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> 江栋良百岁诞辰纪念画集
出版社: 上海人民美术出版社
作者:江栋良  编著:
开本: 8 出版时间:2012.01
印次: 2012年2月第一次 所属类别:中国画
ISBN: 978-7-5322-7785-8  
相关重要内容预览:
定价: RMB 380.00

 

内容提要
  序一
  默默无闻 赫赫有功
   ──记江栋良先生和他的作品
2012年是上海著名漫画家江栋良先生诞辰一百周年,也是我开始写作生涯70周年。那一年,我的成名作《盗马贼》发表,江栋良先生为此文配画精美插图,这似乎是偶然的巧合,却成为一位著名画家和青年作者难能可贵的合作情缘,使我永远回忆和难忘。
江栋良先生早在30年代初已投身画坛,成为漫画界的一名后起之秀。1936年,在上海大新公司四楼举行漫画展览会,我还是一个刚入中学爱看绘画的学生,惊喜地浏览琳琅满目、美不胜收的展览画,使我对漫画发生极大兴趣。因为漫画反映现实,贴近生活,用精练而有趣的形象使观众发出心灵的呼应。我又看到有画家以粗犷和辛辣的笔调,画出侵略者凶恶嘴脸,引起许多观众注目。直到抗战爆发,美术家们在上海各报刊发表抗日漫画,其中就有我在展览会上看到的揭露侵略者罪恶以及讽刺日军和汉奸丑态百出的漫画,署名——江栋良。
上海租界沦落为“孤岛”,大批文化界人士西撤,坚持在“孤岛”的作家画家,继续以文化作为武器;又因受到敌人的监视和破坏,不得不隐晦含蓄地以讽刺替代公然抗击。讽刺原是漫画的本色,目的在于引人发笑:讥笑暴力和压迫者的野蛮和无耻;嘲笑这虚假繁荣的畸形社会黑白混淆,是非颠倒;也嗤笑上海各阶层市民为了生活甘为金钱奴隶的人生百态。讽刺的“刺”是刺破强暴者的假面具,刺痛奸商的黑良心,刺醒同胞们从昏迷中觉悟。漫画的幽默感搔痒读者的缺点,使人忍俊不禁,漫画的幽默使人发出会心微笑。从“孤岛”时期到日军占领全上海,直至抗战胜利以及最后蒋政权的败退,整整十年之久,江栋良先生曾在报上主编《漫画周刊》,发表当时留在上海的王敦庆、米谷、董天野等人的漫画作品,还化名在报刊和期刊上发表数以千计的单幅、连载的讽刺漫画和精美插图,都是针砭时弊、抨击黑暗社会,犀利而深刻。这一时代,文化界人士以及广大读者,公认江栋良先生是独创一格的漫画家,当之无愧。
江栋良先生生于苏州长于上海,他熟悉上海,了解上海,生活在上海各阶层千万市民之中,他本人也就成为了地地道道的上海人,他的漫画画出了上海风景,上海风情和上海气派。他的漫画以人物为主:有官僚、闻人、下台军阀、资本家、中产阶级、老板、小开、大亨、洋商、暴发户、新贵、二房东、文化人、教师、职员、工人、巡捕、流氓;女的则有贵夫人、姨太太、少奶奶、千金小姐、电影明星、小家碧玉、舞女、妓女以及三教九流等等。凡是在上海这十里洋场谋生和发财的人物,应有尽有。这些人物的活动背景,有南京路、外滩、大旅馆、大饭店、咖啡厅、跑马场、跳舞厅、游泳池、妓院、燕子窝以及游乐场等,住屋则有洋房、公寓、住宅、石库门和贫民窟草棚棚等等。上海市民中,有的开厂开店,将本求利,有的囤积投机,有吃祖宗饭的末路王孙和受尽剥削的工人,有靠低收入度日的职员、教师,也有出卖色相的舞女和出卖灵魂的社会垃圾。上海人讲究身价身份,身份有高低上下之分,不少人无钱还摆阔,很多人有钱却哭穷。上海是三教九流聚合之地,免不了偷抢拐骗,真是无奇不有。江栋良冷眼旁观,目光所及,皆是漫画的素材。他曾经参观电影厂摄影棚,见到过导演和明星,听到一句半语,看到一个细节,就能信笔画来,居然是电影明星的私生活专辑,有已故的,去内地的和仍然活跃在银幕的胡蝶、阮玲玉、李丽华、周璇、赵丹等等男女明星,形象逼真、注释奇趣,至今为止还没有一位画家能将三四十年代中国著名电影明星的群像留下画像,江栋良可称为独一无二,无与伦比。
我们曾拜访过与江栋良一起工作和合作廿年之久的上海老作家吴崇文先生。他称江栋良的漫画笔法是“流线型”,一语道出江栋良的漫画风格,凡我们看到的江栋良漫画,大多是用柔软圆浑的曲线弧度勾画。尤其是描绘女性,从卷发、旗袍上的衣领,圆肩、胸脯、腰身以及臀部,江栋良只用流畅的线条,宛如流水般一笔就描绘出女人动感的诱人体态。他笔下的女性,在谈情说爱时表现出娇、妖、忸、嗲,非但眉目传情,还令人迷魂。难怪有人认为江栋良的作品有色情画面,然它是色而不淫,俗而不邪。而“色情”正是被称为声色世界的上海的异常特色,江栋良先生恰恰用冷峻的视角,讽刺这人欲横流的世界级大都市的虚荣和奢华。
江栋良先生不求闻达,不计功名,他外形洒脱,内心奔放,随心所欲,我行我素,将上海风情风景和各时代的人物故意夸张,也有意扭曲,毫无忌惮地画在纸上、印在书上,引读者会心一笑,他看似胸无大志,为人低调,但画图换钱,却就是为了养家,为了养活养大养好妻儿老小,担负起养家的重任。各报编者向他约稿,他不得不化名一天画出几幅才能应付,可是稿费所得仍比不上物价飞涨。
他外出时一袭长衫,折扇轻摇,有时到新雅茶座,一壶茶一碟点心,与老朋友闲聊,在笑谈中冒出灵感,一时兴起当场挥毫。他有国画根基,又有西洋画作参考,功力深厚;但他自称是游戏之作,别人捧他,他一摆手,自嘲自叹,已无当年雄心壮志,只是“画白相”“卖铜钿” 而已;他聪明机灵,也有几分狡黠。识时务者为俊杰!每遇到时局变更,他就退避谦让。解放后,讽刺漫画不合时宜,他就改画连环画,有古代历史,民间故事,与政治“勿搭界”。他的连环画也有漫画特色,丑化奸臣恶霸,因此几次运动均未波及。因为他不再画漫画,从此他在漫画界里默默无闻……
“文革”十年,上海文化界全军覆没,江栋良也难逃厄运,他被审查,被戴上各种莫名其妙的“帽子”,认下各种“莫须有”的罪名,他冷眼旁观,心里明白,这场运动是在胡闹,他也作好了不再画画,从此搁笔的思想准备。生活虽异常拮据,但还是与老妻共渡苦难,只是担忧儿辈们的前途。所幸老天有眼,“四人帮”倒台,老友龚之方为香港《文汇报》撰稿“上海小景”,特意请已经退休的江栋良画插图。江栋良仍以漫画笔法画出新时期上海的新风貌、新风尚、新事物,亦展示上海未来的美好远景,多达千余篇。龚之方每一篇文章都满怀激情,江栋良每一幅画作都描绘出上海人的豪放,默默无闻的江栋良却是与时俱进,是时代的号角。
