大洋彼岸一幅普通中国画的故事

作者：光明日报记者 吴云

　　当《千里江山图》在北京故宫引起观看热潮的时候，在大洋彼岸的波士顿美术馆，一幅正在修复中的中国画也引起了不小的轰动。

修复师正在修复《道教雷部辛天君画像》

　　1.修复中的中国画

　　今年10月，记者在波士顿美术馆参观时，在178号展厅偶然看到了这幅画作，一下子便被它吸引住了。它平放在工作台上，占据了大半个展厅，狭长的展厅只剩下一个窄窄的过道。画中人物面呈蓝色，着青灰色衣袍，手中抱着个喷火的书卷，腾云驾雾，因为画幅巨大，人物的神态表情生动传神，视觉冲击力很强，一看就是来自中国。画面已经陈旧破损，有两道裂痕几乎贯穿画面的中央，画中人物左脚的黑色靴子处也有很明显的缺损。

　　一个美国旅游团的游客正饶有兴味地听导游对这幅画中的人物和它的修复工作进行讲解。这幅画叫作《道教雷部辛天君画像》，是波士顿美术馆目前展出的“妖怪与降魔者”主题中十分重要的画作，现在博物馆将它的修复工作展示在观众面前，吸引了不少好奇的观众，这是他们第一次近距离观看到巨幅中国画的修复过程。

　　对画作进行修复的，是来自北京的主修复师高競和来自台湾的助理修复师蔡欣辰。在一天的修复工作结束之后，他们就自己的工作对记者进行了简单的介绍。

波士顿美术馆展出的一幅八破画

　　这幅画此前一直存放在库房，因为展览是关于妖怪和降妖的主题，而画中人物一直以来都被认为是钟馗，博物馆亚洲策展部的专家一下子就想到了它。

　　当时这幅绢画状态十分糟糕，因为过于巨大，画卷中间已经裂开了，更因为存放年代久远，许多地方已经受潮，有水迹或者生出了霉迹。正巧当时博物馆一幅巨幅日本画刚刚在这个展厅修复完，一切设备都可以利用，于是这幅巨大的画作便被挪到178号展厅进行修复，同时也把修复过程展示给观众。

　　修复工作的第一步是对画作进行清洗工作，这幅画的画心长约3.78米，宽2.56米，算上装裱长将近5米，宽近3米。由于尺幅相当大，两位修复师必须分区进行清洗工作，上面用刷子蘸水冲洗，下面用小抽气板连同脏物等一同吸下去。每个区域清洗两到三次，与此同时，修复师用过滤水和吸水纸将霉迹从表面去除。

　　此外，画作的破损之处也要进行加固。两位修复师用黏着剂“布海苔”对画作破损之处进行固定，阻止画作的破损继续加大。

　　高競说，在修复工作中，最重要和最难的一项是揭托——揭褙纸之后，因画作没有依托，需要马上加上新的褙纸，这个工作一开始，一天都没有办法停下来，因此到揭托阶段，博物馆分别从弗利尔美术馆以及新加坡文物局请到吕智超和陈颖惠两位修复师来帮忙。揭托、修补后要对画作进行重新装裱，装裱之后在其上板绷平的时候，他们会调配出缺损处的颜色补到补绢上去。而对于原有绢画，修复师所坚持的原则就是最大限度维持原有状态，不在图像上做任何改变或添加补笔。在干燥过程中，还会再将画松弛一下，再砑装、上天地杆，才算完成。所有工作的最后完成期限是明年2月。对这样巨大的一幅画进行修复，难度可想而知。

　　1995年之前，波士顿美术馆没有专门的中国画修复师，亚洲绘画修复室是在日本修复师的领导之下工作的，主要任务是保护日本绘画。日本画与中国画的修复步骤和过程大体一致，只是材料上有差别，因而以前进行中国画修复工作的也是日本画修复师。1995年，高競受聘于波士顿美术馆，中国修复室也随之在当年成立。高競在来美国读书和工作之前，曾在故宫博物院学习、工作了12年，目前在修复领域已有40多年的工作经验。

　　2.画中人原来不是钟馗

　　最初一直被认为是钟馗且准备展出的画作，后来被重新纠正为道教雷部辛天君，并被重新命名，这个纠错的工作是由一名刚刚毕业就来到波士顿美术馆工作的、同样来自中国的姑娘完成的。

