内容提要
　　总序
　　2012年10月1日，在原世博会中国馆基础上改建而成的中华艺术宫向社会开放，16万平米的建筑面积，6万4千平米的展示空间，开馆系列展览总计1500余件近现当代艺术作品的精彩展陈，昭示着东海之滨、黄浦江畔的亚洲中心城市上海一座崭新的重量级艺术殿堂的诞生。
　　中华艺术宫以立足上海、携手全国、面向世界为基本建设原则，以收藏保管、学术研究、陈列展示、普及教育和对外交流等为基本职能，体现中国气派和国际视野。中国近现代美术肇始于上海，中国当代美术在上海最先萌发。中华艺术宫将以上海国有艺术单位的收藏为基础，常年陈列反映中国近现代美术起源与发展脉络的艺术珍品，并携手全国美术界，收藏和展示代表中国艺术创作最高水平的艺术作品，联络世界著名艺术博物馆，合作展示各国近现代艺术珍品，力争打造成为中国近现代经典艺术传播、东西方文化交流展示的中心，广大人民群众享受经典艺术、享有公共文化服务的高雅殿堂。
　　为配合中华艺术宫开馆以及推出的系列国内外精彩展览，此次特别策划、出版了相应的学术性系列画册，以图文并茂的形式，寓研究和普及于一体，生动地展现上海、中国乃至世界艺术的珍藏和学术研究的成果，以飨众多的艺术爱好者和美术专业人士。
中华艺术宫
　　2012年10月1日
　　General Preface
　　China Art Museum，Shanghai，rebuilt upon the China Pavilion of Shanghai World Expo.，will open on October 1st，2012 to the public. It covers a building area of 160，000 m2 and an exhibition space of 64，000 m2；over 1500 classical modern artworks in total will be displayed in a splendid way on the opening series exhibitions of China Art Museum，Shanghai，indicating the birth of a brand-new heavy-weight art palace in Shanghai，the central city of Asia beside the East China Sea and by the Huangpu River.
　　Following the basic construction principals of “standing in Shanghai，cooperating nationwide and facing the world”，the China Art Museum，Shanghai will represent the Chinese manner and international horizon. Its basic functions are collection and preservation，academic research，exhibition，education promotion and external exchange. Chinese modern art originated in Shanghai，and so did the Chinese contemporary art. Based on the collections of state-owned art institutions，the art treasures which reflect origin and development context of Chinese modern arts will be displayed in China Art Museum，Shanghai throughout the year. China Art Museum，Shanghai will cooperate with the nationwide art circles to collect and display the works representing the top level of China's art creation；furthermore，it will reveal the precious modern artworks all over the world by uniting with the world famous art museums，thus to build a center for the dissemination of China modern classical art and the display and communication of culture between the east and west，meanwhile，to make it an elegant palace for the majority to enjoy classic art and public cultural service.
　　In order to match up with the opening of China Art Museum，Shanghai and the serial exhibitions abroad and domestic，we have specially planned and published relevant academic catalogues，to vividly show the valuable art collections and academic research achievements throughout Shanghai，China and even the whole world by means of integrating pictures and essays，research and popularization together，thus satisfying the numerous art lovers and artists.