今天,江栋良先生的后代已是商场巨贾,出类拔萃,他们在为祖国创造财富,成绩显著,没有江栋良先生的艰难培育,哪有儿孙们今日的成就?为了纪念才华横溢的江栋良先生,儿孙们决定将他生前的精华作品辑集出版,著名画家汪观清是顾问,他推荐我担任主编,我愧不敢当,但盛意难却,只能勉为其难,在几位编委的支持下,经过两年多的筹备,终于出版。我不是画家,对江栋良先生的作品也无更深的研究,可是我有与江栋良先生在70年前的那一段难忘的合作情缘,而70年后竟由我主编江栋良先生一生的画集,难道这冥冥之中有报答的恩缘?
更重要的是:出版这本画集,是要让后世人、后辈们知道,在上海文化界被称为黄金时代的30年代和海派文化复兴的40年代,有一位杰出的漫画家江栋良先生,他以独创的风格,从他人生开始到生命旅程的终点,自始至终用画笔爱憎分明地褒扬上海人的抗争、奋斗和抵御仇敌的英勇气概;又用讽刺的笔墨揭露虚伪卑劣和丑恶的社会现象。他的漫画触动上海人民对历史的辨识和各种人物灵魂的审视,至今仍有现实意义。我们不应该忘记这位不计功名的江栋良先生,他曾在重重困难的压力之下默默无闻地为上海漫画界作出了巨大的贡献,令人肃然起敬。
  沈寂
  Obscure but Great
  —— Mr. Jiang and his work
  Ji Shen
  Year 2012 is the centennial anniversary of Mr. Dongliang Jiang, a cartoonist from Shanghai, and also my 70th year being a writer. My first well-known work, The Horse Thief, was published 70 years ago, and it was Mr. Jiang who drew excellent illustrations for it. What seemed a simple coincidence, turned out to be a valued cooperation between a famous cartoonist and a young author, as well as an unforgettable memory of my life.
  In the early 1930s, Mr. Jiang devoted himself to art and had already become an up-and-coming cartoonist. There was a cartoon exhibition on the fourth floor of Dai Sin Department Store in 1936, when I was just a middle school student who loved art and cartoons. I was excited and browsed many beautiful collections at the exhibition. Since then I had grown deep interest in cartoons, because I believe that those funny yet refined images reflected reality, told stories about people’s daily lives, and thus resonated among people. I also saw many pictures with a rough and satirical style, vividly depicted invaders’ ugly and atrocious images, which attracted large audience. Once the War of Resistance against Japan broke out, many artists published their paintings in magazines and newspapers against the Japanese army, including those cartoons I had seen at the exhibition with the signature of Mr. Jiang.
  Shanghai foreign settlement became an isolated island since many intellectuals and artists moved to Western China. Those writers and painters, who insisted on staying in Shanghai, continued to use culture and art work as weapon to satirize rather than resist the invasion directly. Irony, the essence of cartoons, was meant to make people laugh, by satirizing the barbaric and shameless behavior of Japanese oppressors, by mocking the darkness of the society behind the prosperous bubble, and by ridiculing people from