怀才意不薄；于斯风景中，合赋从军乐。”

1927年定居南京，任职于南京中央特委会。

1928年经陈铭枢证婚，与北伐时的战友梅芳结婚。

1929年，参加“蜜蜂画社”(该社由郑午昌、王师子、张善子、谢公展、贺天健、陆丹林、孙雪泥创办)，柳子谷为第一批参加之会员。

1930年，贤妻病故，子谷立下“金榜无名不再成亲”的宏愿，辞职专心攻读，埋头国画创作，开始了职业画家为主的生活。

1931年2月～3月，在南京与艺友周曙山等发起筹备首都白社，拟创办艺术刊物并被推为主编。办刊物，因未获有关部门批准，夭折。

12月在南京市书画研究社成立时当选为候补理事。

同月，在江苏省民众教育馆赈灾书画展举办期间，与吕凤子、齐白石、徐悲鸿、秦仲文、张书旂、王东培、舒石父、龙铁岩、胡小石、张大千、肖方竣等皆有作品捐赠。

1932年9月，中国国民救国义勇军后援会第五次常会决定筹备名家艺术展览，与雷仲山、高希舜、尹天民、孙青羊、徐悲鸿、陈树人、徐承芳、唐三等为筹备委员会委员。

1928～1932年，与早已认识的张书旗、徐悲鸿同居南京。三人志同道合，经常合作遣兴。，一次，书旂画梅，子谷写竹，悲鸿补松并题句：“竹翠梅香松傲雪，岁寒三友各千秋。”随后，三人将此图复绘两幅，各存一纸留作纪念。悲鸿对子谷的作品十分赞赏，曾在子谷所作《雨竹图》上题道：“画到蒙蒙翠欲滴，先生墨妙耐寻思。”此期间，子谷受聘出任上海美专教授、南京美专国画系主任、教授，并常去徐悲鸿主持的中央大学美术系讲学、示范，为培养国画人才，经常奔波于宁沪之间。“金陵三画家”也由此被同道传为佳话。

1933年江北大水，创作《忍听哀鸿》、《水灾图》、《流民图》等山水人物画，或借古喻今，或直面人生；如在一幅画面上题诗日：“斯岁辛劳一次空，浮沉泪海任西东；伤心瑟瑟秋声里，忍听哀鸿泣晚风。”在南京《新民报》陈铭德先生支持下，画竹义卖百余幅，所得悉数捐赠灾区，荣获当时救灾组织所授“急公好义”锦旗一面。

4月，援助义勇军书画义卖展在省民教馆举行时，与徐悲鸿、张书旂等都有作品参展(门券五元，可抽签得画一张)。

11月应徐悲鸿之邀，赴中央大学图书馆参观艺术科西画组旅杭作品画展，并作画竹示范。

12月，结识画家钱云鹤、王梦白。

1934年在国民党中央党部任职并积极从事绘画活动。4月，在《艺风》(月刊)发表国画作品《风雨归村》、《一重寒树一重山》。

7月，《艺风》(月刊)所载《中央党部书画展览的观感》一文指出：“中国画以柳子谷的作品最为精彩……”

12月，在南京举行第一次个人画展，当地《中央日报》、《新民报》、《朝报》等由6日起对此逐日连续报道：“子谷作品，见者赞美，自党国要人、艺术巨子以至骚人墨客，交相称誉”；陈树人许为“六法璨然”；徐悲鸿评之“真气远出，妙造自然”；林森题赠“驰誉艺林”；于右任为之题词：“子谷绘山水，取法宋元，旁及百家，昔人谓与宋元人血战，岂不然哉。绘人物花鸟兰竹等物，理法、技巧、意境均能得心应手。识者谓，可以起近代之衰。诚非虚声。子谷勉之，国画可以兴矣。”推重之隆有如此。

画展期间，前往参观并买画的有林森、张道藩、宗白华、徐悲鸿夫妇、陈立夫、谷正纲、梁鼎铭、夏斗寅、陈树人、朱培德、邵元冲、冯玉祥、何香凝、叶楚伧、柳亚子、高剑父、经亨颐、张书旂、张大千、梅兰芳，德国驻华大使陶德曼、日本总领事须磨等中外名士上百人。另有报载：“12月10日为画展最后一日，参观者有蔡元培、何应钦、罗家伦、孔祥熙、方觉慧、张苇村、赵丕廉、李宗黄等千余人。何应钦、方觉慧、张苇村等各购画品，孔祥熙除个人定购外，并商得柳先生的同意，将非卖品《灾民图》购去，拟作为全国赈灾之用。”

1935年陆续参加南京的诸多绘画展出；创作《后湖印象》

4月15日，南京《中央日报》称：“五州公园美术展览会，原定星期六、星期日开放两天，自得国画名家张书旂、柳子谷加入最近杰作后，深得观者欢迎，环立门外，围而窥视者，争先恐后，莫不以先睹为快，该会乃定今后，每日开放云。”

同年秋上海市教育、社会两局联合举办柳子谷第二次个人画展。

9月5日上海《时事新报》称：“名画家柳子谷氏，将来沪展览国画，并筹办国画之苑。按柳氏服务南京某最高机关，对于国画造诣甚深，取法宋元，旁及百家。去年曾在南京展览作品，甚得各界赞誉。兹闻柳氏应吴醒亚等之约，将来沪展览最近杰作数百件，届时定有一番盛况也。”9月24日，于右任、邵元冲、程天放、虞洽卿、王晓籁、居正、陈树人、钱新之、汪兆铭、李煜瀛、王陆一、王一亭、林康侯、戴季陶、杜镛、俞佐庭、吴铁城、褚民谊、洪陆东、吴开先、徐朗西、谷正纲、张寅、叶楚伧、张道藩等联名在上海报纸刊登《上海教育局社会局主办柳子谷先生国画展览会启事》，文中说：“柳君子谷艺术修养深渊，夙为艺林所推崇，市府教育社会两局为发扬我国固有文化，增进国人艺术兴趣起见，举行公开展览，特进一言为之介绍。其画展会场在大陆商场六楼622号，日期为9月25日起至29日止。”上海美术界代表人物刘海粟、朱应鹏、吴青霞、王一亭、徐郎西、陶冷月、谢公展、汪亚尘、张聿光、黄霭农、汤渔父、王师子、俞寄凡、丁念先、唐冠王、马企周等以及在沪政界之吴铁城、吴醒亚、潘公展、蒋百里、吴开先、程天放、郭顺等均一一到会参观。《申报》、《新闻报》、《晨报》、《新夜报》等逐日发稿报道展况及评论，如9月30日《申报》

所载消息《柳子谷画展第五日》，从中可见一斑：

“昨日为本市教育社会两局主办之柳子谷画展第五日。是日适星期日，观众格外拥挤。记者前往参观时，人山人海，会场几有人满之患，可谓打破本市以前个展之记录。本市闻人王晓籁等亦前往参观，各定购多幅。又南京市党部常委周伯敏、青自报社长唐三、新京日报社长石信嘉、名画家吴公虎等，均由京赶来参观柳君个展，可知柳君艺术造诣之深。又闻该会应各界之要求，已决定延展期两日，至十月一日为止。”

名画家胡藻斌在当时全国重点文艺评论刊物《艺风》(上海，1935年第3卷第11期)对这次个人画展发表评述：“……展厅分两室，陈列作品三百余件……我到上海两年多，在个人画展中看得不少，伟大者只是柳一人；作品之多量和整齐，亦只柳人一人；在展览中订购者之多，亦以柳一人。’’

同年另有作品送往印度、日本及东南亚参展。上海金城工艺社出版(子谷画存》第一集(山水册)，由于右任写序；上海古今名画出版社印行子谷的彩色单画作品，供人收藏。

同年上海《美术生活》第20期发表《水灾图》、《月竹》、《山水》等作品。

1936年元旦与韦秀菁结婚，礼堂挂满名人的贺礼字画。如经亨颐的《水仙与竹》、徐悲鸿的《双骏图》、张书旂的《樱花白头》、陈树人的《兰石》、刘海粟的《荷花》、汪亚尘的《金鱼》、谢公展的《菊花》、胡藻斌的《鸳鸯》以及柳亚子、叶楚伧、蔡元培等人的贺诗、贺联，共40余件，遂成“贺婚书画展”。

同年作《独酌》并题诗：“扪虫当时颇自奇，功名远付十年期，酒浇不下胸中恨，吐向青天未必知。”

同年在国民党中央党部任职，因善书画而深得高层人士之关注，与之私交颇好。他曾利用自己的有利条件营救过中共要员。

同年11月7日 南京《中央日报》称：“吴君子青近邀艺术界友好，组织艺苑流通社。其目的在联络艺术界情感，促进艺术，而进观摩，计定于本月八日起至十五日止在中华路青年会大礼堂，举行京沪名家书画联合展览会。参加作家有于右任、王一亭、汪采白、周伯敏、柳子谷、梁鼎铭、张书旂、许士骐、谢公展等。届时欢迎各界参观云。”

1937年4月，在南京国立美术陈列馆举办的全国第二次美术展览上有《竹》、《独酌》等多幅参展。会后被收入《现代书画集》出版。

同年4月～5月，与艺友筹备，中央党部书画研究会展览会如期举行，展品有山水、人物、花鸟、金石、书法等。《中央日报》在“中央党部画展第二日”中说：“杨天化、柳子谷、杨贡三……等人作品，尤为观众所赏识，定出甚多，并有数人定一幅者，可见该会作品之名贵也。”

1938～1940年应张治中将军之邀，同时兼任湖南通道及绥宁两县县长。到任后，励精图治。这两县地处湘西，交通闭塞，经济落后，多民族散居深山老林。是年饥荒，画竹义卖赈灾，深受乡民赞誉，被称之为“板桥第二”。离职时，百姓沿途相送，有赠联日：“万家生佛千秋泽，一代艺人百里侯”、“板桥三绝诗书画，靖节一官归去来”。

1940～1944年迁居湖南洪江，任赣才中学校长。其间，举办个人画展两次。

1945年春为躲避战乱，迁居四川重庆。

4月7日，重庆《中央日报》称：“画家柳子谷来渝，拟办谷风艺术专科学校，并带杰作200余幅，将公开展览。”11日，方治在《中央日报》发表《柳子谷与其画》。文中写到：“子谷善画竹，谈画竹者，都会联想到他，知道他的，也没有不佩服他的写竹。其实他不止于画竹，山水、人物、花鸟等物无一不工。他的山水工力最深……《咏絮》、《风雨同舟》、《袁安卧雪》、《群仙祝寿》，各图都是精心杰构，工力深邃，虽古之马远、夏圭、唐寅、仇英亦不过如此。”画展于13～16日在重庆夫子池励志社举行，用所得买房一处，开办了谷风画院，招生30余人。

