从掷铁饼到执画笔，一场数十年的艺术修行

张奇志

空舟載雪——池长庆书画作品展在浙江美术馆开展

初秋，丹桂飘香，“空舟载雪——池长庆书画作品展”在浙江美术馆展出。该展览集池长庆书法和国画作品120余件，为其从事书画教育与创作32年来的首次小结与展示。

可能很多人想不到，池长庆最初是个铁饼运动员，后来痴迷的却是绘画。 他从大学体育系毕业，如今成了中国美术学院美术学博士、浙江大学艺术学系（院）副主任。

池长庆过去几十年的人生经历，充满故事性。

体育少年的绘画梦

池长庆出生在浙南平阳县，14岁那年成了学校的铁饼运动员。他不但投得远，还跑得快，因此成了学校重点培养的运动员。1982年9月，他以优异的成绩考进了原杭州大学体育系。

但是，池长庆心中最喜欢的不是投掷和奔跑，而是绘画。

初三那年，池长庆就订了北京画院出版的《中国画》。多年以后，池长庆这样回忆，“《中国画》让我认识了国画，也开发了我的绘画潜力。”

池长庆入读原杭州大学后，开始了中国传统书画印的全面训练。这名体育系的学生不但体育专业成绩优秀，还是校园文化的活跃分子。

1982年冬天，他和同学孙百安找到西湖边的杭州书画社，“碰巧看见了杭州市业余美术学校报名点”。于是，他花8块钱报了初级班。初级班的老师是余石蘋先生。一个学期后，他又进入提高班，带班的是浙江美术学院的闵学林教授。几年的正统教学，使池长庆的绘画能力得到迅速提升。

池长庆庆幸他找到了此后追随几十年的闵学林教授。37年前，闵学林就要求池长庆注重书法能力的培养。“我记得，闵老师特别提到让我去买一本李北海的字帖临一临。”从此，池长庆开始理解书画同源，开始在诗、书、画、印的结合上做出自己的努力。

曾作画赠美国州长

1986年初夏的一个晚上，时任杭州大学团委书记何文炯在学生宿舍里找到池长庆。他带来一个紧急任务：有一个叫罗伯特·奥尔的美国州长，后天上午将率团访问本校，学校决定，由学生创作一幅中国画作为校礼相赠。作画的任务就交给了池长庆。

当晚，池长庆在一个大约十平方米的办公室里创作。画什么呢？领导没有明确，只能由池长庆自己决定。他想了想，决定画《西湖之春》：西湖边，粉红色的垂丝海棠盛开着；湖面上，两只鸳鸯在悠游。他在题跋上写：赠罗伯特·奥尔州长 杭州大学池长庆。第二天一早，他交了稿。

没想到第二天，州长有一个答谢晚宴，除校领导外，还特意点名邀请池长庆出席。学校很快找到池长庆，嘱咐他穿上干净整洁的白衬衫，还带上装画笔和墨水的工具箱——万一州长现场要求作画呢？

那场晚宴上，州长还当场宣布，授予一位副省长、杭大校长和池长庆三人为印第安纳州的荣誉公民。

毕业后，池长庆留在校体育系工作。一年后，池长庆遇到人生的一位重要“伯乐”——邢秀华教授。这一年，杭州大学成立艺术教研室。邢秀华，这位沙孟海、陆维钊先生的入室弟子，看中了在书画上初露头角的池长庆。很快，池长庆从体育系调出，开始在大学讲台讲授《大学书法》这门公共课。

“沙老对我的书法影响很大。”今年5月，池长庆去看望91岁的邢秀华时回忆，当年邢老师几次带他去沙孟海先生家，聆听沙老的教诲，“印象最深的一次，我带了一卷作品，请沙老指点。沙老翻看时，两次说‘好。这对我是莫大的激励。”

“道古书房”可求道

道古书房，池长庆如此命名自己租的一间公寓房。

这名字有怀旧的味道。当年的杭州大学、如今的浙大西溪校区南门前西溪河上有座桥，名叫道古桥。那是七百多年前南宋大数学家秦九韶（字道古）建造的桥。

现在，在道古书房，池长庆和同道会聚，读书写字作画。有一个叫郑利权的年轻书法家，也是道古书房的常客。21年前，他考入杭州大学中文系，大学四年，他每个学期都选了池长庆的《大学书法》课。25岁时，他成了中国书协最年轻的会员。就在今年早些时候，西泠印社出版社出版了池长庆和郑利权共同编著的《民国印论精选》。