all classes desperate for money. Cartoons were satires on violence and on those with no conscience, and they woke up the ignorant compatriots from numbness. The sense of humor found within cartoons pointed out human weaknesses and made people laugh. Mr. Jiang was the chief editor of the Comics Weekly of a newspaper and published the works of those cartoonists staying in Shanghai, such as Dunqing Wang, Gu Mi, Tianye Dong and so on. He also published anonymously thousands of single or serialized cartoons and exquisite illustrations of his own to reflect social problems and criticize the darkness of the society with a sharp and ironical point of view. During that period, the cultural circle as well as readers all thought of him as a well-deserved cartoonist of great achievement, unique style, and creativity.
  Mr. Jiang was born in Suzhou and grew up in Shanghai. He was familiar with the city and knew it inside out. Living among millions of citizens from all classes, he was a real Shanghainese; therefore, his comics reflected the scenery, culture and atmosphere of Shanghai.
  Mr. Jiang used to visit film studios and met many directors and movie stars. He could easily draw pictures of every detail of what he had seen and heard, and made cartoons of personal lives of various movie stars, including those who were deceased, who left for the west, and who were still active on the screen, such as Die Hu, Lingyu Ruan, Lihua Li, Xuan Zhou, and Dan Zhao. Their images were vividly portrayed with interesting notes. So far no one but Mr. Jiang could draw the panorama of all the stars in the 1930s and 1940s. He was indeed a unique artist of amazing achievement.
  He depicted women with strokes that went as fluent as water flow, and outlined their beautiful figures and voluptuous bodies. The women under his brush, who were falling in love, looked coquettish, sexy, delicate and alluring. Their expressions were so vivid, and their figures were seductive. That’s why Mr. Jiang’s work was sometimes considered some kind of pornography. However, it was amorous but not lewd, popular but not evil. Actually, eroticism was a special characteristic of Shanghai city. Mr. Jiang satirized the vanity of this international city from a sharp angle.