1946年，与徐悲鸿重聚重庆。同年春末，携家返抵南京，谷风画院停办。

1946～1947年在南京，任国民党中央党部专员，但经常作画会友，与陈立夫、陈布雷、于右任、邵力子、张灵甫等国民党政界、军界里善书画的头面人物多有来往，切磋技艺。

1947年3月，中华全国美术会主办之“现代美术习作展览会”在南京文化会堂举行，展品有徐悲鸿、齐白石、陈之佛、傅抱石、汪亚尘、柳子谷、陈树人、谢稚柳、赵少昂等名家的绘画300余件。

1948年3月，在南京文化会堂出席第十届美术节纪念大会。

同年4月2日，南京《中央日报》称：“画家柳子谷国画造诣极深，写竹尤其特长，技巧精妙，有画竹圣手之誉。柳氏前为发扬我国固有文化，拟办谷风画院，有精作200余件，原定出国展览，以国大盛会在京举行，将先行展览。”

21日 该报又称：“柳子谷画展昨在新街口社会服务处开幕，到有中委甘家馨、国大代表徐恩曾等六百余人。对柳氏所作《苍生霖雨》、《顶天立地》、《玉立婷婷》各图，备极赞誉，并有某西人购去柳氏雨竹、雪竹多幅。”

25日该报又言：“柳子谷画展连日在社会服务处展览，原定本日闭幕。兹因国大代表忙于选举，多未获参观，特延展两天，定廿七日闭幕。”李宗仁知道柳子谷的作品多年来在党、政、军、艺、商的上层人士中颇有知名度，竞相收藏，得之为快，便及时亲临展览会，订购了非卖品以外的全部展品，以答谢支持他竞选副总统的国大代表。

同年底张书旂基于子谷作品在海外颇受欢迎，便由美国来信邀他赴美。子谷考虑再三，决然未行，辞去公职返回故乡等待解放。

同年上海出版的《中华民国三十六年美术年鉴》称：“柳子谷擅长国画，精于绘事……作品超特，颇得社会好评。”

1949年举家迁居杭州，并举办个人画展。这是子谷解放后举办的第一次，也是他一生中最后一次个人画展。

1950年，经马寅初推荐，由杭州转东北任教，先落脚大连，任中学教师。

1951年，创作漫画《华尔街的两个伙伴》，刊在1951年2月18日《旅大日报》上。在任中学教师期间，先后创作、发表数件反映少年生活题材的绘画。

1952年为抗美援朝筹款，与朱鸣冈、罗叔子联展书画义卖，被中止。徐悲鸿由北京发函给大连有关部门，邀子谷赴中央美术学院讲学，也未成行。

1955年在大连参加肃反运动，组织上给柳子谷的正式结论为“一般历史问题”。

1956年被调赴沈阳师范学院美术系任教。

1957年张书旂致函子谷：“弟病已入膏肓，此生回国已成绝望，至感痛苦!所能引为欣慰者，近来病中编写《画法入门》及《翎毛集》两书，现已脱稿，对后学掌握技法多少有点帮助，不日连同《书旂画集》寄回国出版，作为弟在世一番对祖国最后一点贡献也。《书旂画集》盼为写序。”辞恳意切，但因环境不允许，对此嘱托未能如愿以偿。

1957～1959年，与满键合作《抗美援朝战争画卷》。

1959年应林业部之邀赴北京作画，在京与傅抱石、关山月等名家相聚。

同年转辽宁大学美术系任教。

同年整理出《书法函授教材》、《子谷画竹》、《子谷画八哥》等教学课稿。

1960年被调入辽阳鞍山师范学院，家仍居沈阳。

同年创作了7．5米长卷《山村新貌》。

1962年转调至山东艺术学院，迁居济南。

同年应中国美术家协会山东分会的邀请，与全国著名的三十多位画家，赴青岛参加研究国画创作的活动。此时心情空前舒畅，其间，与王雪涛合作《草丛中的雏鸡》，与郭味蕖合作《 白绶带与竹》。之后，主办单位从三百多件作品中选出三十二件作品出版《国画作品选集》，柳子谷的《春雨》选人此集。

1962～1966年在教学中鲜明地阐述了自已的艺术见解。其要点有：

·爱国主义、人道主义是一切正直画家的创作主题，作品应直面时代、社会和人生，力求三真，即景真、情真、理真。

·人品与画品的统一，是对画家个人修养的基本要求，画家必须身体力行，为人师表。

·人生有限，艺术永恒。只有在地狱之门具有永不退缩的敬业精神，厚积薄发，才能叩开艺术之门。艺术上要靠功力。不要靠运气。成功的机遇只给那些有功力的进取者。

·高超的艺术是难学的，易学的多不是高超的。要知难而进。前人未走过的路要勇于探索。

·中国画讲究诗、书、画、印、裱统一，其中以“画”为主。中国画要重视笔墨，“运笔动态，用墨方法”是中国画的精髓。“神以“形”立，“形”以“神”贵。在绘画艺术上，提倡“诗情与画意结合”，雅俗共赏。

1966～1978年未得机会发表作品和参加社会活动。

1976年作论画诗：“艺术自然孰为美，江山如画画如真，来从生活高生活，人定胜天天逊人。”

作论画诗：“潜移默化艺术好，灵魂改造工程师。”

1979年11月，哈尔滨松花江画廊对外展销美术作品。《哈尔滨日报》(29日)载，展销品中子柳谷所作《雨后茂竹》引起日本国际贸易促进会副会长中田庆雄先生的极大兴趣，他一再希望将子谷的全部作品运往日本展出。这是子谷作品在画坛销声匿迹约30年后的第一次公开亮相。

1980年《中国新闻》发表了子谷所写遥寄台湾旧好的

文稿《故园春色好，头白亦归栖》，还发表了记者的采访(老画家柳子谷近况》。同年，中央人民广播电台“爱国一家”栏目播发了子谷撰写的文章《怀念画师张大千》、《回忆好友张目寒先生》。

同年，作自己的座右铭：“寻理应求水落石，争鸣不虑火烧身。”

1981年，应邀担任安徽皖南画院名誉院长。

同年张大千托香港“山东同乡会”友人来济探望子谷并索画。

同年，山东省统战部门将柳子谷肖像及作品印成彩色图片《画苑老翁忆故旧》，用于对港台的宣传。

1982年 湖南人民出版社出版《中国艺术家辞典》，辑录了柳子谷的条目。

1983年刘海粟夫妇应山东有关部门之邀来济南作客时约见子谷，并赠条幅一帧：“青山不老松长翠，雪压霜欺只枉然。”子谷送刘老《竹鸡图》，题词：“画祝海翁老师长寿。”

同年 山东美术出版社出版《柳子谷画选》。

同年 《山东画报》、《大众日报》、《光明日报》、《解放日报》、《新民晚报》、《济南日报》等报刊陆续评介柳子谷及其作品。

1985年，山东电视台、辽宁电视台分别拍摄、播放专题片《柳子谷的绘画艺术》。

同年为江西人民出版社出版的《玉山县志》题写书名并题词。

同年，香港《文汇报》及澳大利亚《海外风》均发专刊介绍柳子谷。

同年，《人民日报》、《光明日报》、《文汇报》、《解放军画报》、《解放军报》以及中央电视台、中央人民广播电台等中央及其他地方新闻机构，相继报道了柳子谷将《抗美援朝战争画卷》献给中国革命军事博物馆收藏的消息。该画卷被誉为“我国最长的、在世界上也是罕见的反映战争历史的巨幅画卷”。

同年作《巨松图》，画面题句“天欲坠，赖以拄其间”。

同年挂历《柳子谷作品选》出版，《中国日报》等重要新闻文化单位陆续向柳子谷约稿，索画。

1986年元旦柳子谷向边防将士献画的消息见报。

同月12日，晚接见《解放军报》记者采访，畅谈两小时；午夜，安详谢世，享年85岁。

 

 "柳先生是继郑板桥之后独树一帜的现代兰竹大师且在山水人物花鸟等诸方面，艺术造诣精深，创业成就卓著，早在三十年代即于徐悲鸿、张书旗、傅抱石、赵少昂等齐名画界。并与徐悲鸿、张书旗并称金陵三杰，1996年其弟子子女与山东艺术学院，在北京、山东举办了先生谢世10周年纪念展览，在国内外引起轰动，乔石、姜春云、程思远、肖克、洪学智、迟浩田等中央领导前往观展并题书祝贺。

 

现从《谈画未敢忘子谷》一书中摘录部分题句:

 

徐悲鸿:画竹圣手;真气远出;妙造自然;画到蒙蒙翠欲滴，先生墨妙耐寻思

 

于右任:英雄气概美人姿;......子谷勉之，图画当兴矣

 

陈立夫:寄妙理于素幅，出新意于毫端，艺成名高，永为世范

 

蔡元培:坚贞君子节，正直古人风

 

吴雅辉:接武荆关，并美三王

 

张书旗:工而不滞，写而不流，惟妙惟肖，雄秀兼至

 

柳霖:万方多难寸心苦，一代艺人百里侯

 

关山月:丹青留史册

 

欧阳中石:挥毫落墨书灵府，铸古熔今见匠心

 

陈大羽:柳色青翠，兰竹清芬

 

肖克:华夏文物寄丹青

 

洪学智:血火写丹青，铁躯捍正义

 

钱君陶:清风高节

 

《收藏》总第90期，(2000·6期)中国画百年回眸中记载:"柳子谷在民国时期潇洒江湖，风流画坛，解放后却销声匿迹。柳子谷是一个"全能型"的画家，山水、花鸟、人物皆精，诗书修养全面，文人气息浓厚，尤善画竹，蔡元培称其"画竹圣手"，徐悲鸿赞其竹"画到朦胧翠欲滴，先生墨妙耐思寻"。那时，柳在南京与徐悲鸿、张书旗并称"金陵三画家"。"

 创作历程

1957~1958年间，柳子谷与画家满健合作，创作了巨幅长卷《抗美援朝战争画卷》。"二次战役"是朝鲜战争中震惊世界的大战役，此图则是迄今唯一以横卷形式描绘这一战役的史诗性作品。柳子谷在卷首题:"战争正义全无敌，画卷长存此理真。弱能胜强小胜大，中朝血肉万年春。"作品的构思和草稿主要出自满健，他有朝战的经历，熟悉志愿军和朝鲜的山川，但自感驾驭笔墨的能力不够，于是寻到老画家柳子谷，请他落墨完成。老少两代长达两年多的成功合作，还有一个意料之外的收获--满健与柳子谷的女儿柳咏絮(亦为画家)喜结连理。

