他是新中国的“首席形象设计”，带领工人把国徽挂上天安门城楼 | Weekend, Where to go
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Before I introduce to you to this great man, I want to show you two photos taken in Cannes, in 1956.
在介绍今天的主人公之前，先给大家看看两张拍摄于1956年法国戛纳的照片。
The man Pablo Picasso is embracing is Zhang Ding (1917-2010), the subject of this week's post.
被毕老爷这么搂着、并且“深情凝视”的就是本期要介绍的张仃先生。
Zhang was a member of a Chinese delegation who visited Picasso's villa in Cannes. He then supervised the decoration of the China pavilion at an international exposition being held in Paris.
当时，张先生作为中国代表团的一员，访问了毕加索位于戛纳的别墅。那年，他是巴黎国际博览会中国馆的主设计师。
Maybe you've heard a little about this man, Zhang. He's been hailed as "the premier visual designer of New China".
也许你很少听说过他，但张先生可是被誉为新中国的“首席形象设计师”的。
It was he who first proposed that China's national emblem should feature Tian'anmen Gate Tower. In 1950, he led a team of workers who hung a wooden version of the emblem on the tower.
是他在参与国徽设计的时候，提出要加入天安门城楼的元素。也是他在1950年带领工人师傅把一枚木制的国徽挂上了城楼。
Other national commissions he undertook included designing stamps that celebrated the birth of the People's Republic of China and decorating the "10 grand buildings" in Beijing that marked the 10th anniversary of New China.
他还承担了其他很多国家的形象设计任务，比如建国纪念邮票设计（如下图），庆祝建国十周年的首都“十大建筑”工程中，他担任美术组组长。
He also helped boost the image of an ever-changing China among an international audience.
同时，为了把一个不断变化中的中国介绍给国际社会，张仃也做了许多努力。
He was, for example, the artistic director of the 1979 animated film Nezha Nao Hai, or Prince Nezha's Triumph Against Dragon King.
比如，他为1979年上影厂动画经典《哪吒闹海》把关场景和人物形象的设计。
https://v.qq.com/txp/iframe/player.html?vid=h1327clnlh0&width=500&height=375&auto=0
It became the first feature-length Chinese animation to ever be screened at Cannes Film Festival, in 1980.
《哪吒闹海》是首部在戛纳电影节展映的华语动画片。
The animation is being played at a centennial exhibition commemorating Zhang's birth, at Tsinghua University Art Museum through Nov 10.
你的童年里有这部经典动画么? 在清华大学艺术博物馆的张仃百年诞辰纪念展上，就有播放这个片子。
As well as his accomplishments in design, the exhibition also records his feats as an educator — first teaching at the Central Academy of Fine Arts and later becoming director of the Central Academy of Arts and Design, now Tsinghua University's arts and design academy — and the work he did to revitalize Chinese ink-brush painting.
纪念展一直持续到10号，回顾了张先生在设计和教学方面的成就——他先后在中央美术学院和中央工艺美院（现在的清华美院）任教，并担任后者的院长。同时，也展示了张仃对于传统水墨的革新。
Growing up in chaos and wartime, Zhang mostly taught himself to paint.
张先生成长于战乱时期，基本上依靠自学。
He traveled a lot and sketched until he was in his 80s, always on the lookout for "prey" — scenery and people that aroused his desire to paint — when traveling by car or train.
因此他珍惜能画画的一分一秒，有机会就出去写生，坚持到80多岁。出行的时候，他在车上都坚持不睡觉，而是寻找“猎物”——那些能激发他创作欲望的风景和人。
It is said that on the day of his retirement he rolled around on the ground, despite being at the age of 67, because he was so excited at the prospect of wholeheartedly devoting himself to painting.
据说在他退休的那天，张先生兴奋得在地上打了个滚儿，因为他终于可以全情投入地去画画了。
After turning 80, Zhang was advised by doctors not to travel due to health reasons. He stopped painting shortly afterward, feeling disconnected from nature and the common people.
80岁以后，张先生因为健康原因被医生建议不要出门旅行了。他觉得不能出门写生还有什么意思呢，既然不能深入自然和大众的日常，他索性也就不画了。
He was acclaimed for his love of folk culture and ethnic peoples.
张先生还为人称道的是他对于民间文化传统的热爱。
Not only did he travel to a lot of areas inhabited by ethnic groups and incorporate elements of their folk art into his creations, he also invited folk artisans to work and teach at the Central Academy of Fine Arts, when he headed its department of applied art.
他不光经常到少数民族地区写生，把这些民间工艺的元素融入到他的创作中去，同时，在他担任中央美术学院实用美术系主任的时候，他还把民间工艺大师请到校园里创作、教授学生。
He once said, "It is a lifelong commitment (for me) to safeguard folk art."
张先生曾说，“（我）愿意终生做一个民间艺术的守护者。”
Courtesy of Tsinghua University Art Museum
图片致谢清华大学艺术博物馆
IF YOU GO
Lin Qi
自出道起专注特稿写作10余年，担任艺术报道是这两年的事。周一到周五去高大上的博物馆跑活儿，周末在798/草场地/黑桥出没。