  After The Great Cultural Revolution, his old friend Zhifang Gong, who was writing a column called “little view of Shanghai” for the Hong Kong edition of Wenhui Daily, requested Mr. Dongliang Jiang to draw illustrations. Mr. Jiang painted more than 1000 pieces to show new fashion and scenes of as well as new things happening in Shanghai, and also looked into the city’s bright future. Every article written by Mr. Gong was full of passion, and each illustration drawn by Mr. Jiang reflected the boldness of Shanghainese. Mr. Jiang was obscure, but kept the pace abreast with the times and was the horn of that age.
  Mr. Guanqing Wang, a respected painter, is the consultant of this collection of art. He was the one to recommend me as the editor-in-chief. I did not think I was the most qualified person for the job, but I took it due to his kindness and trust. After more than two years’ preparation, and with the supports from other editors, this collection is finally published. I am neither a painter nor a professional researcher on Mr. Jiang’s work. However, I have the most unforgettable experience of working with him 70 years ago. I can’t help but wonder, does this opportunity for me to be the editor-in-chief for Mr. Jiang's collection 70 years later mean that I am fated to repay him?
  More importantly, publishing this collection is meant to let younger generations know that during the golden age of Shanghai, the 1930s, and Renaissance in the 1940s, there was an outstanding cartoonist, Mr. Dongliang Jiang. Throughout his life, Mr. Jiang created a unique style to praise the people of Shanghai for fighting against the enemy heroically with his brush. Also, he used biting satire to uncover the despicable and ugly social phenomenon. His cartoons inspired people in Shanghai to review the history and ponder human nature, and they are still meaningful to the world today. We should not forget Mr. Jiang, who made great contributions to the comic circle of Shanghai under huge pressure without any desire for fame. He surely deserves our sincere respects.
序二
  Preface 2
  追寻前辈业绩,纪念画坛精英
  沈祖炜
  江栋良先生是上海市文史研究馆的馆员。上世纪八80年代初入的馆,可惜1986年就逝世了。当时的文史馆还处于拨乱反正的恢复阶段,江先生尚未来得及留下完整的个人资料。我辈到文史馆工作较晚,对江先生了解更少,遍问馆内同仁,皆曰所知不详。查文史馆馆员名录,仅见寥寥数语:“江栋良(1912-1986),别名义夫,江苏苏州人,1981年7月入馆,曾在上海人民美术出版社从事连环画创作,出版有《甲午海战》等。”显然,如此简单的记载远远不足以反映江先生的事迹。
  所幸江先生的子女,颇得江先生的慧根,为纪念江先生百年诞辰,联络江先生生前的同事好友,约请上海图书馆和上海人民美术出版社等处的行家,广泛收集江先生曾经发表在各类书报杂志上的作品,结集出版。这真是对江先生的最好的纪念,也是对文史馆敬老崇文事业的最好的支持。所以我要对江先生的亲属表示诚挚的谢意!
  我认真拜读了手上这本《纪念集》样稿,细细欣赏江先生的每一件作品。一个生气勃勃的、诙谐幽默的江先生形象浮现在我的脑海之中。我觉得江先生热爱生活,满怀着强烈的社会正义感,并真切地爱着国家和民族。我也体会到江先生具有高超的绘画技巧和犀利的社会观察力。正是因为江先生的这些禀赋,我们才能够看到如此爱憎分明、针砭时弊的漫画和工整典雅、形象生动的连环画,以及色彩绚丽、构思精妙的水墨画。我对江栋良先生的艺术成就和内心精神感佩万分!
  首先是感佩江先生满腔热忱,以画笔当武器的爱国情怀。
