内容提要
　　序 一
“历史与艺术并重”是中国国家博物馆的发展定位。
中国国家博物馆是展现中华民族光辉灿烂的历史文化和现代文明的重要窗口，不仅是展示古代中国艺术成就，也是展示当代中国艺术精品的平台。艺术作为中国文化发展成就的标志之一，积累和造就了无数个高峰，这是我们为之骄傲的文化遗产。中国国家博物馆有责任在收藏、展示、研究等方面作出努力，利用国家博物馆这个世界大馆的平台，促进和推动时代文化精品的创作，同时为广大公众提供高品位的艺术欣赏和高质量的公共文化服务。
中国国家博物馆在完成改扩建工程开馆后，首先推出这个“20世纪中国美术名家系列展”之潘天寿、李可染、黄胄艺术展，这是中国国家博物馆“历史与艺术并重”定位的具体实践。潘天寿、李可染、黄胄先生都是在20世纪中国现代美术史上有着杰出创造和重要影响的艺术大师，他们在各自领域都有着传承和创造性的贡献。其为人为艺的璀璨人生，有着时代的印记，是诠释20世纪中国绘画史重要而鲜活的独特个案。
面对21世纪许多新的文化和艺术问题，越来越多的人感受到艺术先辈们在文化艺术史上的重要贡献与价值。而我们今天的社会尤其需要这个能够全面展现艺术家成长道路和艺术成就的展览，一是为了纪念和告慰这些真正的艺术大师，二是对他们的艺术成就和艺术精神进行有力的宣传与推广，三是为当代和未来中国美术创作的发展提供极有价值的借鉴。更重要的是，可以在中国国家博物馆这个代表国家形象的最高历史文化殿堂里呈现当代中国艺术的新面貌，树立符合新时代文化艺术核心价值观的审美标准。借助于此，也将加大中国国家博物馆征集艺术精品的力度和提升藏品展示研究的高度。
这个系列展览得到了潘天寿纪念馆与潘天寿基金会、国家画院与李可染艺术基金会、炎黄艺术馆与黄胄美术基金会，以及其他收藏机构的大力支持，在此，我表示深深感谢。
二○一一年三月于中国国家博物馆
Preface Ⅰ
By Lu Zhangshen
The National Museum of China positions “equal emphasis on history and art” as its mission.
The National Museum is not only an important window for showcasing the historical culture and modern civilization of China，but also is a platform for reflecting both the splendor of ancient Chinese relics and the vitality of modern Chinese art. As an important representation of China’s achievement in cultural development，China’s art has reached numerous peaks through historical accumulations and has become an essential part of the cultural heritages that we take pride in. We at the National Museum are responsible for contributing to the collection，exhibition and research of these cultural heritages. We also have the duty to leverage this platform to promote the creation of the best artworks of our time，and to provide high-level art experience and education to our public.
Shortly after we completed the renovation and expansion of the National Museum，we inaugurated the exhibitions for Pan Tianshou，Li Keran and Huang Zhou，which constituted part of the Chinese Masters of the Twentieth Century Series. These three exhibitions served as excellent examples of the museum’s effort to place “equal emphasis on history and art.” Pan Tianshou，Li Keran and Huang Zhou are masters noted for their outstanding creativity and far-reaching influence in Chinese modern art history. They all have made significant contributions in continuing and innovating on the Chinese artistic tradition. Their glorious lives carried many imprints of their times both as men and as artists，and became unique and important cases for interpreting China’s painting history in the 20th century.
China’s social development in the 21th century faces many new cultural and art issues. More and more people have begun to appreciate the importance of the masters in the history of art and culture. Meanwhile，society has also needed exhibitions which comprehensively illustrate the growth and artistic achievements of these masters. The purpose of the present exhibitions is threefold：first，to commemorate these masters; second，to celebrate and to advance understanding of their artistic achievements and spirits; and third，to provide valuable references for the development of China’s art creations both in the present and in the future. More importantly，displaying these exhibitions at the National Museum---a temple of the highest achievements in history and culture---is to establish a new image of art in China and to uphold an aesthetic standard that conforms to the core values of the art and culture of our times. In addition，the museum will take this opportunity to enrich its collection and deepen the scholarly research associated with them.
This exhibition series has received strong support from the Pan Tianshou Memorial Museum，the Pan Tianshou Foundation，Beijing Fine Art Academy，the Li Keran Art Foundation，the Yanhuang Art Gallery and the Huang Zhou Art Foundation，as well as other collecting institutions. I would like to take this opportunity to express my heartfelt gratitude for their generous support.