　　应非儿毕业于中央美术学院艺术史专业，后在波士顿学习东亚艺术史。毕业后进入大都会博物馆实习，去年秋天正式加入波士顿美术馆。她刚工作，就赶上博物馆正在筹备关于捉妖降魔的中日韩三国绘画展，而她的工作是为展览做学术准备，包括做这些画作的文字介绍，重新检查存档等。

　　这幅画1998年入藏波士顿美术馆，从那时起就一直被当作钟馗收藏。因为画幅过于巨大，此前只做过一次非公开的修复，但一直没有“舒展”在公众面前过。就是在紧锣密鼓的备展过程中，应非儿发现了不少疑点。

　　第一个疑点是，虽然钟馗的画像样式繁多——有的更有文人气一些，像《钟馗寒林图》，有的有驱魔的含义，比如周围围绕着蝙蝠，“蝠”与“福”谐音，还有《钟馗嫁妹图》，图中的钟馗在假寐，与“嫁妹”谐音——形式多样，不一而足，但大多数画中的钟馗都是着红袍，配宝剑，而这幅画中的人物着灰绿袍，红头发，蓝颜铁面，这种形象的钟馗似乎没有先例。

　　另一个疑点是，从服饰上看，图中人物所穿为明代服装，手抱书卷，书卷旁露出一支笔，笔头正在喷火。应非儿开始怀疑，图中人物不是钟馗，而与道教人物有关。

　　之后在反复找资料查证的过程中，应非儿发现，大英博物馆有一个小的瓷器人像，似乎是一件仪式用的摆设，形象与之类似，突然启发了她。经过大量求证，最终，她在《道法会元卷之八十一》中查到关于辛天君的描绘：“戴牛耳幞帽，朱发铁面，银牙如釰，披翠云裘，皂靴，左手执雷薄，右手执雷笔，上有火光。”这一段描写与画中人物完全吻合，几乎可以确定，画中人物就是道教雷部的辛天君。

　　此后应非儿又在网络图像系统中进行查找，北京白云观有一幅道教画，在雷部天将中，应非儿发现了与她查证出来的辛天君装扮类似的人物形象，因而可以肯定，这幅画中的人物就是道教雷部的辛天君，这幅画面貌上类似水陆画，绘于16世纪左右。于是波士顿美术馆马上对于画名、档案、展牌等进行了修订，这个从1998年起就一直被误认为钟馗的人物终于被大家真正认识。在中国古代，道教人物也有避邪的作用，所以这次纠误并没有影响展览。

　　应非儿的这项发现是一个很大的突破，因为这个发现，应非儿还连带找出了波士顿美术馆其他展品的错误。例如有一幅相传为吴道子所绘的《三官图》，其中《水官》中的雷部天将此前也一直被认作是钟馗。对辛天君的研究，使这个错误一并得到了修正。

　　3.画作的身世之谜

　　但除了画中人物是谁，关于这幅画的一切目前还都是谜。

　　应非儿说，这幅辛天君像是一幅优秀的人物画像，线条利落有力，敷色也完备，是在绢反面打底正面填色勾线的传统技艺，开脸、胡须、衣服上的金色龙图纹、笔和腰带上的细纹都很见功夫，作者应该是专业的且操作过大尺幅画像的人物画师。

　　它到底是谁画的，画这样一幅大尺幅的画作，是用来做什么的？它怎样流落到异乡的，这些问题的答案目前还无从知晓。

　　应非儿找到的唯一一点线索是，在画的左上角，有6.7厘米见方的篆书四字方印：“安阳县印”，如今印已经很淡了，不仔细看根本看不出来。

　　据应非儿介绍，这幅画是1998年由美国实业家威廉·J.卡瓦诺和凯瑟琳夫妇捐献给波士顿美术馆的，凯瑟琳非常喜爱收藏中国画。而他们是1993年从弗兰克·卡罗公司购得的。

　　弗兰克·卡罗（1904-1980）是20世纪初到20世纪50年代将大量中国文物贩卖到欧美的文物商卢芹斋的画廊继承人。卢芹斋在欧美人眼中是将中国文物介绍到西方的精明的商人，在大多数中国人眼中则是导致大量国宝流失海外的罪人。他的公司C.T.LOO向纽约、波士顿、克利夫兰、巴黎等地博物馆捐赠了不计其数的中国珍贵文物，据说在《流散美国的中国铜器集录》中，收录“曾藏”和“现藏”于C.T.LOO纽约公司的青铜礼器就达312件之多，占该书选录铜器总数845件的三分之一以上。

