Weekend, Where to go | 投荒面壁三年，只为这座国之瑰宝
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Is there anything you want to accomplish so badly, even when it means you have to live and work for nearly three years in an adverse, isolated environment, with very few facilities?
你是否有强烈希望去做的一件事呢？强烈到为了完成它，你愿意在将近三年的时间里都生活工作在一个恶劣、闭塞和物资匮乏的环境中。
When master artist Zhang Daqian arrived in Dunhuang, in 1941, he had planned to stay for three months.
张大千在1941年到达敦煌的时候，原本计划只待三个月。
But the moment he entered the caves, and lighted up the wall, he was astounded by the extensive, breath-taking murals.
但是当他进入洞窟、用手中的灯照亮墙壁，他被眼前大片精美的壁画震撼了。
And it turned out that his stint extended to some two years and seven months. During the period, he made nearly 270 reproductions of those decaying grotto murals.
结果他一待就是两年七个月。在此期间，他绘制了将近270幅的壁画临摹图。
Zhang was assisted by his sons, students and painter friends such as Xie Zhiliu.
协助他完成这一工程的还有他的儿子、门生和画坛好友，比如谢稚柳先生。
▲ 敦煌临摹
He also worked with five lamas who were also thangka artists. They helped prepare special painting clothing and quality mineral pigments, so that the remakes would revive the glory of the murals.
他还特别邀请来五位喇嘛唐卡画师一起工作。他们主要是帮忙制作特殊的画布和优质的矿物颜料，使得临摹的作品能尽量呈现出壁画曾经的瑰丽。
Zhang and his team copied the murals of not only the Mogao caves but also, the Yulin caves which were even more desolately situated.
张大千和他的团队不仅临摹了莫高窟里的壁画，还到位置更为偏僻的榆林窟中进行临摹。
▲ 1943年 榆林窟
They had consumed the bulk of daily supplies being brought to Dunhuang. They had to seize every minute to study and reproduce the murals, before they ran out of supplies.
由于当时他们运到敦煌的物资已经消耗了大多，他们必须在弹尽粮绝之前，抓紧每分每秒来研究临摹榆林窟的壁画。
Within one and a half months, Zhang and his team numbered all the caves, like they had done for the Mogao grottoes.
在一个半月内，他们对洞窟进行编号，如同他们之前在莫高窟所作的一样。
They worked in the caves for more than 14 hours a day, even at night. They had to hold a lighted candle in one hand and the brush in another hand.
他们每天会在洞窟内待上超过14个小时。即使在晚上，他们也是一手举着蜡烛，一手拿着画笔进行临摹。
After they ran out of candles, they used tally lamps which were not that bright but generated much smoke.
在蜡烛用完以后，他们就改点牛油灯，光线弱不说，产生的烟还呛人。
Their temporary residence was often invaded by scorpions. When they slept, they had to covered their heads which however, didn't prevent them from being bitten by scorpions.
他们临时住的地方经常有蝎子“来访”。睡觉的时候即使是把头蒙着，也免不了会被蝎子蜇。
And the howls of wolves outside made the situation even more dangerous.
外面传来的狼嚎让他们的工作环境更添几分凶险。
Thanks to their courage and persistence, we can now appreciate these fascinating reproductions of the Dunhuang grotto art, shown at a grand exhibition of Zhang Daqian's art now at the National Museum of China.
如果没有他们当初的勇气和坚持，我们今天也就无法在国博的张大千艺术大展上欣赏到这些美到窒息的临摹了。
They are loaned from the Sichuan Museum through March 4.
所有的展品来自四川博物馆的馆藏，会一直展出到3月4号。
How the studies of murals influenced Zhang's court lady paintings? Click here to read last week's posting.
想知道这苦行僧般的三年研习如何影响了张大千画中的仕女吗？点击这里看上周的推送。
When Zhang was about to leave Dunhuang, he met the just arriving Chang Shuhong and his family.
张大千一行要离开敦煌的时候，碰上了刚刚抵达的常书鸿先生一家人。
The artist who returned from France was also attracted to the cave murals.
常先生是留法归国的艺术家，也是为了追寻敦煌壁画而来。
Chang later became the first director of Dunhuang Art Academy and was hailed "patron saint of Dunhuang" for his lifelong commitment to its preservation.
常先生后来成为敦煌艺术研究院的首任院长，他因为终身致力于敦煌艺术的保护而被尊为“敦煌的守护神”。
Chang's daughter, Chang Shana, a prominent designer of arts and crafts, recalls that Zhang described his father's decision to stay in Dunhuang as "a life sentence to be served".
常先生的女儿、著名工艺美术家常沙娜先生回忆到，知道常书鸿想在敦煌待下去，张大千形容这一决定是“无期徒刑”。
She also remembers before he left, Zhang gave her father a bag of materials recording their findings and researches over the past three years and meanwhile, a hand-drawn map which showed where and when people could pick edible mushrooms.
她还记得张大千临行前给她父亲一大包过去三年对壁画的研究资料，还有一张手绘地图，上面列出了哪里能找到可食用的蘑菇、以及采摘的季节。
▲ 常书鸿、嘉陵和沙娜，敦煌
Click here to read a previous posting on Chang Shana's mural reproductions.
点击这里看沙娜先生在十几岁的时候的壁画临摹。
Courtesy of National Museum of China and Sichuan Museum
图片致谢国家博物馆和四川博物馆
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。