笔指之间画山水，境界之上一步一重——《美术里的中国》带您探寻雁荡山巨石里的春天

你印象中的雁荡山是怎个模样？是宁静幽远，是肃穆庄严，抑或是峥嵘奇异、形态万千？

在国画家潘天寿眼中，雁荡山有岿然屹立的巨石，有恣肆绽放的山花，还有涌动着生命节律的藤蔓；那里有澎湃激荡的原始生命力和雄浑博大的浩然之气，那里还有一个壮志激昂的中国春天。

中央广播电视总台纪录片《美术里的中国》以最前沿的数字技术助力艺术表达，令画家的经典名作“飞”出画纸，将雁荡山的磅礴气象与大自然的色彩斑斓传递给每一位观者。

位于浙江乐清的雁荡山是一座海上名山，以山水奇秀闻名。每逢南归之际，大量秋雁会飞到山间栖息，雁荡山也因此得名。

收藏于中国美术馆的《记写雁荡山花》是潘天寿先生于1962年创作的水墨设色画。它长近4米，宽1.5米，尺幅巨大且构图极其高妙。坚硬的磐石几乎占据了画纸的一半，石上是浓郁的苍苔，数枝野藤攀附交缠；巨石周围点缀几朵小黄花、几支沙荆草和挺立的芦花嫩叶，均有欲矗入云霄之势；两只青蛙从石崖慢慢爬上去，似乎在观察周围的动静。这幅画静而美，美而清新，蕴藏着无穷生机。惟妙惟肖的细节令人宛如置身于幽静的山涧苍石之间。

潘天寿作品《记写雁荡山花》

二十世纪五十年代，传统绘画不受学生重视，潘天寿因教学的事伤了心。受到毛泽东诗词中对自然豪迈表达的启发与鼓舞，他来到雁荡山写生。眼前的巨型山岩雄强有力，野花劲草倔强生长，天地间万物蓬勃的盎然景象使画家豁然开朗。他挥舞画笔，以雄浑的力度、开天辟地的气势，为国画找到了豪迈的时代风向。名作《记写雁荡山花》也由此诞生。画中这块大石表达了潘天寿内心的坚实感。这种坚实感被后人解读为是对民族文化的自信，就像这座磐石一样不可动摇。

潘天寿作品《记写雁荡山花》局部

在潘天寿的作品中，所画的多为常见题材。但这些最平凡的事物一经他的点化，便具有了特殊的艺术魅力；尤其是那些不为人们注意的山花野草，他都寄予了无限热情。笔为心象，画表情怀。潘天寿用传统的山水花鸟展现了一个崭新的境界，那是一个时代给予画家的激荡与震撼。正如这位国画大师所说：“艺术之高下，终在境界。境界层上，一步一重天。”

国画家潘天寿

Dubbed the "Famous Mountain above the Sea," Yandang Mountain in east China's Zhejiang is a resort area well known for its natural beauty. It serves as a de facto natural museum of geology and living record of geological history dating back 100 million years. This is the mountain in the eyes of tourists. For many Chinese painters, however, it has different shapes.

Pan Tianshou was one of the greatest landscape painters in modern China. His magnum opus "The Impression of Blossoms of Yandang Mountain," created in 1962, recorded the shape of Yandang Mountain in his eyes. "Fine Arts in China," a documentary series by China Media Group, uses advanced digital technology to make the painter's classic work even more vivid, conveying the magnificent landscape of the mountain and its colorful environment to viewers.

On a stretch of rice paper measuring four by one and a half meters, Pan Tianshou used vigorous brushstrokes to depict the magnificence of his artistic vision. Vines come alive with the rhythms of life, boulders stand firm and strong, and exuberant blossoms loom large, arrayed like monuments. The colorful flowers accentuate the area's lush wilderness. Tiny blades of grass add rich layers to the image. Amid such tranquility, people can almost hear the chorus of frogs. The juxtaposition of motion and stillness enhances the view of the horizon. This is the spring scenery of Yandang Mountain.

For Pan, Yandang Mountain was not only a painting subject, but also a place of spiritual significance. In the 1950s, China's traditional fine art was considered to have become stagnant and conservative in both technique and subject matter, confronting it with something of a crisis. In those years, students chose to steer clear of traditional paintings. This dwindling interest compelled the artist to blaze a new path bolstered by his bold innovations.

Pan Tianshou arrived at Yandang Mountain and sketched the natural scenery, the fauna and flora, as well as the rocks there. The distinct hues, extensive breadth of perspective, and blossoming wild flowers all come together in a breathtaking composition. The huge rock in the painting expresses the firmness of Pan's resolve. This was interpreted by later generations as representing the confidence he had in his national culture, which is as unshakable as the rock itself.

Chinese fine art derives its strength and vision from the artist's innermost feelings. The brushstrokes manifest one's most deeply held aspirations. Pan Tianshou's bold, unprecedented endeavors in the 1950s and 1960s breathed new life into the country's centuries-old fine art tradition. As the master artist once said, "Artistic quality is ultimately measured by spirituality; a single step can make the most vital difference."

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