站在人生的前线——胡一川艺术与文献展
由中央美术学院、广州美术学院主办的“站在人生的前线——胡一川艺术与文献展”正在中央美术学院美术馆展出。展览以聚焦胡一川不平凡的人生历程和艺术历程为内容，展示了胡一川各时期重要油画、版画具有代表性的作品和珍贵文献约500余件，共分为五个板块，从口述史、美术作品、美育文献、人生抉择等方面进行切入，多角度展现胡一川“勇敢地跑到时代的前头当旗手”的人生追求。我们将循着展呈顺序，按版块，以图文的方式，进一步梳理胡一川与展品，展品与时代之间的关系。
油画《攻城》，1948，河北正定，布面油画，尺寸不详，原作已佚，现仅存黑白照片
上面这张黑白照片是目前有迹可循的胡一川第一幅主题油画作品——《攻城》，也是其艺术创作生涯中非常重要的转折点——从“版画”回归“油画”。
油画《攻城》的创作点燃了胡一川对油画艺术的一腔热血，他于1949年3月14日的日记中写道：
“自《攻城》创作完成后我对于油画的创作欲更加强了。”[1]
1945年8月15日日本宣布无条件投降，8月21日党中央派出干部去新解放区开辟工作，8月24日，胡一川带着当时已怀有身孕的妻子黄君珊离开延安，奔赴新的战场。又于一年后到冀中等地战火中实地考察，收集素材，创作大量速写、宣传画，《攻城》系列作品酝酿而生。
胡一川以“攻城”为母题的创作贯穿20世纪40年代下半叶，分别创作了一件套色木刻版画、一幅年画和一幅油画作品。
攻城，1946，河北张家口，凸版套色木刻，12.85×17.8cm，中央美术学院美术馆藏
1945年底胡一川与妻黄君珊离开延安，拿着冀热辽中央分局介绍到晋察冀中央的介绍信风雨兼程抵达张家口，进入华北联合大学做教员。1946年年初的一次文艺座谈会后，胡一川满心期待：“现在是没有旁的话讲而应该埋头创造刻几幅木刻的时候了。”[2]
“我冒着风到3那里去拿了几百元在张家口的市货上转了二三天，结果是买到了一块比较大的梨木板，我想在旧历新年以前无论如何要刻一幅套色木刻出来，是描写‘八路军攻城’。”[3]
胡一川日记1946年1月18日
这是“攻城”二字第一次出现在胡一川日记。诚然，如《攻城》这般抗战巨制不可能一蹴而就，胡一川以自身的艺术敏锐和革命热血，考察并挖掘这一主题最具感染力的时代形象和色彩笔触力量。
“我为了要亲眼看看敌人曾经蹂躏过长时间的县城，我虽然已经走得筋疲力尽了，但我还赶到方山县城，已参观了城内的房子差不多烧光了，城墙上和还模糊地残存着‘建设东亚和平’的字样，敌人的炮楼还高高地残破地站在城头上，看守所的岗楼已经破了……”[4]
胡一川日记1945年10月26日
“ …… 当我们进定兴城时，在东关看见一具尸体，已经被狗吃得差不多了，苍蝇围满了，尸具还穿着黄绿色裤子，知道是顽军。在县政府遇见了杨朔，他告诉我，联大已经完全搬到正定去了，他准备到区党委去，他很赞成我这样的工作下去。
据一位医生说，这次八路军攻城，顽军曾动员和组织青年学生拿着枪上城墙固守，结果打死和跳墙死的不少，这是多么令人感觉到可惜的啊。据一位店员说，当八路军的大炮攻城时，曾打死和被泥巴压死不少县里的民夫，这些民夫是被顽军强迫去做工事的。
我在车站上和在北河桥画了不少速写，我将来准备刻一张套色的北河桥爆炸组正在那里炸桥梁。”[5]
胡一川日记1946年10月15日
图3：胡一川日记，1946年10月15日
展览现场
在漫长而艰涩的四十年代，胡一川爬太行山，过清漳河，从麻田到绥德，从延安到华北联大，从张家口到定兴城……革命艺术家的脚步似乎从未停歇。我们无法再现山河飘摇的时代，但有幸能借胡一川收藏的战时旧照中一窥战火频仍的现场，也能一探胡一川《攻城》主题创作的观察和思路。1946年8月后，他再次奔赴前线，在冀中等地收集土改、攻城、地道、决堤等的战时素材，以速写的形式记录下了他所亲历的各式战场，所看到的鲜活形象。
40年代，胡一川收集的冀中军区政治部战时照片，城楼与民兵
1946年，胡一川收集的冀中军区政治部战时照片，炮火
速写《两个战俘》，1947，河北，铅笔，13×19.2cm，胡一川研究所藏
速写《清风店战役》，1947，河北，炭条，13.9×19.8cm，胡一川研究所藏
《攻城》首先以木刻的形式面世，并与《牛犋变工队》、《交通沟》、《埋地雷》、《挖地道》、《雪地行军》（即《胜利归来》）等套色木刻作品一同寄往上海参加了1946年的全国木刻展览会。在创作的半年之期里，胡一川时常在日记中严格鞭挞自我实践创作计划，并不断鞭策自身对艺术创作的现实思考，字里行间随时表露出一种紧张和急促的战斗性。
你千万不要替弱点和困难辩护，你就按照计划作罢，更千万希望你不要忘掉在小组会上提出的话和你自己订的计划啊。……艺术工作是一种不间断的顽强的神圣工作。
受不起打击和缺乏高度反抗的弱者是无法搞艺术工作。
你自己主观上如果没有比人深的一种看法、一种信心，老是在一种圆滑的轮盘上打转是没有什么出息的。[6]
胡一川日记1946年6月22日
你应该能度过重重的难关。
除了你自己应坚韧地努力外，不要有任何过高的幻想。
美术创作活动是一种崇高的精神活动而不是请你吃鸡蛋糕。
美术创作的成果不能以少数服从多数的方式去解决，冲不破这个难关终究是要做人家的俘虏。
我知道我正因为有我自己一套的认识和看法、与大多数人家不相同，不论在精神与物质上，随地随时都有被龚[7]击的可能。[8]
胡一川日记1946年8月27日
宣传画《攻城》，1947-48年，河北，水粉，36.2×50.1cm，胡一川研究所藏
素描稿《攻城》，1948，河北正定，铅笔，25.8×35.1cm，胡一川研究所藏
在完成套色木刻《攻城》的两年后，胡一川将“攻城”母题带入宣传画和油画的创作。油画《攻城》于华北大学1948年8月24日开学时举行的美术展览会上首次展出。此期抗战美术创作的媒介转换与更加充分的物质条件支持不无关系，但我们仍能从胡一川的自身行为上察觉其对油画媒介的偏爱和创作欲望。早在1946年，“张家口解放，一个偶然的机会，在张家口买到一套旧的油画工具材料，又开始搞油画。”[9] 胡一川也在日记中提到 “不管还存有什么天大的困难，但画油画的机会是比较多了”[10]。
除了工具、材料上的更新配合，胡一川自身对艺术的思考和媒介意识的觉醒早已成熟。
