这是一曲行进中的哀歌，与超过四千万无家可归的百姓一道，流动在抗日战争年代里的中国。这，便是我国现代水墨人物画巨匠蒋兆和创作的《流民图》；它是中国水墨画史上，首次如此浩大而悲怆直面苦难的艺术见证。中央广播电视总台纪录片《美术里的中国》通过对作品的细节展示与剖析，揭露战争使人民身陷苦难的残酷事实，带领观众在作品中听见艺术的力量。The scene of poverty, pain, and desolation is truly heart wrenching. More than 40 million homeless people were roaming across war-torn China in 1942, a tragic chapter of history expertly rendered in “Refugees,” a figure painting by Jiang Zhaohe. It’s the first sweeping portrayal of such darkness and suffering in the history of Chinese ink painting.Produced by China Media Group, the documentary series “Fine Arts in China” zeroes in on the suffering the Chinese people endured in wartime through its detailed analysis of this evocative work of art, leading the audience to feel the power and magnitude of this unforgettable painting.《流民图》是1943年在沦陷区诞生的一部反战巨作。全画高2米，长27米，以一片瓦砾为背景刻画了一百多个深受战争灾难之苦的人民形象，人物大小几近真人比例。画作真迹分为上下两卷；上半卷经过修复现藏于中国美术馆，下半卷在战时被彻底毁坏。现存的唯一一幅《流民图》全卷复制品收藏于四川泸州市博物馆。A giant 2-meter by 27-meter canvas containing more than 100 life-size figures, the epic work “Refugees” utilizes the artistic vocabulary of realism to present the poignant tragedy of the war. The original painting included two volumes, the first half of which is now housed at the National Art Museum of China after it was restored, while the second half was tragically destroyed during the war. The only existing full reproduction of “Refugees” is at the Luzhou Museum in southwest China’s Sichuan.图：蒋兆和作品《流民图》局部1941年，蒋兆和开始构思《流民图》，两年后完成全部创作。其间，画家赴上海、南京等地体验沦陷区生活，看到了在日军铁蹄践踏下的百姓“人不为人”的生活情景。同情、悲悯、敬畏，都被画家凝结在水墨中；苦难在呐喊，作品中蕴含着直入人心的磅礴之力。画中那些背井离乡的农民、工人、知识分子，以及在死亡线上挣扎的老人和妇孺奏响了战争年代社会底层人民的命运悲歌，这是在那个黑暗时期百姓生活的真实写照。 Jiang Zhaohe began to conceive of “Refugees” in 1941 and completed it two years later. During this time, he visited Shanghai, Nanjing, and other areas occupied by the Japanese army so he could experience real life on the ground under such conditions. The painting’s depiction of farmers, workers, intellectuals, elderly people, women and children struggling to face up to death during this incredibly dark period is extremely moving. Under Jiang’s skillful strokes, spectators cannot help but feel sympathy, pity, and awe at the same time as they gaze upon this oil painting masterpiece. 图：蒋兆和作品《流民图》局部《流民图》的创作以骨法用笔为基础，融入西方解剖、透视、块面等写实技法，极大地丰富了中国人物画的表现力。蒋兆和不仅刻画人物的外在形象，更注重对其内心进行细腻挖掘，烘染出哀伤无助的氛围，具有强大艺术感染力。 In Chinese ink-wash painting of yore, meticulous delineation was always stressed at the expense of realistic modeling. Jiang Zhaohe blazed a new trail. His varied brushwork rendered a realistic sense of volume to the rugged skin, bones and muscles underneath. The lateral application of ink left elusive trails of tears. The subtlety of his shifting texture made the fabrics almost tangible. The colors, though plain and spare, proved powerful and effective. 图：蒋兆和作品《流民图》局部与此同时，《流民图》表达了对正义与和平的呼唤，为现代中国水墨人物画在世界反法西斯战争的艺坛上确立了光辉地位。国际美术界将蒋兆和的《流民图》与西班牙画家毕加索的《格尔尼卡》、日本画家丸木俊、丸木位里的《原爆图》统称为“二战期间的三大反战画卷”，一并载入史册。 In addition, the painting expresses the desire for peace and justice, as well as bursting with praise for the human spirit and its unyielding strength. It is regarded as a key work in modern Chinese ink-wash figure painting and a powerful statement in the global war against fascism.The value of “Refugees” lies not only in its spiritual power but also in its artistic breakthroughs. The painter combines Chinese line drawing with the lighting and shading techniques popular in the West to represent the peak of Chinese portrait painting. 图：蒋兆和作品《流民图》局部对底层人民命运的关注，是蒋兆和艺术创作的第一主题。他用画笔为国立传、为民写真，以人道主义情怀，放笔直取现实中的民生百态，被誉为影响中国现代水墨人物画坛的一代宗师。他的绘画作品在传统中国画的基础上结合了西方绘画特色，将油画的写实与水墨画的写意融会贯通，拓展了中国画的创作技巧，并将现代人物画推向了巅峰。 A deep concern for the fate of the people living at the bottom rungs of society serves as the primary subject for Jiang Zhaohe’s art. With his deeply rooted humanitarian perspective, he used his brush to serve the country and its people. Known as a master of modern Chinese ink painting, Jiang expanded the creative skills of traditional Chinese painting, and pushed modern figure painting to a new high.