　　《道教雷部辛天君画像》流失海外是否与卢芹斋有关，并没有确凿的证据。应非儿说，目前关于这幅画的历史档案没有太多保留。

　　不同于寺观中的壁画比较容易推导出当时绘画的情境，卷轴画没有保存在当时的环境中，就失去了研究的线索。目前这幅画中人物身份的确认，是对这幅画研究过程中取得的很大的进展。根据许多人的推测，这幅画不会是单独的一幅，应该是成系列的。如果能够找到与它类似的或成系列的画作，对于搞清它的“身份”，以及研究它在当时的礼仪过程的功能都将有很大的帮助。

　　目前有关这幅画的研究工作都是应非儿独自完成的，记者在采访她之后，也咨询了国内一些单位和个人，得到了许多人的热心帮助，人们对这幅画都表现出极大的兴趣，郑州大学历史学院的老师还帮忙查阅了明代到民国的安阳县地方志。但除了一些对道教有所研究的人士确认画中人物就是辛天君外，没有新的进展。有人从画作的笔法来推测，这幅画有可能是宫廷画，还有人认为画作原存于道观之中，后因道观不在了而导致画作散佚。

　　这样一幅普通的流失海外的明代中国画，没有题记，只有一个印章，带着许多神秘的色彩，隐藏了许多不为人知的故事，让人不禁想要搞明白它的“身世”。

　　在波士顿美术馆，和这幅修复中的古画一样吸引记者和众多西方参观者的还有一个展览——“抱残守缺——中国八破画”。这个展览也是由应非儿所在的亚洲策展部策划、高競等专家进行修复后呈现给观众的中国艺术展。

　　八破画在中国兴起于19世纪中叶，是手绘出堆在一起的文人生活中的书信、扇面、古旧字画、古书等几样残破物品的一种绘画艺术。它起源于中国传统绘画，却又不同于人们所认识的中国画，具有三维视觉艺术特点。它看似西方的拼贴艺术，却不是由碎片拼贴而成，而是画出来几样物品堆在一起的拼贴感。人们说它“非书胜于书，非画胜于画”，但正因如此，要求画者既能书又会画，技术含量很高，几乎失传，所以了解它的人并不多。

　　由此可以看出，波士顿美术馆除了《历代帝王图》《北齐校书图卷》《摹张萱捣练图》这样的中国画名品，还有许许多多如《道教雷部辛天君画像》、八破画这样的连我们自己都不熟悉的中国的杰出艺术作品。而波士顿美术馆也只是一个缩影，由于历史原因，我国有大量的艺术品流失到了海外。不管是知名的还是不知名的作品，它们犹如艳丽的花朵，在异国他乡的土壤里兀自绽放。而高競和应非儿这样的专家学者，像是园丁一样在海外守护着它们，同时也在不断挖掘它们不被人知的过去，讲述着它们独特的中国故事。

来源：光明网

The story of an ordinary Chinese painting on the other side of the ocean

Author: Guangming Daily reporter Wu Yun

When the "thousand li River map" aroused the watching boom in Beijing the Imperial Palace, a Chinese painting being repaired in the Boston Art Museum on the other side of the ocean also caused a great sensation.

The restorer is repairing the Xin Tianjun portrait of the Daoism mine Department

The Chinese painting in the 1. restoration

In October of this year, when a reporter visited the Boston Art Museum, the painting was seen in the No. 178 exhibition hall, which was attracted by it at a sudden. It flat on the table, accounting for more than half of the exhibition hall, a hall only a narrow corridor. The painting is blue, a blue gray robe, holding a flaming scroll, clouds, because the picture is huge, the characters vivid expression expression, strong visual impact, a look that is from Chinese. The picture is old and broken, with two cracks in the middle of the picture, and the black boots of the left foot in the painting have a clear defect.

The restorer is repairing the Xin Tianjun portrait of the Daoism mine Department

The Chinese painting in the 1. restoration

In October of this year, when a reporter visited the Boston Art Museum, the painting was seen in the No. 178 exhibition hall, which was attracted by it at a sudden. It flat on the table, accounting for more than half of the exhibition hall, a hall only a narrow corridor. The painting is blue, a blue gray robe, holding a flaming scroll, clouds, because the picture is huge, the characters vivid expression expression, strong visual impact, a look that is from Chinese. The picture is old and broken, with two cracks in the middle of the picture, and the black boots of the left foot in the painting have a clear defect.

A tourist of an American tour group is listening to the guide with great interest in explaining the figure in the painting and its repair work. This painting is called "portrait of Xin Tianjun" ray of Taoism, it is very important to the Museum of fine arts, Boston currently exhibits "monsters and drop the" theme of paintings, now the museum will showcase its repair work in front of the audience, attracted many spectators, this is the first time they close to watch the huge Chinese painting repair process.