by China Art Museum，Shanghai
October 1st，2012

序言
　　滑田友先生是近百年来涌现的中国大雕刻家。他的艺术的确做到了中西合璧、熔铸古今，既体现了西方雕刻的精髓、又充满了中国文化之神韵。
　　滑田友1901年生于江苏淮阴一位贫苦木匠家里。小时学过木工，读过师范，教过中小学美术、音乐。后经徐悲鸿先生推荐到苏州甪直保圣寺修补传为唐代大师杨惠之所做罗汉像。工作两年、深切领会了中国传统之精要，发掘并整理提炼了中国雕塑传统的优秀技法。1933年随徐悲鸿先生赴法，为了学习雕刻艺术和发展中国雕刻事业，滑先生排除了各种困难，甚至忍饥挨饿，在巴黎坚持从艺十五年之久。他先在巴黎国立高等美术学校学习，成绩优异。毕业后从事雕塑创作，作品经常入选巴黎春季沙龙美展，并曾多次获奖。尤其他的作品《沉思》获1943年巴黎春季美展金质奖。他创作的《母爱》为巴黎市政府收藏。抗战期间，虽身处异乡，他的心却一直和祖国人民在一起。热切关怀苦难的祖国，创作了圆雕《轰炸》，强烈地控诉了日本法西斯的罪行，充满了对祖国人民深深的爱。这件作品当即被法国教育部收购，藏于巴黎国家现代艺术博物馆，现已载入世界美术百科全书，得到很高评价。
　　滑田友在法国的十五年中，前期主要是对西洋技法的学习和掌握，后来就着力于与中国传统的结合。他用自己特有的研究方法，借用“气韵生动”等《六法》深入浅出地阐述了西洋和中国雕刻的规律，他的理论的确是中国雕刻教学理论的瑰宝。
　　滑田友的作品含蓄而有神韵，形体饱满，富有节律感。在法国曾受到大雕刻家德斯匹欧(Charles Despian )的一再赞扬。法报也称他是神似重于形似的具有个人独特风格的中国雕刻家。滑田友在创作和教学实践中建立了一个严整的体系。他不愧是“古为今用，洋为中用”的典范。
　　1948年他带着大量作品回国，热心地投入到艺术教育事业中去。他无保留的教学热情，为新中国培养了大批优秀雕刻家。
　　中国新兴的雕刻事业方兴未艾，此时，更使我们认识到滑田友的价值。他与他的作品，在中国艺术史长河中占有一席重要的地位。
　　吴作人
　　节选自人民美术出版社1993年出版《滑田友》前言，写于1988年10月
Foreword
　　Hua Tianyou is one of the greatest Chinese sculptors in the recent 10 decades. He made a great contribution to creating the mixed style through combining Chinese cultural concepts with Western sculpting skills.
　　Hua Tianyou，a native of Huaiyin in Jiangsu Province，was born in 1901 into a poor carpenter’s family. He learned to carve in his childhood，later went to normal college and had ever taught fine arts and music in primary and middle school. Later，under Xu Beihong’s recommendation，he spent two years restoring the sculptures of Arhat in Baosheng Temple of Luzhi town in Suzhou，which were regarded to be the sculpture works of Yang Huizhi of Tang Dynasty; this experience gave him a valuable insight into the essence of Chinese tradition and he explored and absorbed outstanding techniques from the tradition of Chinese sculpture. In 1933，he went to France with Xu Beihong. To study sculpture and promote it in China，Hua spent 15 years in France in spite of various difficulties and even hunger. He studied first at École Nationale Supérieure des Beaux-Arts in Paris with excellent grades. After graduation，he was devoted to sculpture creation and his works were honored in the French Spring Salon Exhibition for several times and had won many awards. His work “Meditation”won gold medal at the Salon in 1943. His work “Maternal Love”was collected by Paris municipality. During the period of anti-Japanese war，he created sculpture “Bombing”to denounce Japan’s Fascism actions and expressed his deep love for motherland and her people although he was abroad. That work was instantly purchased by French Ministry of Education，and now is collected at National Modern Art Museum of Paris and was recorded into Encyclopedia of World Arts; it is highly appreciated.
　　During his 15 years in France，he mainly learned and mastered the western techniques in the first period and later he focused on combining those with Chinese traditions. With his unique research methods，borrowing “lively spirit and charm”from “The Six Principles”，he expounded the disciplines of the western and Chinese sculpture arts，which became the gem of Chinese sculpture teaching theories.
　　His works are implicative and vivid，full and plump，with good sense of rhythm. He was highly appreciated by the great sculpture artist Charles Despian in France. French newspapers also regard him as a unique-styled Chinese sculptor who paid more attention to similarity in spirit rather than in form. In the process of creating and teaching practices，he set up a thorough system. He is a great example of “making the past serve the present and the foreign things serve China”.
　　In 1948，he returned home with many works and devoted himself to art education. He showed great enthusiasm in teaching and nourished numerous excellent sculptors for the New China.
　　The burgeoning sculpture art of China is still in the ascendant. Now，we should more than ever recognize Hua Tianyou’s value. He and his works both occupy a significant position in the long river of Chinese art history.