作品传世

但没有想到的是，1959年长卷在沈阳展出并引起震动后，作品本身和记者的采访却不能发表，他的政治与艺术热情再一次被"冷冻"。直到约30年后，这一历史巨作才得到认可，重见天日。

 

评论界认为，这两部史诗巨制在中国现代画坛上堪称是绝无仅有的杰作，它不仅奠定了柳子谷在中国美术史上的地位，而且也必将以传世墨宝，永垂青史。

 参观柳子谷作品后而写

 

--胡藻斌

 

艺术趋新，并不是三数人自私自利而可以趋新，又不是在日本画片，和西洋画片，改头换面画一帧是为趋新的画，更不是离开物理学和物理轮廓，大笔淋漓乱涂抹是为趋新。用趋新二字来解释，更无趋新可言，只有运用我们艺人所想象，和新技巧，一方面承旧启新，一方不事临摹去创作，必须要把是现有时代事物表现出来，不要做成棺材里的人，混混沌沌谈六法，人自有人，我自有我，古人不见洋服革履，即我们不见方巾道服，此是时代转移，事物亦转移，识时务者俊杰，不识时务当然腐化落伍而淘汰之。

 

国丁之失责，鼠窃的猖狂，弄得艺术界黑地而昏天，我们真是眼巴巴看着艺术界要腐化?我们真是忍心看着艺术丧在不负责任者?和无耻者的手心?在那危机的艺术界中，我们同志尚

 

有不少人，幸不至死心，仍然热血还在奔腾，断不至坐视，我们不避事实上之艰险，不问能力之薄弱，誓以全力干去，发扬艺术真精神与真价值，创造一新纪元来，在那微弱声响中，以冀引起宏大的共鸣来。

 

邮差递来一张上海市教育局长潘公展和社会局长吴醒亚两先生的信，请我去参观柳子谷先生的个人画展，柳先生的写山水石头与及瀑布流水，早已钦佩的。翌日去参观他全部作品，柳先生很和蔼的说，在南京见过我的作品，并要我彼此以作品交换，以资纪念，随送我以他作品多张，经已代分送各报刊物上发表出来，后来我做一篇文章，发表于新闻报，但文字上有被人所改动，而至文不贯气，同时此段文字，是因当时很匆匆在五分钟写成的，现在略为补写之。

 

会场分两室，陈列作品有三百多件，大部多为山水，人物次之，花鸟又次之，然柳先生作品中，以山水为最长，其中我喜欢的是《飞瀑风吹面》、《黄山探胜》、《临流独坐》、《萧寺空山晚》、《劫后余烬》、《寿星峡》、《蒙蒙》这几帧，皆为苍劲秀挺雄壮之作，但无论写什么，在山石用笔都有过人处，对于仕女一部分，乏独创之力，对于花鸟一部分，受张书旗影响，并有张书旗作品陈列，然在我到上海不过是两年多，在个人书展中看得不少，伟大者只是柳一人，作品之多量和整齐，亦只柳一人，在展览中以定画多，亦以柳一人。我不是吹毛求疵而写此，只是见到写到而已，希望柳先生对于仕女花鸟，今后有所创造之，但山水已是有过人处，再加努力下去，已为不可多得的画家了，又何必多此一举，因为十只手指都有长短，怎得件件皆能?此是文字之我写得过苛了。

 

柳先生叫我写文章，不善语的我，更不欢喜以己之素识者滥推滥捧，又更不欢喜背面骂人，有碗话碗有碟话碟的我，只有赤裸裸写出来，我亦长长希望世界人士，对我作为的短处，赤裸裸写出来，俾得弃短而就长，因为我现在正三十多岁人，再改善二十年，则我的作为自然无善不臻了。

 

末了，柳先生的天才和技巧，值得我钦迟。去年在文华画报编辑室，见到柳先生大作，用笔苍劲雄壮，使印象极深，今得欣赏其全部作品，同时在作所绘《劫后余烬》、《流民图》、《水灾图》，可见柳先生有时代转移作为。绘画不忘社会与国家，此比诸混混沌沌高谈六法，终日临摹数百年遗传下的画派的棺材里人，有像云泥之别了，但在此柳子谷个人画展之后，有若暮鼓晨钟之声响，惊破不少艺人的梦醒了。

 

原载《谈画未敢忘子谷》

 

纪念柳先生诞辰百年

 

如玉之洁,如山之高-- 杜牧野

 

2001年农历12月7日，是我国著名花鸟画家柳子谷先生百年诞辰纪念日。

 

1986年元月12日画家无疾而终，享年85岁。

 

在当代中国画坛上，青年时代就名噪一时，中年以后却寂然无声，直至80衰年又如一抹晚霞再度光彩照人的画家，可能并非子谷先生一人。但是，时代与机遇左右着才华横溢画家的艺术生命，柳先生这一生的遭遇毕竟是十分典型的。

 

早在上个世纪20年代初，柳子谷从江西农村浪迹上海，以半工半读方式入上海美专学画。未及卒业又投笔从戎到林伯渠领导的国民革命军参加北代战争，结识了许多军政人士。因而北伐结束时得以供职于南京政界，从此也就为日后的命运陡变埋下难以预料的伏笔。

 

文人从政，书生气质不变。作为画家的柳子谷还是把主要精力放在画上，以画会友广结墨缘，筹办个展开拓机遇，真是焚膏继晷乐此不疲，三十出头便成了沪宁一带的知名画家。与比他大六岁的并已负盛名的画家徐悲鸿先生，以及张书旗等人时相切磋，建立了深厚的友谊。后来索性辞去职务以画谋生，同时在南京美专、上海美专、中大艺术系等多处兼职任教，经常奔波于沪宁之间，并于抗日战争前几年，连续在南京，上海举力办画展，受到社会各方面的赞扬，一时名声鹊起，作品为不少当时的头面人物竞相收藏，颇有洛阳纸贵之势!

 

抗战爆发后，子谷先生携眷属避居湘西，并应张治中将军之邀，出任绥宁、通道等县的县长。穷乡僻壤经济落后，匪患不断民不聊生。柳子谷荣任县长却有苦难言:有心励精图治，却无力抗衡天灾之祸，只能尽一己之长，画竹义卖募款救灾，但是杯水车薪难挽危局。两年去官。被人誉为"当代郑板桥"。只可惜命运捉狭，若干年后，一项"伪县长"的沉重乌纱帽却让他万般无奈挥之不去!

 

抗战胜利后，柳子谷先生又回到了南京。仍旧亦官亦画，籍此开辟自己的艺术天地。1948年又在南京举行个展，受到当时正在竞选副总统的李宗仁特殊青睐，订购了画展中除非卖品之外的所有作品。这在当年美术界是绝无仅有的现象，可谓是画家的鼎盛时期了!

 

从辉煌归于平淡，由高峰跌入低谷，似乎是一切事物发展的必然。画家的命运也难例外。1950年下半年，柳子谷还不足五十岁。作为画家，正是创作力量最成熟旺盛的年龄段，而他却不得不开始自己的艺术道路上艰苦的"北伐";从柳浪闻莺的江南到冰天雪地的塞外。在东北各地先后教过中学、师院艺术系。为了使自己的艺术跟上时代，他放弃了自己所熟悉的花鸟题材，利用教学之余画些时事宣传画，反映新时代的人物画等，甚至还想与其他画家联合举办救灾义卖画展，还与徐悲鸿先生商定，应邀去中央美院讲学。无奈，这一切都被冷冷地搁置了，这一冷，竟然长达近30年!直到1979年他的画在哈尔滨对外展销的画廊中被一个有身份的外商看中了，才引起有关方面的重视。可人生能有几个30年呢?!此时，子谷先生已是一个八旬衰翁了。

 

吾生也晚，认识子谷先生是他花甲之年的事了。1962年春天，柳先生从东北调来山东艺专，我们有幸成为同事。他是江西玉山县人，我是浙江衢州人，虽属两省却是邻县。生活习俗、语言声调都有相近之处，也算是大同乡吧。年龄相差近半，却无隔代距离，结识不久，就为我画了一幅《乡音难忘》--八哥鸣春图。浙赣山区八哥极多，冬天觅食时成群飞翔，春天求偶，叫得特别好听。本是一同传递乡音、乡思的小画，"文革"中却遭到好事者恶意索解，并横加毁坏。20世纪70年代后期，子谷先生在夫人陪同下到美术馆叙旧，闲谈中还表示愿为我重新画一幅。可惜改革开放伊始，彼此都正忙开了，竟未遂愿。

 

1962年秋，山东艺专奉命下马停止招生。第二年美术专业最后一届学生毕业，全部离校。子谷先生实际上只给学生上了一年课。花鸟画的课时虽少，但是柳先生留给艺术学生的那种平易近人、对艺术无比执著的敬业精神则十分深刻!当时国画专业的学生几乎人手一册由子谷先生编写的《画竹技法》讲义，并附有范画。这是老画师一生画竹的经验总结，称得上图文并茂，弥足珍贵。

 

20世纪60年代中期，政治上"左"倾思想泛滥，花鸟画受到冷落是不争的事实。可作为老画师柳子谷来说，则早已习惯这种寂寞境遇，对自己所钟爱的花鸟画却再也不甘辍笔了，我行我素地画了许多作品。可惜这时期的画作大多在"文革"中不知去向。

 

柳先生为人随和宽容，与世无争，但对自己的艺术见解坦荡陈述，无所顾忌。不论在会上，会下，都坚信花鸟画是可以为工农大众服务的，强调作画要情真意切，雅俗共赏。一幅好的花鸟画也同样有审美价值。在1969年灾难的"文革"风暴还正席卷华夏大地时，这位年迈七十的老人却小心翼翼地关起门来画了许多精妙绝伦的小画，在只有书本大小的元书纸上，一枝海棠花，一位纺织娘栩栩如生，呼之欲出。这是老人对平静生活的依恋，对自己天地的向往。是画，也是心声!须知，这是老画师被无辜关进牛棚大半年之后被勒令回宿舍反省时，那些凄风苦雨日子中的作品!

 

他是1968年夏天被关进牛棚里的。古稀之年身子骨本来瘦弱，还得参加许多惩罚性的劳动，比起当时还是壮年的我们来说，他就更苦了。加上牙齿所剩无几，啃窝头很慢，一餐饭要分成好几次，常常在夜里还起来摸索着啃窝头，有时我们也跟他开玩笑，问他如今想不想当年县太爷的日子?他豁然大度地笑笑，说他本来就在农村长大，此时此刻更多的是想起儿时的农村生活!