in the National Museum of China
Mar，2011
序 二
潘公凯
近现代中国的历史是如此沉重，其民族灾难之惨烈与频仍恐怕不亚于中国历史上任何一个国运多舛的时期，而在社会激变和文化冲突中被唤醒的民族的屈辱感、弃旧图新的渴望和理想主义的激情所造成的正面和负面的震撼人心的结果，在世界上亦是少见的。在这恢宏的背景之下，真诚敏感的艺术家往往无法躲避时代的压力，尤其是当他清晰地意识到这种压力并企图自觉地予以回应的时候，艺术家与社会背景之间联系的紧密性和矛盾的复杂性就呈现出令人惊异的光彩。
20世纪的中国画坛，面对中西之交、古今之变的大局，有一支可称为“传统主义”的力量，在中国画艺术的生存发展受到挑战的时候，仍然坚持在继承传统的基础上走中国画自己的路。吴昌硕、齐白石、黄宾虹以及潘天寿是其中的杰出代表。他们深入领悟传统，领悟中西绘画之异同，对传统的自律价值葆有信心，自觉地在实践中保持与西方绘画的距离。他们对于中西文化交汇冲撞的大背景下中国民族绘画生存命运所作的思考，和他们企图从传统内部寻找变革的机缘，不受西方艺术左右而自主推进中国画的意志，使他们的艺术和人生同近百年中国的时代大潮联系了起来，从而显现出中国知识界特有的另一种现代性。
潘天寿是传统中国画的继承者，亦是社会主义的美术工作者。通过发扬民族艺术来振兴民族精神的愿望和雄心，是他在漫长生活道路上的奋斗目标和精神力量的源泉。与前辈相比，他的一生更多地处于文化冲突和社会变革的风口浪尖，为捍卫和发展民族绘画大声疾呼：“一民族之艺术，是民族精神之结晶，故振兴民族艺术，即为振兴民族精神之基础。”从青年时代就确立起来的高远的人生理想和艺术理想，不仅使他不受名利得失的羁绊和时尚风流的诱惑，而且将他和整个民族的美术事业紧紧地联系在一起。他怀着强烈的责任感和事业心，与1950年代初的民族虚无主义相抗争，在素描问题上为中国画的基础教学争辩，在“大跃进”时期为教学质量的下降担忧，为建立中国画的教学体系和“人物、山水、花鸟分科”
慷慨陈词，为在美术学院开设第一个书法专业而聚集人才……所有这一切，都是出于对中国民族绘画前途的忧虑，其实是他的“中西绘画要拉开距离”的一贯主张，更是为了提高中国画的世界地位而在长时间中深思熟虑的宏观策略。
作为艺术家，潘天寿的成功之处在于，他不仅对中华民族的文化精神有出色的理解与感悟，而且建构了表现这种民族精神的艺术语言---一种属于他个人的独特形式、独特风格。他对于深层精神性的苦苦追求和他内心压抑不住的独立自由的精神力量，经过长时间的思考、探索，终于与民族精神、时代精神寻找到了重要的契合点，这就是凝聚在他作品中的雄浑奇崛、苍古高华的审美理想。潘天寿的作品高风峻骨，使人不能淡忘。那些撑满画面的巨大岩石，那些坚如铁铸的古松、劲草，那些凝重、荒寒、历尽劫难而又顽强挺立的千年老梅，不正是中华民族伟大精神的绝好象征吗？潘天寿以艺术家特有的真诚和敏感，对中华民族的历史，直至20世纪中国所仍然在经历的艰难曲折，有着一种深沉的感性把握。这种把握超越了当时人们的认识，以至在多年后的今日，仍然震撼着观者的心灵。
转眼间，潘天寿离开我们已经40年了，而他所献身的事业还在，他所思考的问题还在，他所面对的基本情景---在中西文化冲撞中中国绘画的困惑，亦依然存在。只是当年的政治性压力已被眼下的商业化压力所代替。时至今日，有什么妙药良方呢？作为艺术家，我们还有什么可以依恃的呢？恐怕也只有精神性这一块基石了。精神性是艺术品的价值所在，而精神性又不能只局限于艺术家个体的精神性，它必须融会到更为宏大的背景之中。对于中国画家而言，民族文化是我们的根，只有当个体精神和民族精神紧紧地交融在一起时，艺术创作才会有厚度，才会有博大的气势和永久的感染力。潘天寿以他的全部作品和整个人生道路证明了这一点。
二○一一年二月
Preface Ⅱ
By Pan Gongkai
The disasters faced by China since the mid-19th century were perhaps no less severe or frequent than in any previous stages in the country’s history. Amidst social turmoil and cultural conflict，the sense of humiliation was awakened; the desire for casting off the old and seeking for the new and the passion for idealism produced a result rarely seen in the world. In this dramatic context，those sincere and sensitive artists often could not escape from the pressure of the times. Especially when he was clearly aware of it and tried to take the initiative to respond to it，the close connection and the complicated conflicts between the artist and the social context would be surprisingly highlighted.
