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五原路281弄6号 陈烟桥旧居位于五原路281弄6号，为花园住宅。房屋为假三层砖木结构，一层设有架空层，建筑平面近似呈矩形。 房屋外立面为淡黄色水泥拉毛墙面，方形钢窗，窗上方有菱形装饰图样。南立面设有梁板式阳台，雕花镂空铁栏杆。红瓦坡屋面，木结构挑檐。 一层入口位于房屋东侧，拱劵门洞，一层窗内钢格栅设有精美雕花图样。木结构双跑楼梯，木踏步，木扶手。三层西侧有阁楼。房前有小花园。 五原路281弄6号▲ 陈烟桥简介 广东东莞人，笔名李雾城等，版画家。毕业于上海新华艺术专科学校，后加入中国左翼美术家联盟。 1933年后，在鲁迅先生鼓励与支持下，投身中国新兴版画运动，成为第一代版画家代表人物。1939年赴重庆，先后任育才中学绘画组组长、《新华日报》美术科主任。 中华人民共和国成立后，历任华东军政委员会文化部美术科科长、中国美术家协会上海分会秘书长、广西艺术学院副院长、中国美术家协会广西分会主席等。其版画以黑白木刻为主，多表现普通劳动者的生活和劳动， 手法写实，画风质朴。 代表作品有木刻《建设中的佛子岭》《鲁迅和他的伙伴们》《黄浦江上》等。著有《鲁迅与木刻》《新中国木刻》《烟桥木刻集》等。 陈烟桥（1911-1970）▲ 含泪描绘鲁迅先生遗容 20世纪30年代，针对当时其他画种创作脱离实际，不能反映社会现实和民众要求的状况，鲁迅推出了成本低、创作时间短的新兴版画品种——木刻。1929年，爱好美术的陈烟桥如愿考进了广州市美术专科学校学习西洋画。这时，一本由鲁迅先生编撰的《近代木刻选集》从上海传到了广东。 一种“清新刚健”的画风迎面扑来，陈烟桥思路顿开，开始转向木刻学习，继而想到应该到其发源地——上海寻找“中国木刻之父”鲁迅。于是，在转入上海新华艺术专科学校学习的同时，他将自己的创作寄给鲁迅，并得到鲁迅的迅速回复。1930年10月，鲁迅与内山完造合办的外国版画展览会在北四川路举行。陈烟桥前去参观，受到鲁迅的热情接待。陈烟桥自此直接受鲁迅教诲，投入到中国新兴版画创作中。从1932年至鲁迅逝世，陈烟桥共收到鲁迅先生的书信二十多封。 1934年3月28日，鲁迅在致陈烟桥的信中写道：“我看先生的木刻，黑白对比的力量，已经很能运用的了……” 陈烟桥（右一）等与鲁迅（左一）在一起▲ 1934年，中国在法国和苏联举办画展，鲁迅把征集作品之事交给陈烟桥、陈铁耕。在征集作品中，鲁迅和宋庆龄选了78幅，以“革命的中国之新艺术”为题送巴黎和莫斯科展出。陈烟桥的《某女工》《天灾》《受伤者的呐喊》和《投宿》等入选参展。鲁迅于6月20日写信给陈烟桥：“我们的绘画及木刻，在巴黎展览，很成功……在莫斯科展览，评论很好。” 为“鼓吹木刻”，1934年10月，鲁迅自费出版了《木刻纪程》，收录了8位作者的24幅黑白木刻作品。其中陈烟桥的《窗》和《风景》两幅作品受到鲁迅的特别称赞。 1936年10月，“第二回全国木刻流动展览”在上海西藏路八仙桥青年会举行。8 日，鲁迅抱病出席参观，并与在场的陈烟桥、黄新波、林夫等青年版画家和《木刻创作法》一书的编译者白危等座谈。青年摄影家沙飞用镜头记录了这难忘的一刻。 11天后，1936年10月19日，鲁迅先生因积劳成疾去世。当天，陈烟桥闻讯，急忙赶到山阴路大陆新村9号鲁迅寓所，怀着对导师的尊敬和悲痛之情，含泪画下了鲁迅先生的遗容…… 陈烟桥 （钱定华画）▲ CHEN Yanqiao CHEN Yanqiao(1911-1970), native of Dongguan in Guangdong Province and known as printmaker, has such pen names as LI Wucheng. He graduated from Shanghai Xinhua Art College and later joined China Left-Wing Artists Union. After 1933, with theencouragement and support of Mr. LU Xun, he joined China new printmaking movement and became a representative of printmakers of the first generation. In 1939 he went to Chongqing, successively serving as painting group leader in Yucai High School and director of the Art Division of Xinhua Daily. After the founding of the People’s Republic of China, he served as chief of the Art Division of the Culture Department of the East China Military and Political Committee, secretary-general of the Shanghai Branch of China Artists Association, vice president of Guangxi Arts Institute and chairman of the Guangxi Branch of China Artists Association. His printmaking is dominated by black and white woodcut, primarily representing the life and labor of ordinary workers with realistic techniques and simple style. His representative works include woodcut works such as Foziling in Construction, LU Xun and his Fellows, On Huangpu River and so on. He also authors works including LU Xun and Woodcut, Woodcut in the New China, A Woodcut Collection by CHEN Yanqiao and so on. Depicting with Tears a Portrait of a Deceased, Mr. LU Xun In the 1930s, LU Xun introduced a new style of printmaking—woodcut, with low cost and shorter time of creation in view of the fact that other paintings were deviated from reality and could not reflect the social life and the requirements of the people. In 1929, CHEN Yanqiao, who