The painting was repaired by Gao Jing, a major in Beijing, and Cai Xinchen, an assistant restorer from Taiwan. After a day of repair work, they made a brief introduction to the reporters on their own work.

The story of an ordinary Chinese painting on the other side of the ocean

A eight broken picture on display at the Boston Museum of Art

The picture had been stored in the warehouse, because the exhibition is about fighting monsters and themes, and the painting has long been considered a museum curator expert Zhong Kui, Asia Department immediately think of it.

At that time the Juanhua state is very bad, because it is too large, the middle picture has been cracked, more because of the "age", many places have traces of water or damp, mildew gives birth to trace. It happened that a huge Japanese painting at the museum just repaired in the exhibition hall, and all the equipment could be used. So this huge painting was moved to the exhibition hall 178 to repair, at the same time, the repair process was shown to the audience.

The first step in the restoration work is cleaning work on the paintings, this picture of the length of about 3.78 meters, 2.56 meters wide, is mounted on nearly 5 meters long, 3 meters wide. Because the size is quite large, two repair division must partition the cleaning work, with a brush dipped in water above the flushing, below small pumping plate along with dirt to suck it out. Every area is cleaned two to three times, and at the same time, the restorer uses filter water and water absorbent paper to remove the trace from the surface.

In addition, the breakages of the paintings should be reinforced. Two repair division with the adhesive cloth on the breakage of seaweed "paintings were fixed to prevent the breakage of paintings continue to increase.

Gao Jing said, in the repair work, the most important and the most difficult one is to expose the rest Jie Bei paper, because painting not relying on the need to immediately add a new backing paper, the beginning of the work, one day have no way to stop, thus exposing to supporting stage, respectively, from the Museum of art Foley Singapore Museum and Cultural Relics Bureau invited Lv Zhichao and Chen Yinghui two division to help repair. If we want to re mount the paintings after mounting, after mounting, and then mount them on the upper boards, they will arrange the color of the defects to fill up the silk. As for the original silk, repair division adheres to the principle of maximum is to maintain the original state, not in the image to make any changes or add up pen. In the drying process, will then draw to relax, then the software installed, the God rod is finished. The final completion of all work is next February next year. It is difficult to know how to repair such a huge picture.

Before 1995, there was no special Chinese painting Restorer in Boston art gallery. Asian painting repair room was under the leadership of Japanese restorator, and the main task was to protect Japanese painting. Japanese painting and Chinese painting repair procedures and processes are basically the same, but there are differences in materials. Therefore, the restoration of traditional Chinese painting is also a Japanese painting restorer. In 1995, Gao bid was employed at the Boston Art Museum, and the Chinese restoration room was set up in the same year. Before he studied and worked in the United States, Gao Jing studied and worked in the the Imperial Palace Museum for 12 years. He has been working in the field of restoration for more than 40 years.

2. of the people in the painting were not Zhong Kui

The painting, originally considered to be Zhong Kui and ready for exhibition, was later rectified as Taoist Lei Lei Xin Tianjun, and was renamed. This correction work was completed by a girl who was also working in Boston Art Museum just now.

He should graduate from China Central Academy of Fine Arts in the art history of China Central Academy of Fine Arts, and then study the history of East Asian art. After graduation, he entered the Metropolitan Museum and joined the Boston art museum last fall. She just work to catch on catch demon JiangMo the preparations are three painting exhibition museum, and her job is to do academic preparation for the exhibition, including the paintings text introduction, re check the file.

This painting entered the Boston Museum of art in 1998 and has been collected as Zhong Kui since then. Because the painting was too large, it had only done a non - public repair before, but it had not been "stretched" before the public. In the process of preparation, there are many doubtful points.

The first question is, although Zhong Kui's portrait styles -- some more popular culture, like "Zhong Kui forest map", some have the meaning of exorcism, such as around the bat, "bat" and "Fu" and "homophonic, Zhong Kui married sister", the figure of Zhong Kui in the false sleep, and "married sister" homophonic - forms, this is not the only one, but most of the Zhong Kui is red, with the sword, and the figure in this painting is a gray green robe, red hair, blue face, this image of Zhong Kui seems to be no precedent.

Another doubtful point is that from the dress, the figures in the figures are dressed in the Ming Dynasty, holding a book in hand, showing a pen beside the scroll, and the pen is being flaming. It should be doubted that the figure of the figure is not Zhong Kui,