In the 20th century，there was a group of painters adhering to traditionalism in China，who still clung to the way with Chinese characteristics by respecting traditional practices when the existence and development of Chinese painting were challenged. Among them were such great artists as Wu Changshuo，Qi Baishi，Huang Binhong and Pan Tianshou. They had an in-depth understanding of the tradition，the similarities and differences between Chinese and western paintings，and confidence in the discipline of tradition，and volunteered to keep a distance from the western style in practice. Their deliberation upon the destiny of Chinese people in the context of cultural clashes，their attempt to seek reform from inside the tradition，and their determination to promote Chinese paintings independently and free from the influence of western art，tied their art and life with the national destiny，thus highlighting another kind of modernity in Chinese intellectuals.
Pan Tianshou，inheriting the traditional Chinese painting，was a socialist artist. It had been his goal and spiritual fountain to revitalize national spirit by carrying forward the national art. Compared to his predecessors，he showed more presence in the forefront of the cultural clashes and social reform，voicing his great support for Chinese painting：“The art of a nation is the crystallization of its spirit. Therefore，revitalizing the national art lays the foundation for revitalizing the national spirit.” Since his youth，he had set up lofty ideals concerning both life and art，which not only protected him from the struggle for fame and wealth and the temptation of the short-lived fads，but also tied him closely with the development of Chinese fine arts. With a strong sense of responsibility and devotion to his career，he fought against national nihilism in the beginning of the 1950s，argued for the basic teaching of Chinese painting over the issue of sketches，worried about the teaching quality in the “Great Leap Forward Movement” period，made an outcry for establishing the education system of Chinese painting and the separation of figure painting，landscape painting，and flower-and-bird painting，and sought for talents for the first calligraphy program in the Academy of Fine Arts… All these efforts were out of his concern for the future of Chinese painting. In fact，his consistent idea that “Chinese painting should distance itself from western painting” was a macro-strategy after long-time deliberation with the aim to improve the status of Chinese painting in the world arena.
As an artist，the key to the success of Pan lies in that he not only had remarkable understanding and perception of the Chinese cultural ideal，but also developed an artist language to express it，in a unique form and style of his own. His persistent pursuit of spiritual beauty and his independent and free inner force which cannot be checked finally found an echo with the national spirit and the spirit of the times after long-time exploration，which was reflected by the aesthetic pursuits of sublimity，magnificence，and loftiness. His works，lofty and vigorous，are something you cannot forget，e.g. the huge rocks occupying the whole canvas，the iron-hard pine，bush，and the thousands-of-years-old plum tree which survives numerous hardships including coldness and loneliness and displays a sense of seriousness. Aren’t they the perfect symbol of the great spirit of Chinese people? With the sincerity and sensitivity possessed by an artist，Pan had a profound understanding of the Chinese history and the suffering the country had been going through by the 20th century. This kind of insight，keener than many of his contemporaries，still surprises the audience today.
It has been 40 years since Pan left us，but the cause he devoted himself to still stays，so do the problems that troubled him and the challenges he faced---the challenges for Chinese painting in the context of cultural clashes. What’s different is that the political pressure then has been replaced by the commercialized pressure. So what’s the solution? And what can artists rely on? Only the spiritual beauty I’m afraid. The value of a piece of artistic work lies in the spiritual beauty it tries to depict，which cannot be defined as the spiritual ideal of the artist alone，but must be integrated into a bigger context. For Chinese painters，the national culture is their root. Only when the individual ideal is integrated into the national spirit can the artistic creation be rich in content，impressive，with an ever-lasting appeal. And this has been well proved by Pan with all his works and personal stories.