自然主义带着现实主义艺术的假面出现，不知不觉的便把画家，同时了也把观众拉入自己的臭泥坑里去了。……许多人直到今天只在题材上看到思想性，但决不是在绘画的本身上，他们忘掉了绘画中的色彩，节奏和形式的感动力，忘掉了使题材表现生动、逼真的非凡力量。
手榴弹土枪土炮在游击战争环境里可能是最好的武器，起的作用也可能最大，但一到的新的形势下它们作用也就不够了。
在新的情况下虽然不应该把旧式的落后武器丢弃，但更不应该漠视新式武器。[11]
胡一川日记1947年11月12日
展览现场
可以想见，《攻城》中硝烟弥漫的光影、紧张的场面、浩大的声势和画中人群动势的呼应细节的确更适合油画颜料细腻的表现。然而遗憾的是，油画《攻城》1949年于北京、上海参加展览后不知所踪。如今只能从胡一川所拍的照片文献中一窥此作风貌。幸而胡一川有心于日记详载了观展观众的反馈，我们可借当年观众评语想象《攻城》之貌：
华大于八月二四日开学时举行了一次美术展览会我抽空画了一张油画《攻城》（未完）参加观众的批评有以下几条：
1、《攻城》的颜色很好，气氛也好。
2、《攻城》也很生动雄壮。
3、《攻城》气魄很大，节奏雄厚，令人有神往之感。
4、《攻城》色彩鲜明，气魄很大。
……
9、我喜欢胡的《攻城》，一般说对气氛的表现不够，较注意的是《攻城》。
10、从容易与群众所接受这点观点出发，《攻城》等作品在群众中是容易吃得开的，城内的火光，城墙上强烈的反映。倒毁了的城楼，弹痕累累的城垛，爬云梯等，不是以表现我军如何取得胜利的，这是美中不足的地方。
……
21、在战争的气氛上是有的，但是表现什么人与表现什么攻城斗争，是说明不清不明确，假若就现在那可以说明任何一个攻城战都可。
22、油画《攻城》很好，尤其是夹杂在火光中显出的英勇，战斗的人影和在炮声中一同毁灭古老的城墙，均是最有意义的表现。
……
26、夜战也很不错，夜色蒙胧中，爬梯攻城时情景如画。
27、“攻城”，一幅色调优良，可惜未完。
……
32、展览第二部之《攻城》油画胡一川先生画，实为实真现景画面气色生动，实为最精彩之一画也，尤其画出解放军之英勇，出生入死之时奋勇直前为人民解放，实为新中国之胜利表现。 （刘乃光）
33、版画以古元的作品最接近实生活，胡一川的作品最有力量，希望二者能合为而一就更理想了。（付绍光）
34、十年来在人民的队伍里把胡一川锻炼得那样结实泼辣，由生活到作品都表现得那样可爱。 （靳克勤）
……
我已经把《攻城》送到北平去了，但不知能展览否。
我买几瓶油画铝粉。[12]
胡一川日记1948年12月16日
胡一川日记 1948年12月16日
速写《前进的战士》，1947，河北，铅笔，10.6×15.9cm，胡一川研究所藏
1946年，胡一川收集的冀中军区政治部战时照片，军队进城
1946年，胡一川收集的冀中军区政治部战时照片，碉堡与战士
胡一川通过《攻城》系列相对完整地展现了其最重要的几种创作形式，并在复杂而困难的环境下，颇具前瞻意识地冲破了媒介的界限，来讨论主题性创作的现实意义和形式表现，正如“前进的战士”不畏牺牲冲破敌人的防线，攻城并解放苦难的中国。
速写《城楼》，1948，河北，钢笔，12.1×17.6cm，胡一川研究所藏
速写《群众庆祝》，1949，河北，铅笔，19.5×27.4cm，胡一川研究所藏
策展人曹庆晖老师为“站在人生的前线—胡一川的版画与文献”选取的章节文字
钢是从铁的熔炉里炼出来的。
如果是一个阶级的战士，他是敢于在困难的池子里游泳，向一切困难投降是一个时代的弱者。
应该提起你最高的勇气，担负起时代的困难担子。
木刻工作者的岗位应该和其他的阶级先锋队一样站在最前线。
胡一川日记 1941年2月5日
文献整理及文字、图片提供：
广州美术学院胡一川研究所，林钰洁
注释
[1] 胡一川：《红色艺术现场：胡一川日记（1937-1949）》，长沙：湖南美术出版社，2010年，第470页。
[2] 同上，第398页。
[3] 同上，第399页。
[4] 同上，第393页。
[5] 同上，第446-447页。
[6] 同上，第402页。
[7] 校注：“龚” 同“攻”
[8] 同上，第403页。
[9] 胡一川：《漫谈“油画艺术”》，《美术学报》，2011年胡一川百年诞辰纪念专辑，第139-141页。
[10] 胡一川：《红色艺术现场：胡一川日记（1937-1949）》，长沙：湖南美术出版社，2010年，第467页。
[11] 胡一川：《红色艺术现场：胡一川日记（1937-1949）》，长沙：湖南美术出版社，2010年，第451页。
[12] 胡一川：《红色艺术现场：胡一川日记（1937-1949）》，长沙：湖南美术出版社，2010年，第462-466页。
参考文献
[1] 胡一川著：《红色艺术现场：胡一川日记（1937-1949）》，长沙：湖南美术出版社，2010年。
[2] 胡一川：《漫谈“油画艺术”》，《美术学报》，2011年胡一川百年诞辰纪念专辑。
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Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.
Article V
During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.
Article VI
Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.
CAFA Art Museum Portraiture Rights Licensing Agreement
According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):
I. General Provisions
(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.
(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.