 

"四人帮"倒台后，省美术馆创建伊始，我分别去看看艺专时代的老同仁。如黑伯龙、宗惟成等全都在几年前被学校强迫退休，只发原薪60%的退休金。柳子谷与老伴住在共青团路电力局宿舍的一间只有七八平方米的小屋里。一张床占去小屋大半，一张小书桌下面堆满蜂窝煤之类的杂物，但收拾得井井有条，几乎纤尘不染。20世纪70年代以后，柳老的许多作品竟是在这么一间小屋里画出来的，真不知让我说什么好!中国知识分子忍辱负重，穷且益坚的品格，在特定的时代里更显得难能可贵!

 

柳子谷先生晚年为他家乡玉山县县志编委会题写了"如玉之洁，如山之高，山清水秀，地灵人豪"的字。我以为，用来形容画家本身的人品、画品，也是不为过的。

 

与名家的故事

 

同道挚友，画坛上的活跃人士

 

二十世纪三十年代的南京，作为京都，称得上是个名流荟萃，商贾云集，文化活跃，生活安定的城市。虽然在繁华程度上它不及灯红酒绿的上海，但巍峨的城墙，满眼的葱绿，加上夫子庙的歌台舞榭，秦淮河的浆声灯影，使六朝古都的风范仍依稀可见。也许正是因为这点，才吸引了大批文化艺术界的精英寓居此地。其中有三位青年画家，他们既是同道挚友，又是画坛上的活跃人士。这三个人便是徐悲鸿、张书旗、柳子谷。

 

在当时书画市场，他们三人的作品最受青睐。徐悲鸿因是美术界的"大腕"，声名远播，其绘画艺术的"含金量"自不待言;张书旗乃学院派杰出代表，专攻花鸟，素有"任伯年第二"的美誉，更有"白粉专家"之雅号。吕凤子赞他"画花似闻香，画鸟若欲语，技法卓绝，当代无与抗衡者。";而柳子谷是个全能型的画家，山水、人物、花鸟皆长，尤精兰竹。蔡元培称他为"画竹圣手"，坊间另有"板桥第二"的赞许;于右任称其绘画作品"可以起近代之衰!"。当时有则报道颇能反映张、柳的艺术声望:"五洲公园美术展览会，原定星期六、星期日开放两天，自得国画名家张书旗、柳子谷加入最近杰作后，深得观者欢迎，环立门外。围而窥视者，争先恐后，莫不以先睹为快。该会乃定今后每日开放云。"

 

"画"若投机合作多

 

与常人一样，画家之间的交往亲疏，也多以品性、观点、情趣为基础。徐、张、柳三人，美学主张一致，艺术追求相近，尤在关心国家前途、情系民族命运、绘画不忘时代方面，更是不谋而合。加之他们中西合璧的画风、卓而不群的功底，使之在运笔用墨的配合上十分默契，每当雅聚总会自发地挥毫合作，泼墨谴兴。

 

他们合作绘画，从不事先拟定主题，也不商量什么构图布局，每每是在吟诗论画、相互切磋达到情酣意浓时，其中一人便会情不自禁地从案上信手捻下素纸，于谈笑中淋漓落墨，笔到之处恰是作者的灵性所致，另两人继而再一一补笔。这种即兴合作，看似轻松，实则不易，绝非通常的笔墨游戏可比。

 

书旗性豪放，自诩"拳棋烟牌酒，天下无敌手"。合作时，常是他先行弄墨开篇，第二个上阵的多是子谷。这时的柳子谷， 即要斟酌在"半成品"上如何延伸，又要推敲为后面的人作画留有余地。第三个动笔的则更难，因为此时只可锦上添花，不能画蛇添足。如果感觉再画已属多余，不如题字了结。否则，就有可能使整张画成为败笔。

 

三人中悲鸿年岁最大，他长书旗五岁,长子谷六岁，又比张、柳成名早，俨然是老大哥身份，每遇这种场合，由他殿后几乎成了惯例。

 

在他们共寓南京的那些年，相约雅集是常事，不期而遇的聚会则更为多见。一次，三个朋友又在书旗家凑到一起，说到兴浓处，灵感涌来，欲罢不能，正是:"酒逢知己千杯少，'画'若投机合作多。"

 

"金陵三画家"共画"三友图"

 

这一次，还是书旗打头阵，他先在纸上画了红白相间的梅花，子谷顺势添了一组浓淡有致的竹子，悲鸿端详片刻，联想到松竹梅向有"岁寒三友"的寓意，恰是他们三人情谊的象征，于是很快地补上一干劲松。画完后三人反复细看，对画面的构图、着色和意境都十分满意，只待题款尚需思量。若以"岁寒三友"命题，则既落俗套又觉得意犹未尽，于是三人你一言我一语，很快凑成"竹翠梅香松傲雪，岁寒三友各千秋"的佳句，三人异口同声叫好。因为诗句不仅概括了他们的人格特征，也隐喻了三人共性中的个性。由于三者都对这幅合作的画爱不释手，谁也不愿"拱手相让"。最后还是悲鸿有"高招":提议再复绘两幅，每人一幅，永留纪念。他的这个主意正中张、柳下怀，顿时，画室里传出一片欢笑声。

 

后来，凡是见过这幅"三友图"的朋友，无不交口称赞。他们合作的这段故事，遂也成了文化界的美谈。"金陵三画家"之说，由此不胫而走。

金榜无名，决不再娶

 

柳子谷成家于1928年，妻子是他当年参加北伐时的一个战友。不幸，新妻分娩时身染重疾，留下一个嗷嗷待哺的女婴便撒手人寰了。子谷给孩子取名为"眉"，希望孩子长的能象她的母亲一样秀丽。丧事办完后，子谷将孩子寄养在内兄家，自己则强忍丧妻和骨肉分离之痛，一头钻进了绘事。

 

几年下来，子谷画艺大进。在于右任、陈树人、叶楚伧等友人的提携、帮助下渐有画名。于是，登门求婚的，朋友介绍的，慕名而来的接踵不断，可是子谷皆婉言拒之。对此，友人们不解，徐悲鸿和张书旗更为心急。他俩想:子谷这是怎么啦，几年的单身日子还没过够?抑或另有意中人?其实，子谷的心思只是想趁着孑然一身、别无牵挂的时机，全身心地钻研绘画艺术罢了。如果再往深里说，那就是自妻子去世那天起，他就立下誓言:金榜无名，决不再娶。当悲鸿和书旗了解了这些之后，也只好"悉听尊便"了。

 

两次画展成功，结识大家闺秀

 

1934年子谷以十年磨一剑的精神终于举办了个人首展。这次画展轰动了整个南京城。社会名流、艺术巨子纷纷前来观展，大小报刊连篇累牍逐日报道，就连国民政府主席林森、财政部长孔祥熙也前来参观购画，一时子谷名声大震。次年，他于上海举办第二次个展，其盛况更是空前，正如画家胡藻斌在《艺风》上所言:"我到上海两年多，个人画展看得不少，伟大者只是柳一人，作品之多量和整齐，亦只柳一人，在展览中以定画多，亦以柳一人"。

 

接连两次画展成功，对一个画家而言无异于"金榜题名"。不久，子谷经朋友介绍，结识了小他16岁的大家闺秀韦秀菁。这天，他邀请悲鸿、书旗去后湖游玩，借划船之机将秀菁引见给二位朋友。徐、张见秀菁端庄秀丽，谈吐得体，风度气质果然不凡，深为子谷庆幸。进入岁末，三人商量婚礼一事，不爱张扬的子谷本想让他俩当证婚人，喜事也尽量从简。可是两位好友决意要认真操办，原来他俩早有约定，连选日子、登报纸、发请柬等都考虑得十分周到;尤其对证婚人，悲鸿执意选既是德高望重的社会名流，又是了解子谷、热衷此任的人。面对两位热心好友，子谷只好听之任之，最后确定经亨颐、邵力子为最佳人选。经、邵二人当时皆为国民政府要员，前者还是著名教育家、书法家;弘一大师、丰子恺等均曾是其手下干才;后者乃老同盟会成员，国民党元老中的著名左派，北伐时还是子谷的老上级;从年龄上看，二者也算得上是长辈级的人物。事情定下后，子谷便登门恳请，经、邵果然欣然应允。婚庆礼堂定在子谷第一次举办画展的中央饭店，这样，地点的选择就具有了双重意义。

"婚礼书画展"，成美谈

 

1936年元旦这天，天公作美，晴和明朗，清爽宜人。前来贺喜的人檫肩接踵，络绎不绝。大厅中张灯结彩，喜字耀目。悲鸿和书旗忙前忙后、帮着照应。在鞭炮与音乐声中，子谷与秀菁这对新婚夫妇缓步走进大厅。只见新郎西装笔挺，新娘一袭婚纱，一对小傧相伴随左右，别有情致。当经亨颐宣布婚礼开始时，全场掌声雷动，人声鼎沸。稍后，邵力子讲话:"诸位都知道秀菁女士是大家风范，子谷先生乃江南才俊，双美结合，天赐良缘。伫望二位新人相敬相爱，白头偕老，琴瑟和谐，花好月圆。"他的一番话将婚礼的欢乐气氛推向了高潮，其热烈场面这里不必赘言，值得一书的倒是婚礼上自发形成的贺礼书画展。

 

子谷向来不善言谈，故素以书画结缘、以书画会友。鉴于此，在悲鸿和书旗的主意下，参加婚礼的宾客几乎都带来了自己的佳作以资相贺。即使空手而来的也当场即兴发挥，或题词或绘画，随作随挂，大厅四周很快就挂满了名人之作。其中:徐悲鸿赠送的《双骏图》，题曰:山河无限好，双骏任驰骋;张书旗赠送的《樱花白头》，题曰:白头长春;经亨颐画的《水仙竹子》，题曰:坚贞风格，神仙眷属;陈树人的《兰石图》，题曰:如石之固，似兰斯馨，天长地久，结为同心。此外还有刘海粟的《荷花》，汪亚尘的《金鱼》，张大千的《新荷》，吴青霞的《双雁》，谢公展的《菊花》，胡藻斌的《鸳鸯》以及于右任、蔡元培、叶楚伧、柳亚子、何香凝、陈布雷等即兴挥毫所作的贺诗书法，共计四十余幅。这些作品让婚礼大厅的喜庆气氛平添了书香墨气，加之作者们的大名，个个都是如雷贯耳，不但彰显子谷婚礼规格之高，情趣之雅，而且也让这个别开生面的"婚礼书画展"，成为人们津津乐道的美谈，很快在文化圈传将开去。

 

一曲感人肺腑的挚友之歌

 