Feb，2011
序 三
郎绍君
潘天寿（1897---1971），原名天授，字大颐，号寿者、颐者、雷婆头峰寿者等。浙江宁海人，历任上海美专国画系教授、上海新华艺专教育系主任、杭州国立艺专（杭州国立艺术院后更名为杭州国立艺专）中国画主任教授、国立艺专校长、浙江美术学院院长、中国美术家协会副主席等。
潘天寿出生于薄有祖产的农家，童年即任樵牧之劳。7岁入私塾，文章日课之余，喜写字、绘画。及长，由《芥子园画谱》获画理、画法之启蒙。就学浙江第一师范期间，得经亨颐、李叔同亲授，诗、书、画、印俱大进。李师书赠偈语曰：“学无古人，法无一可；竟似古人，何处着我。”1923年，赴上海任教，得与海上名家切磋艺事。吴昌硕激赏其才，赠联赠诗，曰“天惊地怪见落笔”、“年才弱冠才斗量”。1928年执教于杭州国立艺术院，与吴茀之等组织“白社”。抗战期间，随国立艺专辗转于东南、西南诸省，1946年随校归杭。1950年代末，其书画创作进入高峰期，杰作频出，惊艳艺林。
潘天寿是20世纪中国画大家，杰出的美术教育家，极具个性的诗人、书法家，中华民族艺术传统的坚定捍卫者。其画远绍宋明浙派与明清个性派，下承金石派，融花鸟、山水为一，用笔生辣、雄劲，结构寓恒稳于奇险，纳律动于静穆；凡野卉鸣禽、苍鹰秃鹫，或遒劲，或沉雄，或怪拙，俱以大壮刚正之气格表出。潘氏擅书，兼能真草篆隶，题画之行草，率多扁笔，生拙古峭，与其画风相得益彰。潘氏谙熟印学，且善治印，风格刚健朴茂。潘氏之诗作，感事哀时，直抒心曲，语近李贺、韩愈、黄庭坚，锤句炼字，僻拗老健，力排纤柔。概而言之，潘天寿在发扬融人品、才情、学问、思想为一体的优秀文人画传统之同时，更加张扬了个性，呼应了救亡图存、奋发求进的时代精神，赋予作品强烈的现代性格，从而形成对古代绘画的有力升华与超越。
潘天寿是一位有独立思想的艺术家。他的“历史上最活跃的时代，就是混交时代”、“中西绘画，要拉开距离”的主张，以及他对中国艺术传统、中国画教育的种种阐述，至今仍有鲜活的意义和巨大的魅力。子曰“温故而知新”，这个展览，会有助于我们对百年艺术史的回顾与认知。
Preface Ⅲ
By Lang Shaojun
Pan Tianshou （1897---1971），also known by the names of Dayi，Shouzhe，Yizhe，and Leipotoufeng Shouzhe，was born in Ninghai，Zhejiang. In his long career as a distinguished artist and art educator，he served as professor in the Department of Chinese Painting at Shanghai Art School，Dean of the Department of Education at Shanghai Xinhua Art School，professor and Dean of the Department of Chinese Painting at Hangzhou National Art College in Hangzhou （the former Hangzhou National Art Academy），President of the National Art College，President of Zhejiang Academy of Fine Arts，and Vice Chairman of the Chinese Artists Association.
Pan Tianshou was born into a well-off farmer’s family. While growing up as a country boy，he gathered firewood and grazed cattle. At the age of 7，he began to attend school at an old-style private tutorage where he developed a liking for calligraphy and painting after his regular schoolwork. In his formative years，the Manual of the Mustard Seed Garden served as Pan’s rudimentary course of training in painting theory and techniques. During his student years at the Zhejiang First Normal School，Pan studied under Jing Hengyi and Li Shutong and made great progress in poetry，calligraphy，painting and seal engraving. As an encouragement，his teacher Li Shutong wrote the following couplet for Pan：“To exclude the past while learning，what is there to follow? To imitate the ancients for their greatness，where is your own substance?” In 1923，Pan took a teaching post in Shanghai that allowed him opportunities to join eminent artists of the Shanghai school in their artistic activities and dialogues. Impressed by his talent，Wu Changshuo，the guru of the Shanghai school，presented Pan with a couplet saying that this 20-year-old talent will go on to amaze the world with his brushwork. In 1928，Pan became a teacher at Hangzhou National Art Academy，where he established Baishe （the White Club） with co-organizer Wu Fuzhi and several others. During the War of Resistance against Japan （1937---1945），Pan moved with the National Art College during its strategic relocation to the provinces in Southeast and Southwest China，and returned to Hangzhou with the college in 1946. In the late 1950s，he reached the zenith of his artistic career and produced a lot of marvelous masterpieces.
