丁天缺“顾镜遗梦”纪念展
丁天缺“顾镜遗梦”纪念展
The Long Past and Lost Dream
展期｜Duration
2025.08.16-09.05
主办｜Organizer
中国当代艺术档案馆 CMAA
协办｜Co-Organizer
HANMO S Gallery
展览地点｜Location
中国当代艺术档案馆（北京798艺术区798东街D10）
Chinese Modern Art Archive (CMAA)
NO.D10 East 798 St, No.4, 798 Art Zone, Chaoyang District, Beijing
开放时间｜Opening hours
周二至周日 Tue- Sun 10:00 - 18:00
《人生》 / La vie / 1999
布面油画 Oil on canvas
92×73cm
一位民国国立艺专学生经历西湖求学，抗战流亡，1949年政权更迭，随后遭到政治迫害含冤三十年，晚年重获自由，再度从事艺术创作和学术著译，一生经历丰富曲折，其自传“顾镜遗梦”被大陆文史学者誉为“半部近代美术史”。
The autobiography“ The Long Past and Lost Dream ”of Ding Tianque, reflects the life of an art student from the National School of Art of the Republic of China era who spent his youthful times studying by the West Lake, who then endured the hardships of exile during the War of Resistance Against Japanese Aggression, witnessed the political transition in 1949, then suffered political persecution and wrongful accusations for thirty years, and, who then in his old age regained freedom and resumed his artistic creation and academic writings and translations. With such rich and torturous contents, he has been acclaimed by mainland Chinese scholars in culture and history as representing "half a book of the Chinese modern art history. "
《观音跳晨曦》
Guanyin Tiao at Sunrise / 1991
布面油画 Oil on canvas
92×73cm
私人收藏 Private collection
关于艺术家
About the Artist
丁天缺
丁天缺，原名丁善庠（1916年－2013年），出生于江苏宜兴。1935年考入国立杭州艺术专科学校（现中国美院），师从吴大羽，后担任他的助教，与吴冠中、朱德群、赵无极是同窗。
Ding Tianque, originally named Ding Shanxiang (1916-2013), was born in Yixing, Jiangsu Province. In 1935, he was admitted to the Hangzhou National School of Arts (now the China Academy of Art), where he studied under Wu Dayu and later became his teaching assistant, alongside Wu Guanzhong, Chu Teh-Chun, and Zao Wou-Ki.
关于丁天缺自传《顾镜遗梦》
丁天缺先生《顾镜遗梦》这部自传是一部反映一位民国国立艺专学生经历西湖求学，抗战流亡，1949年政权更迭，随后遭到政治迫害含冤三十年，晚年重获自由，再度从事艺术创作和学术著译的自传，内容丰富曲折，被大陆文史学者誉为“半部近代美术史”。
今年是第二次世界大战胜利80周年，作者以自己的亲身经历，详细叙述国立艺专师生在抗日战争中一路流亡，辗转内地，学校不断迁移的细节，真实详尽，可以弥补这段历史的诸多空白。
杭州国立艺专是民国时期最为开放包容，与西方美术界接轨同步的美术院校。也因为这个缘故，它与其他美术院校格格不入，并遭到徐悲鸿等反对派美术教育家的排斥。1949年新政府成立以后，这所学院更遭到无情的打压和改组。
长期以来，大陆的文化史出于政治的目的，常常遮遮掩掩，肆意篡改，弄得面目全非。因为上述种种微妙的历史原因，丁先生传记中许多有关这一学校的发展历史，教授之间发生矛盾和倾轧等细节，以及知识分子遭受不公正待遇甚至迫害等情况，在中国大陆的出版物中无法得到正式出版和披露，英文版可以弥补这种缺憾，并成为一种迫切需要，更可以因此弥补中国教育史研究的不足。
丁先生一生交游广阔，他的老师如吴大羽、林风眠、林文铮、蔡威廉、黄纪兴、潘天寿、滕固、庞薰琹等，同学董希文、赵无极、吴冠中、朱德群、彦涵、郑为等，还有张群、于斌、邵力子、郑洞国还有他的舅舅周培源等，都是中国近现代史和美术史上的名人，他又性格直爽，疾恶如仇，加之学养深厚，文笔精雅，所以这部自传能做到秉笔直书，毫不遮掩，尽力再现当时的客观历史，为我们提供了大量鲜为人知的细节。
正是因为这部自传具有可贵的真实性和史料性，2013年在丁先生去世不久，中国最权威的知识分子报纸《文汇报》破例以整版的篇幅摘录刊载了自传抗战时期的一个章节，约一万多字，以此作为对这位学者的尊敬和纪念，引起学术界巨大反响。
石建邦
2025年7月
On Ding Tianque's Autobiography
By Shi Jianbang
2025/07/08
Mr. Ding Tianque's autobiography, Gu Jing Yi Meng (The Long Past and Lost Dream), holds unique publishing value. Overall, this can be shown mainly in the following respects:
This autobiography essentially reflects the life of an art student from the National School of Art of the Republic of China era who spent his youthful times studying by the West Lake, who then endured the hardships of exile during the War of Resistance Against Japanese Aggression, witnessed the political transition in 1949, then suffered political persecution and wrongful accusations for thirty years, and, who then in his old age regained freedom and resumed his artistic creation and academic writings and translations. With such rich and torturous contents, he has been acclaimed by mainland Chinese scholars in culture and history as representing "half a book of the Chinese modern art history. "