在道古书房，池长庆实践着他在学术上的价值取向：与古为徒。

“中国传统书画的线条，就像心电图一样，把人的喜怒哀乐一览无遗地呈现。每一根线条，都可以是中国人美感的表达和心性的抒发。这就是中国书画的高度。”池长庆说。

池长庆在努力延续书画相融的传统艺术精神。以书入画，以画写书，书画同体代表着中国传统书画艺术的特征与精神。他决意在这条前人指明的道路上孜孜矻矻，上下求索。

池长庆潜心梳理与探究中国传统书画艺术中“以书入画”的道统。在闵学林、范景中教授的指导下，他以金农、赵之谦、吴昌硕、黄宾虹为案例，深入研究“金石入画”现象。

他越研究，就越敬畏古人，对自己选择的沿着“金石入画”这条传统道路往下走的决心也越加坚定。

2014年，池长庆完成了8万余字的博士论文《金石入画研究——以金农、赵之谦、吴昌硕、黄宾虹为中心》，取得中国美术学院美术学博士学位。他自信，这篇论文对于全面梳理“金石”与清代乃至近现代中国画的历史进程的关系有学术价值。他相信，再思考“金石入画”，对于坚守中国绘画的笔墨传统与改进当代中国画教学有着重要的现实意义。

Chi Changqing： From Discus Thrower to Artist

By Zhang Qizhi

In early autumn 2018 Zhejiang Art Museum held a solo exhibition of about 120 artworks by Chi Changqing， an educator of calligraphy and painting for 32 years. No one could guess that the accomplished artist， now a PhD of Art and deputy dean of Art Department of Zhejiang University， was a discus thrower in his middle school and college days. At 14， he made his reputation by accident when he threw a discus farther than anyone in the school had ever imagined. In September 9， 1982， he was enrolled into Hangzhou University as a major of sports education.

However， his heart was not in sports. A subscriber of Traditional Chinese Painting， a periodical published by Beijing Academy of Traditional Chinese Painting as of the third year of his junior high school， he embarked upon a comprehensive art education in college though he did pretty well in sport education. In the winter of 1982， he enrolled himself into an art school for amateurs in Hangzhou. He studied under the tutelage of Master Yu Shipin. After a semester， he transferred to the advanced class taught by Professor Min Xunlie of Zhejiang Academy of Fine Arts. In a few years， the discus thrower made rapid progress in art through systematic training under the professors guidance.

Chi Changqing feels lucky that he found the professor so many decades ago. Back then， Min instructed him to practice calligraphy as a way to master the art of calligraphy and painting. It was then that Chi began to learn more profoundly about calligraphy and painting sharing the same foundation.

Chis first important artwork was done in a summer evening in 1986. A university administrator came to his dorm and tasked him to create a painting as a student gift for an important American visitor who would arrive on the campus for a visit two days later. As he wasnt given any instruction about what to paint， Chi decided upon painting a morning scene of the West Lake. He handed the painting in the next morning. It was a marvelous success.

Chi stayed at the alma mater to work at the sports education department upon graduation. In the second year， Professor Xing Xiuhua， who studied under the guidance of Sha Menghai and Lu Weizhao， two celebrated calligraphers of Zhejiang， came to set up a studio on the campus of Hangzhou University. Professor Xing spotted the gifted Chi Changqing. Pretty soon， Chi Changqing was transferred from the sport education department and was tasked to teach calligraphy， a general course open to all students.

Chi Changqing is grateful to Xing， who is 91 years old now， for bringing him to visit Sha Menghai （1900-1992） several times. Sha approved Chis calligraphy.

Nowadays， Chi Changqing works at a rented apartment and calls it Daogu Studio. The studio is named after Qin Jiushao whose literary name was Daogu， a mathematician of the Southern Song Dynasty who built a bridge near Hangzhou University， which was merged into Zhejiang University in September 1998. The choice of the name demonstrates Chis career ambition. Daogu in Chinese means pursuing the ancient glory. “Lines in traditional Chinese calligraphy and painting demonstrate ones emotions accurately. A single line can well express ones aesthetics and sentiment. This is the acme of Chinese art，” explained Chi Changqing in a press interview.

For decades， Chi Changqing has worked to integrate calligraphy with painting and introduce painting into calligraphy. In his opinion， “calligraphy and painting are one” is the very essence of Chinese art.

He has done a theoretical research into the ancient introduction of seal art into painting， first pioneered by great predecessors such as Jin Nong， Zhao Zhiqian， Wu Changshuo and Huang Binhong. The research was carried out under the guidance of Professor Min Xuelin and Professor Fan Jingzhong. The research results were written into his doctoral dissertation.

In 2014， Chi completed his PhD dissertation and obtained a PhD degree in art at China Academy of Art. He believes that his dissertation is academically valuable in understanding the correlation between seal art and Chinese painting from the Qing up to the present day. A rethinking on the idea of introducing seal art into painting is of significance in adhering to the brush and ink tradition and in improving art education.

The studio is where Chi works and meets younger calligraphers. One of them is Zheng Liquan. He took Chis calligraphy course every semester for four years in Hangzhou University and became a member of China Calligraphers Association at the age of 25. Earlier this year， Chi and Zheng jointly published a book on seals created by artists in the first half of the 20th-century China.