As a master Chinese painter of the 20th century，Pan Tianshou was at the same time an outstanding art educator，poet and calligrapher. Pan possessed both a distinctive personal style and a lasting resolve to defend China’s national artistic traditions. His artistic lineage can be traced back to the Zhe School of the Ming Dynasty which succeeded the famed Song traditions. The individualists of the Ming and Qing Dynasties and the more recent epigraph painters also shaped his stylistic features. By successfully integrating the techniques of flower-and-bird painting into landscapes，Pan worked in bold and vigorous brush strokes and produced many ingenious compositions that impress the beholder with tendencies that displayed both dynamic rhythm and thought-provoking tranquility. The wild flowers under his brush were lively，and the birds，particularly eagles and vultures，appeared either vigorous or intriguingly bizarre or charmingly clumsy. Pan’s majestic artworks distinguished themselves with vigor，forcefulness，rectitude and profundity. He was also good at calligraphy and worked in all scripts including regular，cursive，seal and official. For his inscriptions on paintings，he tended to employ the running-cursive script with a flat-tipped brush，which gave an impression of antiquity and artistic clumsiness that is in harmony with his painting style. Pan was also well versed in seal engraving and produced seals that were robust and simple in style. Pan’s poems，reminiscent of the styles of Li He，Han Yu，and Huang Tingjian，were direct expressions of his genuine inner thoughts as well as explicit reflections of the contemporary events of his time. Free of melodrama and sentimentality，they were nonetheless powerful in their choice of words. While upholding the fine traditions of the literati artists in their practice of integrating moral，talent，knowledge and spirit into their works，Pan went further in affirming individuality. He imparted his works with a sense of urgency for national survival and progress，which upheld the compelling spirit called for by the critical circumstances of his time. His artworks thus demonstrated an immense transcendence that moved from ancient artistic traditions to the modern era.
As an artist，Pan Tianshou stands out for his independent thinking. His assertions that “the most active periods in （art） history were times of diversity” and that “Chinese painting must distinguish itself from Western painting” and his theories on Chinese artistic traditions and proposals for Chinese painting education still hold true as convincing insight and significant guidance to the art world today. Confucius says，“Review the old，and you will learn something new.” This exhibition will help us to review and learn more about the art history of the past century.
绘 画

  画至化境，形神皆著我意。  ---《读黄宾虹画语录眉批》
  有真情至性，而后有真风格。  ---《论画残稿》
  强骨，静气。  ---《读 〈道德经〉眉批》
  力兼美，入奇正。  ---《读宋朝名画评眉批》
  一民族之艺术，即为一民族精神之结晶。  ---《听天阁画谈随笔》
  历史上最活跃的时代，就是混交时代。因其间外来文化的传入，与固有特殊的民族精神互相作微妙的结合，产生异样的光彩。  ---《中国绘画史略》
  中西绘画，要拉开距离；个人风格，要有独创性。  ---《对潘公凯语》
  指头画，宜于大写，宜于画简古之题材。然须注意于简而不简，写而不写，才能得指头画之长。不然，每易落于单调草率而无蕴蓄矣。  ---《听天阁画谈随笔》
  毛笔画，笔到易，意到难。指头画，意到易，指到难。故指头画，须注意于意到指不到之间。  ---《听天阁画谈随笔》
  高且园有印章云：“不过求无笔墨痕。”此语是指头画之极境，亦是毛笔画笔墨之极境。  ---《听天阁画谈随笔》
  一水西来百派分，千山形势自超群。老夫指力能扛鼎，不遣毛龙张一军。  ---《题指墨山水障子》
Painting
  When a painting reaches the transcendental state，it allows the artist to become identified with it in both form and spirit. ---A headnote left on Huang Binhong on Painting
  Genuine emotions and true temperament precede a truly personal style.   ---Some Views on Painting
  Strengthen the bone. Calm the mind.  ---A headnote left in Tao Te Ching.