This year marks the 80th anniversary of the victory in World War Il. Based on his personal experience, the author described in detail how the professors and students from the National School of Art escaped from places to places and were dislocated, their precarious journeys into the inland parts of China. Such descriptions of the school's constant relocations being so authentic and detailed serve to fill in the many blank pages in this period of history.
The Hangzhou National School of Art was the most open and inclusive art education institution during the Republic of China times, catching up with and keeping pace with the Western art world. And just because of this culture and style of the art education institution which did not follow the culture and style practiced in the then other contemporary art education institutions, the school faced rejection from many opposing art educators such as Xu Beihong. After the establishment of the new government in 1949, the school even faced unrelentless suppression and restructuring.
For a long time, mainland Chinese cultural history has, for political reasons, often been obscured and arbitrarily altered, resulting in a distorted version of events. Due to the aforementioned subtle historical reasons, many details in Mr. Ding's biography regarding the school's development history, conflicts and rivalries among professors, and the unfair treatment and even persecution of intellectuals have not been officially published or disclosed in mainland Chinese publications. An English version can fill this gap and can also fulfill an urgent need to offset the deficiencies in historical documentation in the study of Chinese educational history.
Mr. Ding had a wide circle of acquaintances throughout his life. His teachers, including Wu Dayu, Lin Fengmian, Lin Wenzheng, Cai Weilian, Huang Jixing, Pan Tianshou, Teng Gu, and Pang Xunqin, as well as his classmates such as Dong Xiwen, Zao Wou-Ki, Wu Guanzhong, Chu Teh-chun, Yan Han, and Zheng Wei, along with notable figures like Zhang Qun, Yu Bin, Shao Lizi, Zheng Dongguo, and his uncle Zhou Peiyuan, were all prominent figures in the modern Chinese history and art history. Coupled with his straightforward personality, his intolerance for the bad things, his profound art and cultural knowledge as well as elegant writing style, this autobiography achieved a straightforward and honest presentation and it also strived to achieve an unvarnished and objective account of the historical events. This provides people with a wealth of many little-known details.
It is precisely because of the invaluable authenticity and presence of historical information of the autobiography that, shortly after Mr. Ding's passing away in 2013, Wen Hui Bao, China's most authoritative newspaper for intellectuals, made an exception by publishing a full-page excerpt of a chapter from the autobiography about the War of Resistance Against Japanese Aggression, with over 10,000 characters as a tribute and commemoration to the scholar. The event had generated significant academic awareness and discussions.