历史上，学界或史家常将一些风格相似、成就相当，生卒年代相近的先贤以一简称概括之，如文坛上的"初唐四杰""竹林七贤";书画界的"南宋四大家""扬州八怪"等。同样，柳子谷、徐悲鸿、张书旗在民国三十年代即为当时画界誉为"金陵三画家"。

 

此三人，在共寓南京将近十年的期间，一方面活跃于画坛书界，另一方面又以绘画和友情相互往还，彼此影响。就品格情操而言，他们三人皆为高风亮节、光明磊落;就绘画艺术而论，都称得上成就卓著，各领风骚;而他们的私交，又情同手足，胜似管鲍;这种现象史上实不多见。虽然后来由于各种缘由三人"同名不同命"，但那种毫无功利色彩的君子之交，那种伴随生命始终的一往情深，却谱写了一曲感人肺腑的挚友之歌。

为悼念悲鸿摹其画马

 

1953年深秋的大连，北风阵阵，寒气肃杀。柳子谷这位当年驰誉江南的画家，此时作为一名中学教员正急匆匆走在上班的路上。还有两天就是"十一"了，国庆游行所必须的伟人像尚未完成，这可是"政治任务"啊。念及此，他欲加快步伐，可是怎么也打不起精神来。因为昨天悲鸿去世的消息此刻仍在折磨着他。"不可能，不可能，悲鸿才58岁，上个月还来过信，怎么说走就走了?"他喃喃自语着，步履显得格外沉重，思绪也随之回到那久远的年代。

 

1926年初春，在上海老画家汪仲山主办的任伯年画展的座谈会上，他结识了徐悲鸿。刚从法国归来的悲鸿那天身穿夹克，分外潇洒。会上悲鸿的讲话，观点鲜明，分析透彻，令子谷大有相见恨晚之感。自此，两人交往日多。翌年，徐、张、柳先后定居南京，三人过从甚密，牛首山麓、秦淮河畔、中大校园时有他们的身影。每有闲暇，他们或去夫子庙奎光阁品茗，或雅聚一室，吟诗作画。1934年子谷首次个展，悲鸿率众出席并在开幕式上慷慨陈词:"何为上乘之作?无须我费口舌，子谷的作品已作回答!"寥寥数语，掷地有声，让子谷感怀不已。次日，悲鸿夫妇再次前来观展并购画多幅。这一切，如今回想起来犹如发生在昨天。

 

沉湎于追思中的子谷走进了学校。他打算今天完成马、恩、列、斯的画像。进了画室，看见桌上的油画工具和图片资料，不禁睹物思人又勾起了往事:一年多前，在好友聂甘弩的帮助下他与已是中央美院院长的徐悲鸿取得了联系。当悲鸿得知他在中学任教，每年节庆还要负责绘制伟人的油画像时，便立即寄来了许多苏联油画资料以及颜料和画笔。更让子谷欣慰的是悲鸿正设法将他调往北京，商调函业已发出。为此，子谷一直在默默期待着与老友的重逢。然而，处于当时那样一个"非常时期"，他们都没料到这种愿望只能以破灭而告终。

 

是日晚，子谷满怀悲情撰写了一篇悼念悲鸿的文章，然文章寄出月余却杳无音讯，处在这种境地，子谷只好用画马来悼念亡友了。提起画马，他忆起有次与悲鸿、书旗小酌，席间因自己对悲鸿笔下的马无比钦佩，曾笑言:只要悲鸿在，今生绝不画马。如今挚友已去，他可以不再遵守"诺言"了。顷刻间，一匹奔马跃然纸上，画面一旁子谷写道"千里马常有伯乐不常有，为悼念悲鸿摹其画马"，落款为1953年11月。写毕，子谷久久凝视着画面，仿佛在心中燃起了一柱缅怀老友的心香。

一头埋进悼念挚友的写作中

 

与突然辞世的徐悲鸿不同，柳子谷同大洋彼岸的张书旗一直保持着联系。五十年代初，作为中学教师要养活全家七口，生活之难可想而知。书旗当时是美国加洲艺术学院的教授，得知子谷境况便时常寄来一些上好的宣纸，逢年过节还会寄来一点美元以表心意。对此，子谷多次谢绝，然无济于事，只好铭记于心日后相报了。可是天有不测风云，书旗突然身染绝症。消息传来子谷震惊得有如晴天霹雳。1956年末，张书旗断定自己已病入膏肓将不久于人世时，表现出了艺术巨子的博大胸怀。他以一种罕见的宁静心态，陆续整理出《翎毛集》《画法入门》等专著，并嘱托子谷代为作序。次年，57岁的书旗与世长辞。噩耗传来子谷悲痛至极。面临与悲鸿逝世时的相同处境，子谷只能以自己特有的方式来悼念挚友:他拟以书旗为研究对象，一头埋进了《我对书旗花鸟画艺术之认识》的写作。

伴随生命的追怀

 

光阴似箭，转眼间两位友人相继作古20余年了。在这漫长的岁月里，追思挚友的情愫始终萦绕在子谷心头。庆幸的是子谷终于迎来了时代变革，他的境况日见好转，对友人的思念亦随着环境的改善而愈加强烈。这天，他找出《鹤竹图》照片，此图乃三人多次合作中的一幅。他将照片"裱"在一张稍大些的宣纸上，于一侧写道:"三十年代，予与悲鸿、书旗都在南京生活，经常谈诗论画合作谴兴，是图其一也，今二友去世已久，风格犹存，每睹此图，不胜神驰。辛酉子谷识。"

 

不久，他找出了保存20多年、始终舍不得用的书旗赠送的宣纸，绘就了一幅《竹鸡图》，画上题诗:"四十年前画竹枝，书旗为我补雏鸡，啾啾欲活客惊座，复现旧图慰梦思"。并补题:"此纸是书旗生前赠品，是由美洲寄来的子谷记葵亥春"。其追思亡友之情，笃且厚矣!

 

1985年岁末，已是耄耋之人的柳子谷一连几天身体不适，此时他似乎感悟到什么，遂将《鹤竹图》照片又翻了出来，决意复制成"原作"。经他精心绘制的复制品几能乱真。为别于真迹，子谷于图的左下角写道:"回忆三十年代在金陵三友合作画谴兴情景，复制是图慰我神驰。乙亥冬八五老人柳子谷识于泉城"。

 

将三人的合作成功"复原"，让子谷感到有如完成一项重大工程般的轻松和惬意。1986年1月12日，一代大师柳子谷走完了自己的艺术人生之旅，带着对挚友的深情，骑鹤而去。

悠悠师生情

 

被谦逊的海翁称为"老友"

 

1983年初夏，应山东省有关部门之邀，年方88岁高龄的我国著名美术教育家、画家刘海粟偕夫人夏伊乔来到以山泉著称的济南，开始了他生前最后一次的齐鲁之行。

 

这天，东道主就活动日程安排征询客人的意见，海粟老人说:"我有一个老友，他叫柳子谷，请帮我联系联系，我很想见他"。主人当即表示一定让海粟老人满意。

 

海老一生，子弟遍及海内外。作为老师，他的心总是与自己的学生息息相通的。他既为学生的成就而高兴，也为学生的不幸而忧虑。即使在他本人最困顿的时候，也仍然惦记着学生们的境遇。被谦逊的海翁称为"老友"的柳子谷，就是他的早期弟子之一。.

 

师生二人结下了深厚情谊

 

1924年，柳子谷以优异成绩考入上海美专插班就读。在校期间，他刻苦好学。校内，他师从刘海粟、黄宾虹、潘天寿;校外则拜汪仲山、马企周、程瑶笙为师;课余，则靠打零工干杂役乃至代人写书信以维持学业。不到半个学期，勤奋而聪慧的柳子谷便以一个"天才的江西乡下人"的形象引起刘海粟先生的青睐，以至海粟先生对他偏爱有加，不仅为其提供勤工俭学的机会，而且还减免了他的学费。对此，柳子谷一直铭记于怀，没齿难忘。正是在这样背景下，朝夕相处的师生二人结下了深厚情谊。毕业后，与他老师的交往从未间断

 

两年后，柳子谷提前毕业离开了学校。这之后，无论是在北伐的征途上，还是在后来定居的南京城，柳子谷与他老师的交往从未间断。期间，他还应海粟先生的邀请，几次回母校任教。1935年，柳子谷在上海举办个展轰动了画坛，各大媒体竞相报道，好评不断。在前来观展、祝贺的人流中，自然少不了他的校长和老师刘海粟的身影。看到自己学生所取得的巨大成就，海粟先生格外兴奋，作为一个辛勤的园丁，想必此时是欣慰无比了。次年，柳子谷于南京中央饭店举行婚礼，海粟先生受到邀请，遂画一幅《荷花》--并蒂莲--以恭贺自己学生的燕尔之喜。对老师赠送的墨宝，柳子谷一直悉心珍藏，不幸的是多年后这幅珍贵的作品被毁于文革劫难。

 

时局多变 四十多年后师生重逢

 

随后的岁月，时局多变，师生二人天各一方，彼此的联系几乎中断。然而，万未料到这一"断"，竟长达四十多年!

 

在东道主的热情安排下，分别多年的师生终于在济南南郊宾馆重逢了。海粟先生望着眼前这位当年风华正茂、如今却满头银发、年事已是八十有三的老学生，顿时感慨万端，唏嘘不已。柳子谷的心情更是激动异常，百感交集。一时间，两位老人说不出话来，只是久久的凝望着对方，紧紧地拥抱着，端详着，无言中却都从对方湿润的眼里读懂了一切……

 

很快，师生二人开始了促膝长谈，知心的话犹如山涧小溪，涓涓不息，客厅里不时传出朗朗笑声。不觉中，时间在悄然闪过。几位应约前来拜会海粟的其他客人，一一耐心地等待在接待室里，不忍打扰他们。夏伊乔女士与柳子谷的夫人韦秀菁女士作陪一旁，不时插话，大家都沉浸在往事的追忆中。

 

青山不老松长翠，雪压霜欺只枉然

 

临近分别，柳子谷送上了自己特地为海粟老师画的一幅墨竹。画上题词是:立身正直顶风雨，赋性坚贞抗雪霜，更喜青春葆美妙，千秋郁郁复苍苍。画祝海翁我师长寿。落款为:学生子谷并题葵亥于泉城。其谦恭之情溢于言表。

 

是日晚，海粟先生望着子谷赠送的画，思索良久，几十年的人世沧桑和师生共同经历的风风雨雨，令他浮想翩翩，禁不住提笔写下了一幅诗句:"青山不老松长翠，雪压霜欺只枉然"，款题:"子谷老弟留念"。在此，海粟先生既写出了自己对人生的自信，也道出了对自己学生的期望与鼓励。淡泊过客无憾事，笑有墨迹任评随