  江先生于上世纪30年代初投身画坛。当时正值民族危亡的关键时刻。他在各类抗日报刊上发表了大量宣传抗击日本军国主义侵略中国的漫画作品。他以辛辣的笔触,抨击侵略者的暴行,以漫画家特有的讽刺手法,将日寇以及汉奸的丑恶嘴脸暴露在光天化日之下,反映了中国人民同仇敌忾,抗日救亡的意志和决心。
  漫画向来以夸张、幽默为特点。江先生在漫画作品中对日本侵略者嘻笑怒骂,发挥了特殊的战斗作用。本《纪念集》汇集江先生在《民族呼声》、《良友画报》等刊物上发表的抗日题材的漫画作品20余幅。今天看了,仍有大长中国人民志气,大灭侵略者威风的积极意义。
  其次,感佩江先生作品中所充满的社会正义感。
  江先生在孤岛时期和抗战胜利后,创作了大量反映社会生活,特别是民生疾苦和社会不公的作品。江先生以漫画揭露当局的劣迹,讽刺达官贵人。也有不少作品以夸张而又不失逼真的风格,描述社会各阶层的生活习俗,如电影明星、弄堂小市民、黑社会流氓等等。看了令人忍俊不禁。许多作品,可以说是一张画一个故事,极为形象地讲述了一条社会新闻,让我们看到了当时社会的众生相。
  当年各种小报的兴盛和市民阅读兴趣的走向,为漫画家提供了极佳的舞台。但是当时的漫画也是良莠不齐的,难免有不少庸俗的噱头充斥其中。但是江先生的作品仍然爱憎分明,充满社会正义感。说这些作品具有人文主义的批判精神,应该是一点也不为过的。
  第三,感佩江先生的艺术造诣和与时俱进的态度。
  江栋良身为画家,自有其艺术发展的轨迹可寻。在上世纪30年代初,曾从名家王一亭习画。早年虽以发表漫画为主,但也有扎实的国画功底。
  解放以后,仍有不少漫画发表,但多以新社会新事物为题材。既然以正面事物为描绘对象,必然也就少了讽刺的意味,但是诙谐幽默的漫画风格仍然存在,仍然可以使读者会心一笑。三四十年代,江先生已经常为报刊文章绘制插图,使文中故事更显生动。五六十年代江先生到上海人民美术出版社专事连环画创作。这一阶段的作品更凸显出他的艺术造诣。如他的代表作《陈化成》、《林则徐》、《杨乃武与小白菜》、《张衡》等等,深受读者喜爱。这些连环画,一是笔触细腻,颇有工笔画风格;二是人物造型紧扣情节,形象传神;三是仍然透出夸张幽默的漫画韵味。
  当时的连环画一般都是黑白印刷的,但是封面却比较讲究,色彩也很漂亮。江先生在这个阶段创作了数十幅连环画封面,其风格保持中国画中的工笔画的特点,但也讲究虚实结合,突出主题,人物描绘栩栩如生。
  在这本《纪念集》中还收录了一些中国画作品。按行家的评论,也是立意清新,构图浪漫,用笔简练。特别是他的古典人物画,更是刻画得惟妙惟肖,匠心独具。
  说了这么一些,我回到《纪念集》的首页,看着江栋良先生略带微笑的相片。江先生眯缝着左眼,似乎宽容着一切,右眼却透出犀利的光芒,原来他对是非曲直都看得清清楚楚!我想,这就是著名画家、漫画家的最最传神的写照啊!
  江先生的亲属和文史馆的朋友们嘱我为《纪念集》写序,虽然诚惶诚恐,只怕言不达意,不能写出江栋良先生的精妙之处。但是,读了《纪念集》却有诸多感受,写出来,也是表达自己对江栋良馆员的崇敬之情。作为序言,也算是向各位读者隆重推介江先生的人品与成就。
  2012年元旦
  (作者系上海市文史研究馆馆长)
序三
  Preface 3
  父亲的画笔
  江建华
  “江栋良敲图章!”这是我小时候最爱听到的邮递员喊声。因为这意味着父亲又一笔画稿稿酬的送达。父亲用画笔养活了全家,培育了我们的成长。
  我是在父亲的画桌旁长大的,但是对父亲艺术的造诣和社会影响知之甚少,尤其是解放前及抗日时期的漫画作品,几乎一无所知。比较有印象的是《杨乃武与小白菜》,红楼梦里的《黛玉焚稿》、《宝玉瞒赃》和《林则徐》等连环画以及《新民晚报》和香港《文汇报》的连载插图,让当时的我们还享受到了“外汇券”的优惠。父亲的国画虽只是晚年的休闲所作,但对我的事业以及与德国朋友的合作却起到了不小的促进作用。
  十年浩劫,国难当头。父亲饱受折磨之苦,画笔全部散落,生活跌入低谷。感谢小平同志的拨乱反正和党的改革开放政策,使中华民族走上伟大的复兴之路,让我们享受到太平盛世的幸福。
  正因此,我们才有勇气、有条件、有能力在父亲百年诞辰之际汇集他老人家一生作品中的精华,支持出版这本《江栋良画集》,以告慰他的在天之灵,亦飨喜爱家父画作的读者朋友。如此举能在我国社会主义文化大繁荣,大发展的浪潮中折射滴水之光,在中华民族文艺百花园中彰显瓣叶之美,实乃江家之幸事。
  几位大师对家父的画风、人品给予了极高的评价令我们感动和鼓舞。藉此机会,我代表江栋良后代向对积极倡议以及为画集成册而不吝赐教并付出极大辛劳的各位大师、名家和上海文史研究馆、上海人民美术出版社、上海图书馆等单位的领导和相关人员表示最诚挚的谢意。
  (作者系江栋良先生长子)

 

目录
4 简介 Brief Introduction

6 年表 Timeline

7 上海市文史研究馆聘书 The letter of appointment of The Shanghai Research Institute of Culture and History

8 序一 Preface 1

13 序二 Preface 2

15 序三 Preface 3

19 国画 Chinese Paintings

53 抗战漫画 Caricatures of War of Resistance Against Japan

63 影坛漫画 电影海报 Caricatures of Film Industry and Movie Poster

89 漫画旧上海 Caricatures of Old Shanghai

107 编辑的漫画专栏 Editing of Comic Columns

115 漫画新上海 Caricatures of New Shanghai

135 插图 Illustrations

157 连环画 Comics

193 缅怀 In Memory of Mr. Jiang

 
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