  Combine vigor and beauty，and integrate the unconventional into the orthodox.  ---A headnote left While Reading Famous Song Paintings with Comments
  The art of a nation is the crystallization of its spirit.  ---Essays on Painting from Tingtian Pavilion
  The most active periods in （art） history were times of diversity，when the arts gleam with extraordinary splendor as a result of the introduction of foreign cultures and the wonderful process of their integration into the intrinsic features rooted in the native spirit.  ---A Brief History of Chinese Painting
  Chinese painting and Western painting must distinguish themselves from each other; originality is the key to a personal style.  ---Words to Pan Gongkai
  Finger painting is suitable for spontaneous expression and for depicting subjects of classic simplicity. However，attention shall be paid to the balance between simplicity and complexity，between expression and representation. Only in this way can the artist bring into play the merits of finger painting. Otherwise，artworks produced in this approach are prone to monotony，cursoriness，and lack of content.  ---Essays on Painting from Tingtian Pavilion
  When the artist paints with a Chinese brush，the brush is easier to rein than the conception; and the opposite is true when he paints with his fingers. Therefore，he should pay special attention to techniques and skills when painting with fingers.  ---Essays on Painting from Tingtian Pavilion
  One of Gao Qieyuan's seals says:“Just trying to get away from traces of the brush and its ink renditions in my paintings.”This is the consummate state of finger painting. Conversely，the same holds true to paintings executed with a brush.  ---Essays on Painting from Tingtian Pavilion
  With the arrival of Western influence schools emerge in scores. In the mountains hundreds of peaks compete for dominance. My fingers alone can produce vigorous paintings. I am declaring a school of my own，without even resorting to the use of a brush.  ---A Poem on Landscape Painting with Fingers

目录
序 一 吕章申
序 二 潘公凯
序 三 郎绍君

绘 画 18
高风峻骨见精神—谈谈我父亲潘天寿
艺术风格的一个基本特征 潘公凯 19
潘天寿 郎绍君 43
001 青山白云图轴 水墨设色纸本
179cm×55cm 1928年 51
002 磐石墨鸡图 水墨设色纸本
68cm×136.5cm 1948年 52
003 读经僧图轴 水墨设色纸本
68cm×136cm 1948年 54
004 灵芝图轴 水墨设色纸本
132.5cm×45.2cm 1948年 56
005 焦墨山水图轴 水墨设色纸本
183.3cm×66cm 1953年 58
006 江洲夜泊图 水墨设色纸本
120cm×171.5cm 1953年 63
007 灵岩涧一角图 水墨设色纸本
119.7cm×116.7cm 1955年 64
008 铁石帆运图 水墨设色纸本
248cm×242cm 1958年 68
009 黄山松图轴 水墨设色纸本
153cm×117cm 1960年 72
010 小龙湫一截图 水墨设色纸本
162.3cm×260cm 1960年 77
011 花狸奴图轴 水墨设色纸本
168cm×48.2cm 1960年代 80
012 梅花芭蕉图轴 水墨设色纸本