 

日月如梭，转眼间到了1996年。中国美术家协会在北京美术馆隆重举办纪念柳子谷先生的遗作展及艺术成就研讨会，而此时海粟老人已离世四年。作为师母的夏伊乔女士得知这一消息，立即为子谷家人寄来了她亲手书写的《艺林三绝》，并赠寄两首小诗，代表海翁先生表达了对自己学生的厚爱和对老友的缅怀:

 

劲竹顶天绿渐黄，绿也芬芳，黄也芬芳;

 

栖鸟昂头来复去，来也和祥，去也和祥。

 

几度沉浮几安危，兴衰荣辱几多回;

 

淡泊过客无憾事，笑有墨迹任评随。

 

 Liuzigu (December 7, 1901 - 1986), famous Xibin, a native of Huaiyu Mountain, the hall name of Shuangxiang Pavilion, and a native of Yushan, Jiangxi Province. Famous Chinese painters, Xu Beihong and Zhang Shuqi, are known as the "three masters of Jinling" in the field of painting. He is good at landscapes, figures and flowers, especially orchids and bamboos. When he was 4 years old, he went to school with his father. He painted cool pictures from his childhood. He taught himself "Mustard Garden Painting Spectrum". Liu Zigu painted bamboo. It was so dusty and noisy. Known as "Bamboo Saint" and "Banqiao No. 2"; from the 1920s to the 1980s. Sixty years of creation, Liu Zigu regards bamboo as a symbol of character, and takes bamboo painting as a realm of life to pursue. From 1956 to 1958, it lasted three years and cooperated with Manjian for 27 meters in the epic "Picture Scroll of War of Resistance Against the United States and Aid Korea". Its exquisite depiction of the magnificent historical picture is the unique masterpiece in the modern Chinese painting world.

Paul Mauriat's History

On December 7, 1901, Liuzigu was born in a Shuxiang family in Tangwei, Liucun, Xiazhen Township, Yushan County, Jiangxi Province. The father was a young and talented man in the countryside; the mother died early and was raised by her grandmother. When he was 4 years old, he read with his father. He loved painting from his childhood. He taught himself "Mustard Garden Painting Spectrum". He had a very high understanding and got the essence of it. At 15, he was famous for his good work in calligraphy and painting.

In 1919, he went to Nanchang alone to seek new knowledge, and met Fu Baoshi, who was studying in the provincial capital with his pen friends.

In March 1923, in order to study in Shanghai, I boarded with my fellow countrymen and studied in Datong Middle School during the day. In the evenings and holidays, I used to visit teachers and friends, browse bookstores, or paint fans and art sketches for Fanfans such as Douyun Xuan, Jiuhua Tang, Jiuyutang and Wuxing Ji to make a living. Shadow, less clothes and short food, once wrote poems to ridicule this life: "wearing ragged clothes and shoes, carrying half of the dry grain." Despite the shortage of life, he was confident and self-disciplined with "a way to get money". He once wrote poems: "If you can't get clean water, you can't let vulgar dust get in your mind; if you have a mind to fix bamboo, you can't sell it endlessly, you can't make money on earth."

In April, she visited the painting exhibition held by the Yu Garden painting and Calligraphy Association. She first met the famous artists such as Wu Changshuo, Huang Xuchu, Pu Zuoying, Yang Gong Gong, Ma Qi Zhou, Cheng Yaosheng, Zhang Shanzi, Wang Yiting, Wang Chongshan and so on.

In June, I visited the Chinese Painting Exhibition of Teachers'Department of Shanghai Academy of Fine Arts, and got to know Liu Haisu, the principal of the school, Wang Yadun and Zhang Shuqi, the senior student.

In August, he visited the Painting Exhibition at the Second Academy of Shanghai Academy of Fine Arts and got to know Pan Tianshou, Xie Gongzhan, Xu Shiqi and so on.

In March 1924, I visited the first art exhibition in Jiangsu Province. I saw the works of Wang Chongshan, Lei Jiajun, Mo Yanxi, Gao Jianfu, He Tianjian, Huang Binhong, Qian Huafo and other famous artists.

In September, he joined the first grade of Shanghai American College. His classmates included Zhang Tianyi and Huang Xie. He was taught by Liu Haisu and Pan Tianshou. After school, he often went to painters Wang Chongshan, Cheng Yaosheng and Ma Qizhou to do odd jobs, not for reward, but to learn painting. Wang Yingyu once wrote in the Central Daily: "I have been friends of Zigu for fifteen years, and for a long time, I know a lot about Zigu, but now I can talk about Zigu. Recalling the Past and Zigu Reading in China

During school hours, Zigu painted orchids and chrysanthemums diligently. Xuan Paper is not easy to make. The price of woollen edge paper is not cheap, and its painting is not economical. It is replaced by core-mounted paper. Every day, there are twenty or thirty pieces. Students laugh at it as a painting idiot, and Zigu is at ease. Since then, the cost of studying in Shanghai has been extremely embarrassing. The more difficult it is to rent a small building in Yongli, the more determined it will be. At that time, people said Zigu could give up this and follow him. However, Zigu's sincerity means that he can do it clearly, which is a temporary misfortune. But if I persist in sincerity, my art will be in a good state. Therefore, I always play the role of silk and silk. .

In February 1925, he visited the "Shiren Calligraphy and Painting Exhibition" in Xuyuan, and read Ren Bonian, Wu Qiunong, Yan Ruobo, Ren Lifan and other famous works.

From April to December, when visiting the art exhibition inside and outside the school, I got acquainted with Zhu Qizhan, Wang Jiyuan, Qian Thintie, Wang Taomin, Yang Dongshan, Tang Jisheng and other calligraphers and painters. In June, Shanghai Academy of Fine Arts held a school-wide art exhibition with many exercises.

In March 1926, he first met Xu Beihong, Zhang Yiguang, Tang Jiawei, Guan Liang, Pan Shaotang and other painters.

In April, teachers and students of American College went to Hangzhou to sketch, and in May, they participated in the exhibition of sketches of teachers and students in Hangzhou.

In December, he participated in the Northern Expedition Revolution and served as an art officer in the General Political Department of the Sixth Army of the National Revolutionary Army under the leadership of Linboqu. With pen as a weapon, he turned to the north and South with the army. He once wrote "A military map in the snow". The poem titled "The north wind rustles through the clothes, the horn sounds to urge the war fees, it is expected that the general will pass on the sun, bloodshed and make snowflakes fly." Lin Lao appreciated it very much and added five words to the title: "Long March people with talent are not weak; in the scenery of Yusi, they jointly compose military music."

He settled in Nanjing in 1927 and served on the Nanjing Central Special Committee.

In 1928, he married Mei Fang, a comrade-in-arms during the Northern Expedition.

In 1929, he joined the Bee Painting Club (founded by Zheng Wuchang, Wang Shizi, Zhang Shanzi, Xie Gongzhan, He Tianjian, Lu Danlin and Sun Xueni), and Liu Zigu was the first member to participate.

In 1930, when his wife died of illness, Zigu set up the ambition of "Golden List, No Name, No Matrimony", resigned to study and concentrate on Chinese painting creation, and began a life dominated by professional painters.

From February to March 1931, in Nanjing, he and his artist Zhou Shushan launched preparations for Baishe, the capital city, to establish art publications and be promoted as chief editor. The publication was aborted because it was not approved by the relevant departments.

In December, when the Nanjing Calligraphy and Painting Research Society was founded, it was elected as an alternate director.

In the same month, during the disaster relief calligraphy and painting exhibition held by Jiangsu Provincial People's Education Museum, works were donated with Lu Fengzi, Qi Baishi, Xu Beihong, Qin Zhongwen, Zhang Shuqi, Wang Dongpei, Shu Shifu, Longtien, Hu Xiaoshi, Zhang Daqian and Xiao Fangjun.

In September 1932, the fifth regular session of the Chinese National Salvation Volunteer Army Support Committee decided to prepare an exhibition of famous artists, with Lei Zhongshan, Gao Xishun, Yin Tianmin, Sun Qingyang, Xu Beihong, Chen Shuren, Xu Chengfang and Tang San as members of the Preparatory Committee.

From 1928 to 1932, he lived in Nanjing with Zhang Shuqi and Xu Beihong, who had already known him. The three are like-minded and often cooperate to rejuvenate themselves. Once, the banner painted plum, Zigu wrote bamboo, sad Hongbu Song and inscribed: "Zhu Cuimei Pine Ao Xue, cold three friends each Qian Qiu." Subsequently, the three people redraw two of the drawings, each saving a paper as a souvenir. Beihong highly appreciated Zigu's works. He once inscribed in Zigu's Rain and Bamboo Picture: "When you paint a montmorillonite, you will find it very interesting, sir." During this period, Zigu was appointed Professor of Shanghai Academy of Fine Arts, Chairman and Professor of the Department of Traditional Chinese Painting of Nanjing Academy of Fine Arts. He often went to the Department of Fine Arts of Central University, chaired by Xu Beihong, to give lectures and demonstrations. In order to cultivate talents of traditional Chinese painting, Zigu often traveled between Nanjing and Shanghai. The "three painters of Jinling" were also passed on as a good story by their colleagues.

In 1933, Jiangbei Dashui created landscape figure paintings such as "Listen to Aihong", "Flood Disaster Map" and "Picture of Refugees", either referring to the past or facing the present, or facing life directly. For example, on a picture, it inscribed poem day: "A sea of ups and downs of tears is left to the west; in the sad autumn voice, listen to the late wind of mourning Hongsobs." With the support of Mr. Chen Mingde of Nanjing Xinmin Daily, more than 100 bamboo paintings were sold for charity, and all the donations were made to the disaster-stricken areas. He was awarded the golden banner of "urgency, justice and righteousness" by the disaster relief organizations at that time.

In April, when the Volunteer Army Calligraphy and Painting Voluntary Sale Exhibition was held in the Provincial People's Religious Museum, works were exhibited with Xu Beihong and Zhang Shuqi (tickets were five yuan, one drawing could be drawn by lot).

In November, at the invitation of Xu Beihong, he went to the Library of Central University to visit the exhibition of paintings by the Western Painting Group of Art Department in Hangzhou and to demonstrate bamboo paintings.

In December, I met painters Qian Yunhe and Wang Mengbai.

In 1934, he served in the Party Department of the Kuomintang Central Committee and actively engaged in painting activities. In April, in the "Art Style" (monthly magazine), he published Chinese paintings "Wind and Rain Return to Village" and "A Heavy Cold Tree and a Heavy Mountain".