loved arts, was admitted into Guangzhou Academy of Fine Arts to learn western painting as he wished. At this time, a copy of An Anthology of Modern Woodcut compiled by Mr. LU Xun was distributed from Shanghai to Guangdong. A kind of “fresh and vigorous” style rushed against his face, which found CHEN Yanqiao enlightened all of a sudden. Therefore, he began to turn to woodcut learning and then an idea crossed his mind that he should resort to its birthplace—Shanghai to find LU Xun, “the father of Chinese woodcut”. Consequently, when he transferred himself to Shanghai Xinhua Art College, he sent his own creative works to LU Xun and got a rapid response from the latter. In October 1930, the Foreign Printmaking Exhibition jointly sponsored by LU Xun and Kanza Uchiyama was held on North Sichuan Road. CHEN Yanqiao went to pay a visit, where he enjoyed a warm reception from LU Xun. Since then he got direct instructions from the latter and indulged himself into the creation of the new style printmaking in China. From 1932 to the time when LU Xun passed away, he received a total of more than twenty letters from Mr. LU Xun. On March 28, 1934, Lu Xun wrote in a letter to him, “In my understanding of your woodcut, the tension of the contrast between black and white has been well used…” In 1934, China held painting exhibitions in France and the Soviet Union. LU Xun gave the assignment of collecting works to CHEN Yanqiao and CHEN Tiegeng. Among the works collected, LU Xun and SONG Qingling selected 78 works, which were sent to Paris and Moscow for exhibition with the theme of “New Style of Art in Revolutionary China”. The works including A Woman Worker, Natural Disasters, The Screams of the Injured and To Stay for a Night by CHEN Yanqiao were selected to join the exhibitions. On June 20, LU Xun wrote to him, saying, “Our paintings and wood carvings have enjoyed great success at the exhibition in Paris... and received nice review at the exhibition in Moscow.” To “advocate woodcut”, LU Xun published The History of Woodcut in October 1934 at his own expense, including 24 works of black and white woodcut from 8 creators. Among them the two works Window and Landscape by CHEN Yanqiao received special praise from LU Xun. In October 1936, the “Second National Woodcut Mobile Exhibition” was held at the Youth Club at Eight Immortals Bridge on Tibet Road in Shanghai. On October 8, LU Xun attended it against his sickness and had a talk with some young printmakers present, including CHEN Yanqiao, HUANG Xinbo, LIN Fu and others as well BAI Wei, compiler and translator of the book Methods of Woodcut Creation. The young photographer SHA Fei recorded this unforgettable moment with his camera. After 11 days, Mr. LU Xun passed away of disease on October 19, 1936 due to fatigue. On the same day, CHEN Yanqiao heard the news and rushed to the apartment of LU Xun at No. 9 in Dalu New Village on Shanyin Road. With respect and grief for his teacher, he painted with tears in his eyes a portrait of Mr. LU Xun... 信息来源：《200031 — 一个历史街区的文化记忆》 |
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