183cm×50.7cm 1961年 82
013 水墨花石图卷 水墨设色纸本
21.5cm×247cm 1961年 85
潘天寿的意境、格调说 万青屴 90
014 秋夜图轴 水墨设色纸本
221cm×51.5cm 1962年 103
015 八哥崖石图轴 水墨设色纸本
261cm×143cm 1962年 104
016 夏塘水牛图 水墨设色纸本
142.7cm×367cm 1962年 108
017 雨霁图 水墨设色纸本
141cm×363.3cm 1962年 110
018 鱼乐图轴 水墨设色纸本
108cm×57.5cm 1962年 112
019 雁荡山花图轴 水墨设色纸本
122cm×121cm 1963年 114
020 小龙湫下一角图轴 水墨设色纸本
107.8cm×107.5cm 1963年 116
021 朝霞图轴 水墨设色纸本
82cm×79.5cm 1964年 122
022 映日图轴 水墨设色纸本
161.5cm×99cm 1964年 124
023 雄视图轴 水墨设色纸本
347.3cm×143cm 1964年 126
024 暮色劲松图轴 水墨设色纸本
345cm×143.1cm 1964年 128
025 松石梅月图轴 水墨设色纸本
329cm×149cm 1964年 130
026 光华旦旦图卷 水墨设色纸本
265cm×685cm 1964年 132
027 梅月图轴 水墨设色纸本
182cm×152cm 1966年 135

书法、篆刻、手稿 136
潘天寿先生书法篆刻艺术略论 刘 江 137
028 行书菜根谭四条屏
131cm×31cm×4 1919年 151
029 行书笔有误笔轴
145.3cm×28.7cm 1940年 152
030 行书耐有寒香轴
126.3cm×30.4cm 1948年 154
031 卜文田家有至乐书轴
141cm×31.3cm 1961年 156
032 集汉《祀三公碑》书轴
136cm×33.5cm 1962年 158
033 行书诗卷登蓬莱山
31.5cm×180.2cm 1963年 160
034 寿 朱文圆印 自 刻
1.8cm×1.8cm 1936年 162
035 强其骨 朱文方印 余任天刻
3.6cm×3.4cm 1948年 162
036 朽木居士 朱文方印 自 刻
3.5cm×3.4cm 1953年 162
037 止止室 朱文方印 自 刻
5.5cm×2.5cm 1954年 163
038 潘天寿印 白文方印 自 刻
3.7cm×3.7cm 1958年 163
039 一指禅 朱文方印 自 刻
2.8cm×1.7cm 1960年 163
040 一味霸悍 朱文方印 余任天刻
3cm×3cm 1961年 164
041 潘天寿印 白文方印 自 刻
3.4cm×3.4cm 1961年 164
042 潘 大 朱文方印 自 刻
3.5cm×2.2cm 1963年 164
043 大颐寿者 朱文方印 韩登安刻
3cm×3cm 约1950至1960年代 165
044 台州宁海人 白文方印 余任天刻
3.6cm×3.6cm 约1950至1960年代 165
045 潘 大 朱文方印 文隽刻
3.8cm×2.5cm 约1950至1960年代 165
046 潘天寿铅笔写生原稿 纸 本
26.5cm×19.5cm×2 1950年代 166
047 潘天寿铅笔写生原稿 纸 本
26.5cm×19.5cm×2 1950年代 167
048 潘天寿铅笔写生原稿 纸 本
26.5cm×19.5cm×2 1950年代 168
049 潘天寿铅笔写生原稿 纸 本
26.5cm×19.5cm×2 1950年代 169
050 潘天寿铅笔写生原稿 纸 本
26.5cm×19.5cm×2 1950年代 170
051 潘天寿铅笔写生原稿 纸 本
26.5cm×19.5cm×2 1950年代 171
052 潘天寿铅笔写生原稿 纸 本
19.5cm×26.5cm×2 1950年代 172
053 潘天寿铅笔写生原稿 纸 本
19.5cm×26.5cm 1950年代 173
054 潘天寿铅笔写生原稿 纸 本
26.5cm×19.5cm 1950年代 175
055 潘天寿铅笔写生原稿 纸 本
26.5cm×39.5cm 1950年代 175
056 潘天寿铅笔写生原稿 纸 本
26.5cm×39.5cm 1950年代 176
057 潘天寿铅笔写生原稿 纸 本
26.5cm×39.5cm 1950年代 177
058 潘天寿铅笔写生原稿 纸 本
26.5cm×39.5cm 1950年代 178
059 潘天寿在“一师”时的作文“时事造英雄论”手稿
37.8cm×28cm×2 约1917年 179
060 艺术与艺术范围内之国画题款之研究
21cm×29.7cm 约1930年代 180
061 书法教学材料
18.5cm×26cm 约1930至1940年代 181
062 潘天寿诗稿墨迹原件
17.6cm×26.7cm 1940年代 182
063 毛主席在吕志先同志回（汇）报浙江思想工作时的插话
26.7cm×19cm×2 1955年 183
064 阎立本的家世及生平概略
16cm×20.8cm×2 1950年代 184
065 中国画系分科教学草案（共19页）
26cm×19cm 1957年 185
066 顾恺之研究钢笔原稿
19.5cm×27cm 1950年代末至1960年代初 186
067 潘天寿教学大纲手稿
17.8cm×24cm×4 1960年 187
068 中国画系人物、山水、花鸟三科应该分科学习的意见
25cm×16.8cm×6 1961年 188
069 最后三首诗（手稿）
12.5cm×9.6cm 1969年 189
070 最后三首诗（手稿）
10.1cm×6.1cm 1969年 189
071 潘天寿要求退休的大字报
110.5cm×59.5cm 190
072 人大政协代表杭州视察报告
26cm×36cm 191
潘天寿对现代国画的贡献 潘耀昌 192

年 表 210
后 记 225