In July, the article "The View of the Calligraphy and Painting Exhibition of the Central Party Headquarters" published in the "Art Style" (monthly magazine) pointed out: "Chinese painting is the most brilliant of Liuzigu's works..."

In December, the first personal painting exhibition was held in Nanjing, and the local Central Daily, Xinmin Daily and Chaobao Daily reported on it day after day from 6 days: "Zigu's works were praised by the audience, and praised by the party and state leaders, art magnates and poets; Chen Shuren was praised as"Six Facts Brilliant"; Xu Beihong commented on it. "True Qi goes far and makes nature wonderfully"; Lin Sen inscribes "well-known art forest"; Yu Youren inscribes: "Zigu paints mountains and rivers, takes the Song and Yuan Dynasties, besides hundreds of schools of thought, the former people called bloody battles with the Song and Yuan Dynasties. Painting figures, flowers, birds, orchids and bamboos, etc., can be handy in theory, technique and artistic conception. The intellectuals say that the decline of modern times can start. Truth is not in vain. Zigu Mianzhi, Chinese painting can flourish. This is the grand occasion.

During the exhibition, Linsen, Zhang Daofan, Zong Baihua, Xu Beihong and his wife, Chen Lifu, Gu Zhenggang, Liang Dingming, Xia Douyin, Chen Shuren, Zhu Peide, Shao Yuanchong, Feng Yuxiang, He Xiangning, Ye Chuling, Liu Yazi, Gao Jianfu, Jing Hengyi, Zhang Shuqi, Zhang Daqian, Mei Lanfang, and German stationed in China. Ambassador Todman and Consul General of Japan have hundreds of Chinese and foreign celebrities. Another report said: "On December 10, the last day of the exhibition, visitors included more than 1000 people, including Cai Yuanpei, He Yingqin, Luo Jialun, Kong Xiangxi, Fang Juehui, Zhang Weicun, Zhao Pilian and Li Zonghuang. He Yingqin, Fang Juehui, Zhang Weicun and other paintings were purchased by Kong Xiangxi, with the consent of Mr. Liu, in addition to his personal purchase, and the non-selling "Disaster Relief Map" was purchased for the purpose of national disaster relief.

In 1935, he participated in many paintings exhibitions in Nanjing, and created Impression of Houhu.

On April 15, Nanjing Central Daily said: "The Five-State Park Art Exhibition was scheduled to open for two days on Saturdays and Sundays. After Zhang Shuqi and Liuzigu, famous Chinese painters, joined in the latest masterpiece, they were welcomed by the viewers. They stood outside the door and surrounded by the peepers. They were in a hurry to see first. Every time, the meeting was scheduled for the future. Clouds open day by day."

In the autumn of the same year, the Shanghai Municipal Bureau of Education and Society jointly held the second personal painting exhibition of Liuzigu.

"Liu Zigu, a famous painter, will exhibit Chinese paintings in Shanghai and organize a garden of Chinese paintings in the future," said Shanghai Current Affairs News on September 5. According to Liu's service to a supreme organ in Nanjing, he has a deep knowledge of Chinese painting, taking the Song and Yuan Dynasties as his example, besides hundreds of schools. Last year, he exhibited his works in Nanjing and won praise from all walks of life. I have heard that Liu's recent masterpieces will be exhibited in Shanghai in the near future by the appointment of Wu Xingya, and there will be a great occasion at that time. On September 24, Yu Youren, Shao Yuanchong, Cheng Tianfang, Yu Qianqing, Wang Xiaokui, Juzheng, Chen Shuren, Qian Xinzhi, Wang Zhaoming, Li Yu, Wang Luyi, Wang Yiting, Lin Kang Hou, Dai Jitao, Du Yong, Yu Zuoting, Wu Tiecheng, Zhuo Minyi, Hong Ludong, Wu Kaixian, Xu Langxi, Gu Zhenggang, Zhang Yin, Ye Chuling, Zhang Dao "Liu Junzigu's artistic accomplishment is in the abyss of artistic accomplishment, which is highly praised by artistic forests. In order to promote the inherent culture of our country and enhance the artistic interest of the Chinese people, the two municipal bureaus of education and society held public exhibitions, making a special progress," Fan and others jointly published an announcement on the poster paper entitled "Mr. Liu Zigu's Chinese Painting Exhibition sponsored by the Social Bureau of Shanghai Bureau of Education". Introduce it. Its exhibition venue is 622, the sixth floor of the Mainland Mall. The date is from September 25 to 29. Liu Haisu, Zhu Yingpeng, Wu Qingxia, Wang Yiting, Xu Langxi, Tao Lengyue, Xie Gongzhan, Wang Yacheng, Zhang Yiguang, Huang Lannong, Tang Yufu, Wang Shizi, Yu Jifan, Ding Nianxian, Tang Guanwang, Ma Qizhou and other representatives in Shanghai's political circles, as well as Wutiecheng, Wu Xingya, Pan Gongzhan, Jiang Baili and Wu Kaixian. Cheng Tianfang and Guo Shun visited the meeting one by one. Daily reports, exhibitions and comments on "Shenbao", "Newspaper", "Morning News" and "New Night News", such as "Shenbao" on September 30, are published.

The information contained in "The Fifth Day of Liuzigu Painting Exhibition" can be seen as follows:

"Yesterday was the fifth day of Liuzigu Painting Exhibition hosted by the Municipal Bureau of Education and Society. It's Sunday and the audience is very crowded. When reporters visited, there were many people and the venue was overcrowded, which broke the record of previous solo exhibitions in this city. Wang Xiaozhi, a city informant, also visited the city and ordered several pieces. Also, Zhou Bomin, Standing Committee of Nanjing Party Department, Tang San, President of Qing Zibao, Shi Xinjia, President of Xinjing Daily, and Wu Gonghu, famous painters, all came from Beijing to visit Liu Jun's solo exhibition, which shows Liu Jun's profound artistic attainments. It is also reported that the meeting has decided to extend for two days, until October 1, at the request of all walks of life."

Hu Zaobin, a famous painter, commented on the exhibition in the national key literary and artistic commentary magazine Art Style (Shanghai, Volume 3, No. 11, 1935): "... The exhibition hall is divided into two rooms, displaying more than 300 pieces of works... I have been in Shanghai for more than two years, and I have seen quite a lot in the personal art exhibition. The great artist is only Liu Ren. The quantity and neatness of his works are also Liu Ren. The number of subscribers in the exhibition is also Liu Ren.

In the same year, other works were sent to India, Japan and Southeast Asia for exhibition. Shanghai Jincheng Arts and Crafts Press published the first volume of Zigu Pictures Preservation (Landscape Book), due to the right preface; Shanghai Ancient and Modern Painting Publishing House printed Zigu's single color paintings for collection.

In the same year, the 20th issue of Shanghai Art Life published works such as Flood Map, Moon Bamboo and Landscape.

In 1936, he married Wei Xiujing on New Year's Day, and the auditorium was filled with celebrities'greetings. For example, Jing Hengyi's Narcissus and Bamboo, Xu Beihong's Shuangjuntu, Zhang Shuqi's Cherry Blossom White Head, Chen Shuren's Lanshi, Liu Haisu's Lotus, Wang Yachen's Golden Fish, Xie's Chrysanthemum, Hu Zaobin's Mandarin Duck, and Liu Yazi, Ye Chuling, Cai Yuanpei's congratulatory poems and couplets. A total of more than 40 pieces, then into the "wedding painting and calligraphy exhibition".

In the same year, he wrote "Drinking Alone" and inscribed poems: "At that time, the pinch worm was quite surprised. His fame was far behind ten years. He could not pour out his hatred in his chest and spit out into the sky without knowing it."

In the same year, he served in the Party Department of the Central Committee of the Kuomintang, which attracted the attention of high-level personages for his good calligraphy and painting, and had good personal relations with him. He had used his favourable conditions to rescue important members of the Communist Party of China.

On November 7 of the same year, Nanjing Central Daily said: "Wu Junziqing recently invited the art circle to be friendly and organize the circulation agency of the Art Court. The purpose of the exhibition is to connect the emotions of the art circle and promote art. It is scheduled to hold a joint exhibition of famous calligraphers and paintings between Beijing and Shanghai in the auditorium of the Youth Association of China Road from 8 to 15 this month. Writers include Yu Youren, Wang Yiting, Wang Caibai, Zhou Bomin, Liu Zigu, Liang Dingming, Zhang Shuqi, Xu Shiqi and Xie Gongzhan. At that time, all walks of life are welcome to visit the cloud.

In April 1937, the second national art exhibition held at the Nanjing National Art Gallery included "Bamboo" and "Solo Drinking" and many other exhibitions. After the meeting, it was published in Modern Calligraphy and Painting Collection.

From April to May of the same year, in preparation with artists, the exhibition of the Calligraphy and Painting Research Fair of the Party Headquarters of the Central Committee was held on schedule. The exhibits included landscapes, figures, flowers and birds, stone and calligraphy. "Yang Tianhua, Liu Zigu, Yang Gongsan..." said the Central Daily in the second day of the Central Party Department Painting Exhibition. The works of others, especially those appreciated by the audience, have been determined by many people, and several people have decided on one piece, which shows that the works of the association are also valuable.

From 1938 to 1940, at the invitation of General Zhang Zhizhong, he also served as governor of Hunan Channel and Suining County. After assuming office, we will work hard to govern. These two counties are located in Western Hunan, with blocked traffic, backward economy and multi-ethnic scattered in the deep mountains and old forests. It was the year of famine. Painting bamboo for charity was highly praised by the villagers. It was called "Banqiao No. 2". When leaving office, the people sent each other along the way, with a gift day: "Wanjiasheng Buddha Qianqiuze, a generation of artists Bailihou", "Banqiao three unique poetry, calligraphy and painting, Jing Festival official return".

From 1940 to 1944, he moved to Hongjiang, Hunan, where he was the principal of Gancai Middle School. In the meantime, two personal exhibitions were held.

In the spring of 1945, he moved to Chongqing, Sichuan, to escape the war.

On April 7, Chongqing Central Daily said, "Liu Zigu, a painter, is coming to Chongqing to set up Gufeng Art College with more than 200 masterpieces, which will be exhibited in public." Fang Zhi published Liu Zigu and His Paintings in the Central Daily on November 11. The article wrote: "Zigu is good at drawing bamboo. When talking about bamboo painters, they will associate with him. They know his bamboo paintings, and they do not admire his bamboo paintings. In fact, he not only paints bamboo, but also works on landscapes, figures, flowers and birds. He has the deepest mountain and water power... "Yong Xu", "Wind and Rain in the same boat", "Yuan An sleeping snow", "Congratulations on the birthday of the immortals". All the pictures are elaborate masterpieces with profound workforce, although the ancient Ma Yuan, Xia Gui, Tang Yin and Qiu Ying are just like that. The painting exhibition was held in Chongqing Confucius Chi Inspiration Society from 13 to 16. The Gufeng Painting Academy was set up with the proceeds to buy a house, and more than 30 students were enrolled.