　　By Wu Zuoren
　　Excerpt form the preface of Hua Tianyou published in 1993 by People’s Fine Arts Publishing House，written in October，1988

目录
陈散原像 1
长跪问故夫（又名《上山采蘼芜》） 2
轰炸后 4
逃难（二战系列浮雕构稿之一） 6
医治（二战系列浮雕构稿之二） 7
离别（二战系列浮雕构稿之三） 8
轰炸（又名《恐怖》） 9
出浴身段 12
沉思 14
女人体（之一） 16
女人体（之二） 18
女人体（之三） 20
女人体（之四） 22
女人体半身 24
男人体半身 26
郭儿头像 27
胡小姐头像 28
母爱 30
吉普赛女郎头像 32
吕夫人头像 34
保加利亚女教师和朝鲜孤儿（又名《国际友谊》） 36
保加利亚老人像 38
保加利亚男头像 40
保加利亚女头像（之一） 41
保加利亚女头像（之二） 42
保加利亚女头像（之三） 44
保加利亚女头像（之四） 46
青年女生产队长 48
空军英雄头像 50
刘天华夫人头像 52
刘育和头像 54
浮雕《五四运动》构图稿（之一） 56
浮雕《五四运动》构图稿（之二） 58
浮雕《五四运动》人物头像（之一） 60
浮雕《五四运动》人物头像（之二） 60
浮雕《五四运动》人物头像（之三） 61
浮雕《五四运动》人物头像（之四） 61
浮雕《五四运动》人物头像（之五） 62
浮雕《五四运动》人物头像（之六） 62
浮雕《五四运动》人物头像（之七） 63
浮雕《五四运动》人物头像（之八） 63
浮雕《五四运动》人物头像（之九） 64
浮雕《五四运动》人物头像（之十） 64
浮雕《五四运动》人物头像（之十一） 65
浮雕《五四运动》人物头像（之十二） 66
浮雕《五四运动》人物头像（之十三） 66
浮雕《五四运动》人物头像（之十四） 67
浮雕《五四运动》人物头像（之十五） 67
浮雕《五四运动》人物头像（之十六） 68
浮雕《五四运动》人物头像（之十七）  68
滑田友部分画作图目

Bust of Chen Sanyuan 1
Asking the Former Husband on Knees（also entitled “Plucking Wild Herbs on Hills”）2
After Bombing 4
Refugees （World War Ⅱ Series draft no.1） 6
Healing （World War Ⅱ Series draft no.2）  7
Departure （World War Ⅱ Series draft no.3） 8
Bombing （also entitled Terror） 9
Female Body After the of Bath 12
Meditation 14
Female Body no.1 16
Female Body no.2 18
Female Body no.3 20
Female Body no.4 22
Upper Part Statue “Female Nude” 24
Upper Part Statue “Male Nude” 26
Head Portrait of Guo’er 27
Head Portrait of Miss Hu 28
Maternal Love 30
Head Portrait of a Gipsy Girl 32
Head Portrait of Mrs. Lyu 34
Bulgarian Female Teacher and North Korean Orphan （also entitled “International Friendship”） 36
Head Portrait of a Bulgarian Old Man 38
Head Portrait of a Bulgarian Man 40
Head Portrait of a Bulgarian Woman no.1 41
Head Portrait of a Bulgarian Woman no.2 42
Head Portrait of a Bulgarian Woman no.3 44
Head Portrait of a Bulgarian Woman no.4 46
Young Female Production Team Leader 48
Head Portrait of Airforce Hero 50
Head Portrait of Liu Tianhua’s Wife 52
Head Portrait of Liu Yuhe 54
Relief “May 4th Movement” draft no.1 56
Relief “May 4th Movement” draft no.2 58
Relief “May 4th Movement” portrait no.1 60
Relief “May 4th Movement” portrait no.2 60
Relief “May 4th Movement” portrait no.3 61
Relief “May 4th Movement” portrait no.4 61
Relief “May 4th Movement” portrait no.5 62
Relief “May 4th Movement” portrait no.6 62
Relief “May 4th Movement” portrait no.7 63
Relief “May 4th Movement” portrait no.8 63
Relief “May 4th Movement” portrait no.9 64
Relief “May 4th Movement” portrait no.10 64
Relief “May 4th Movement” portrait no.11 65
Relief “May 4th Movement” portrait no.12 66
Relief “May 4th Movement” portrait no.13 66
Relief “May 4th Movement” portrait no.14 67
Relief “May 4th Movement” portrait no.15 67
Relief “May 4th Movement” portrait no.16 68
Relief “May 4th Movement” portrait no.17 68
A picture catalogue for part of Hua Tianyou’s artworks