(3) Party B will photograph all CAFA Public Education Department events for Party A.
II. Content, Forms of Use, and Geographical Scope of Use
(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.
(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.
(3) Geographical Scope of Use
The applicable geographic scope is global.
The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).
III. Term of Portraiture Rights Use
Use in perpetuity.
IV. Licensing Fees
The fees for images bearing Party A’s likeness will be undertaken by Party B.
After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.
Additional Terms
(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.
(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.
(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.
Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.
I have carefully read and agree to the above provisions.
CAFA Art Museum Publication Authorization Agreement
I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.
CAFA Art Museum Event Safety Disclaimer
Article I
This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.
Article II
Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.
Article III
Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.
Article IV
Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.
Article V
During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.
Article VI
Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.
CAFA Art Museum Portraiture Rights Licensing Agreement
According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):
I. General Provisions
(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.
(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.
(3) Party B will photograph all CAFA Public Education Department events for Party A.
II. Content, Forms of Use, and Geographical Scope of Use
(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.
(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.
(3) Geographical Scope of Use
The applicable geographic scope is global.
The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).
III. Term of Portraiture Rights Use
Use in perpetuity.
IV. Licensing Fees
The fees for images bearing Party A’s likeness will be undertaken by Party B.
After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.
Additional Terms
(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.
(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.
(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.
Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.
I have carefully read and agree to the above provisions.