In 1946, he reunited with Xu Beihong in Chongqing. At the end of the spring of the same year, he returned to Nanjing with his family and the Gufeng Painting Academy was suspended.

From 1946 to 1947, he served as Commissioner of the Party Department of the Kuomintang Central Committee in Nanjing. However, he often painted friends. He had many contacts and skills with the leading figures of the Kuomintang political and military circles, such as Chen Lifu, Chen Brai, Yu Youren, Shao Lizi and Zhang Lingfu.

In March 1947, the "Exhibition of Modern Art Exercises" sponsored by the All-China Art Association was held in Nanjing Cultural Hall. The exhibits included more than 300 paintings by famous artists such as Xu Beihong, Qi Baishi, Chen Zhifo, Fu Baoshi, Wang Yadun, Liuzigu, Chen Shuren, Xie Zhiliu and Zhao Shaoyang.

In March 1948, he attended the 10th Anniversary Conference of the Fine Arts Festival in Nanjing Cultural Hall.

On April 2 of the same year, the Nanjing Central Daily said: "The painter Liu Zigu has a profound knowledge of traditional Chinese painting. He is especially good at bamboo writing, and has the reputation of being a master of bamboo painting. In order to carry forward the inherent culture of our country, Liu planned to set up Gufeng Painting Academy with more than 200 masterpieces, which was originally scheduled to go abroad for exhibition. The Grand National Congress will be held in Beijing and will be exhibited first.

The newspaper also said on the 21st: "The Liuzigu Painting Exhibition opened at Xinjiekou Social Service Office yesterday, with more than 600 people including Gan Jiaxin of the CPC Central Committee and Xu Enzeng, a representative of the National Congress. The pictures of Cangsheng Rain, Dingtiandi and Yuli Tingting by Liu Shi are highly praised, and some Westerners have purchased many pictures of Yuzhu and Xuezhu by Liu Shi.

On the 25th, the newspaper added: "Liuzigu Painting Exhibition has been exhibited in the Social Service Department for several days, originally scheduled to close today. The National Congress delegates are busy with elections and have not been visited for two days. It is scheduled to close on the 27th. Li Zongren knew that Liu Zigu's works had been well-known among the party, the government, the army, the arts and businessmen for many years. He competed to collect them quickly. He went to the exhibition in time and ordered all the exhibits other than non-selling ones in order to thank the National Congress delegates who supported him in running for Vice President.

At the end of the same year, Zhang Shuqi, based on Zigu's works, was very popular overseas, so he was invited to visit the United States by letter from the United States. Zigu considered again and again, but never did. He resigned from public office and returned to his hometown to wait for liberation.

"Liu Zigu is good at traditional Chinese painting and is good at painting things," said the "Thirty-six Yearbook of Fine Arts of the Republic of China" published in Shanghai in the same year. His works are extraordinary and well received by the society.

In 1949, the whole family moved to Hangzhou and held a personal painting exhibition. This is the first time Zigu held after liberation, and also the last personal painting exhibition in his life.

In 1950, recommended by Ma Yinchu, Hangzhou was transferred to Northeast China to teach, and first settled in Dalian as a middle school teacher.

In 1951, he created the cartoon "Two Partners on Wall Street", which was published in Luda Daily on February 18, 1951. During his tenure as a middle school teacher, he created and published several paintings reflecting the theme of juvenile life.

In 1952, he raised money for the war against the United States and aided the DPRK, and jointly exhibited with Zhu Minggang and Luo Shuzi a charity sale of calligraphy and painting, which was suspended. Xu Beihong sent a letter from Beijing to the relevant departments in Dalian, inviting Zigu to lecture at the Central Academy of Fine Arts, but it was not yet possible.

In 1955, he participated in the anti-counterrevolutionary movement in Dalian. The formal conclusion given to Liuzigu was "general historical problems".

He was transferred to the Department of Fine Arts of Shenyang Normal University in 1956.

Zhang Shuqi wrote to Zigu in 1957: "My brother's illness has been in danger, and his return to China in this life has become desperate and painful. It can be cited as a comfort. Recently, two books, Introduction to Painting and Lingmao Collection, have been written out of the manuscript, which is somewhat helpful for later learning to master techniques. They will be sent back to China together with the Painting Collection of Calligraphy and Flags for publication as younger brother." The last contribution of Shiyifan to the motherland is also. The collection of books and flags and paintings is expected to be a preface. It is sincere, but because the environment does not permit, the entrustment can not be fulfilled.

From 1957 to 1959, he cooperated with Man Keen in the War of Resistance Against the United States and Aid Korea.

In 1959, at the invitation of the Ministry of Forestry, he went to Beijing to paint, where he met with famous artists such as Fu Baoshi and Guanshan Yue.

In the same year, he was transferred to the Department of Fine Arts, Liaoning University.

In the same year, teaching manuscripts such as Calligraphy Correspondence Teaching Material, Zigu Painting Bamboo and Zigu Painting Eight Brothers were sorted out.

In 1960, he was transferred to Anshan Normal College of Liaoyang, where he still lives in Shenyang.

In the same year, he created a 7.5-meter-long volume "New Appearance of Mountain Villages".

In 1962, he was transferred to Shandong Art College and moved to Jinan.

In the same year, at the invitation of Shandong Branch of China Artists Association, more than 30 famous painters from all over the country went to Qingdao to participate in the activities of studying Chinese painting creation. At this time, the mood was unprecedented. During this time, he cooperated with Wang Xuetao in "Chicken in the Grass" and Guo Weiliao in "White Ribbon and Bamboo". Later, the organizers selected 32 works from more than 300 works to publish the Selected Works of Chinese Painting and the Selected Works of Spring Rain by Liu Zigu.

From 1962 to 1966, his own artistic views were clearly expounded in teaching. The main points are as follows:

 patriotism and humanitarianism are the creative themes of all honest painters. Their works should face the times, society and life directly and strive for three truths, that is, scenery, sentiment and truth.

· The unity of character and painting is the basic requirement for the artist's personal accomplishment. The artist must practice and be a teacher.

· Limited life, eternal art. Only when the door of hell has the spirit of never retreating and dedication, can we tap the door of art. Art depends on skill. Don't rely on luck. Opportunities for success are only for those who are capable and enterprising.

· Superior art is difficult to learn, and much easier to learn is not superb. We must advance in spite of difficulties. The road that the predecessors have not traveled should be explored bravely.

· Chinese painting pays attention to the unity of poetry, calligraphy, painting, seal and mounting, among which "painting" is the main one. Chinese painting should attach importance to brush and ink. "Dynamics of brush movement and method of using ink" is the essence of Chinese painting. "God stands by form" and "shape" is precious by "God". In the art of painting, we advocate the combination of poetry and painting, and appreciate both elegance and vulgarity.

From 1966 to 1978, there was no opportunity to publish works and participate in social activities.

In 1976, he wrote poems on paintings: "Art is beautiful in nature, and paintings are true in the mountains and rivers. From living high, people are bound to win over others."

Write poems on painting: "Implicit art is good, soul transformation engineer."

In November 1979, Songhua River Gallery in Harbin exhibited and sold art works. According to the Harbin Daily (29), Maozhu after Rain by Nakashi Liuko, the exhibit product, aroused great interest from Mr. Nakada, Vice President of the Japan Association for the Promotion of International Trade, who repeatedly hoped to ship all of Zigu's works to Japan for exhibition. This is Zigu's first public appearance about 30 years after his works disappeared in the painting world.

In 1980, China News published Zigu's "Sending Taiwanese Old Goods" in remote mail.

The manuscript "Hometown Spring is good, Head Bai also returns to live", also published an interview with reporters (old painter Liu Zigu recent situation). In the same year, the "Patriotic Family" column of the Central People's Radio broadcasted Zigu's articles "Memory of Zhang Daqian, a painter" and "Memory of Mr. Zhang Muhan, a good friend".

In the same year, he made his motto: "Seeking for the right thing to fall into the water and stone, fighting without fear of burning himself."

In 1981, he was invited to be honorary president of Anhui Southern Anhui Painting Academy.

In the same year, Zhang Daqiantuo visited Zigu and asked for paintings from friends of the Shandong Home Association in Hong Kong.

In the same year, the United Front Department of Shandong Province printed Liu Zigu's portrait and works as a color picture "Painting Garden Old Man Recalling the Old", which was used to publicize Hong Kong and Taiwan.

In 1982, Hunan People's Publishing House published the Dictionary of Chinese Artists, which compiled the entries of Liuzigu.

In 1983, Liu Haisu and his wife met Zigu when they came to Jinan for a visit at the invitation of Shandong authorities. They presented a frame with a banner: "The green hills are not old, the pines are evergreen, and it is only in vain to bully by snow and frost." Zigu sent Liu Lao's "Bamboo Chicken Picture" with the inscription: "Painting wishes Mr. Haiweng a long life."

In the same year, Shandong Fine Arts Publishing House published Selected Paintings of Liuzigu.

In the same year, Shandong Pictorial, Volkswagen Daily, Guangming Daily, Liberation Daily, Xinmin Evening News and Jinan Daily successively commented on Liu Zigu and his works.

In 1985, Shandong TV Station and Liaoning TV Station filmed and broadcasted the feature film Liuzigu's Painting Art respectively.

In the same year, he inscribed the title and inscription of Yushan County Chronicle published by Jiangxi People's Publishing House.

In the same year, both Hong Kong Wen Hui Bao and Australia Overseas Wind published special magazines on Liuzigu.

In the same year, the People's Daily, Guangming Daily, Wen Hui Bao, Pictorial of the People's Liberation Army, the People's Liberation Army Daily, the Central Television Station, the Central People's Broadcasting Station and other central and local news organizations reported that Liu Zigu dedicated the Picture of the War of Resistance to the United States and Aid Korea to the collection of the Chinese Revolutionary Military Museum. News. The scroll is praised as "the longest one in our country and the rare one in the world reflecting the history of war".

In the same year, he wrote "Jusong Picture", with the inscription "Heaven is falling, and it depends on it".

In the same year, the calendar "Selected Works of Liuzigu" was published, and important news and cultural units such as China Daily began to ask for manuscripts and paintings in Liuzigu.

On New Year's Day, 1986, Liuzigu presented paintings to border guards.

On the evening of the 12th of the same month, I received an interview with a reporter from the People's Liberation Army Daily and talked freely for two hours. At midnight, I died peacefully at the age of 85.