“敦煌是我的家乡！”93岁“敦煌少女”的一生所望

A 93-year-old recalls spending her childhood with her father protecting the Mogao grottoes to highlight their legacy with the world, Lin Qi reports.

《花开敦煌——常沙娜从艺八十年艺术与设计展》在中国工艺美术馆·中国非物质文化遗产馆面向公众开放，93岁著名艺术家、设计家、教育家常沙娜再次走到聚光灯下。

Recalling her bittersweet experiences during her teen years in Dunhuang, Gansu province, 93-year-old Chang Shana can't help but smile while remembering those days. She was 12 when she arrived in Dunhuang in the 1940s. Her father, Chang Shuhong (1904-94), the founding director of the Dunhuang Academy, committed his life to the protection and conservation of the caves and the art inside.

回忆起少年时在敦煌的酸甜苦辣，已是耄耋之年的常沙娜情不自禁露出微笑。上世纪40年代，年仅12岁的她跟随家人来到敦煌。她的父亲常书鸿（1904-1994）被誉为“敦煌的守护神”，一生致力于对敦煌艺术宝库的保护和研究。

The young girl endured harsh living conditions in the desert while working with her father to copy the murals and Buddhist statues in the Mogao Caves, and forged a lifelong love of Dunhuang that has lasted for several decades until now, through her paintings and design.

在如花一般灿烂的年纪，沙娜一边忍受着大漠戈壁的严酷生活，一边在父亲的指导下临摹莫高窟的壁画和佛造像。这段特殊的生活经历在女孩心中深深植下对敦煌的热爱，伴随她走过几十个年头；她也不断通过绘画和设计来表达敦煌对其的深刻影响。

"Dunhuang is my hometown. Father often said, 'Shana, don't forget you are from Dunhuang’.”

常沙娜说：“敦煌是我的家乡，我来自敦煌。父亲经常说，’沙娜，不要忘了你是敦煌人’。”

In 2014, Chang Shana, a prominent designer and scholar of Dunhuang art, initiated a touring exhibition titled Everlasting Beauty of Dunhuang. Since premiering at Beijing's Today Art Museum, the show of works, created by her and her father that are inspired by Dunhuang's immense artistic trove, has since traveled around the country, raising awareness of the importance of protecting Dunhuang's legacy.

2014年，常沙娜开启了题为《花开敦煌》的巡展计划，旨在通过展示父女两代人的敦煌主题艺术创作，提高公众对于敦煌文化保护的意识。自北京今日美术馆的首展以来，展览已走遍许多城市。

It recently returned to the capital, with its latest installment running at the Chinese Traditional Culture Museum until Oct 27.

现在，《花开敦煌——常沙娜从艺八十年艺术与设计展》已经巡展到中国工艺美术馆和中国非物质文化遗产馆，展期到10月27日。

The exhibition pays tribute to a family passing on a mission from father to daughter over more than eight decades. The journey began when Chang Shuhong decided to leave behind a Parisian life with good prospects to head toward a dream and mission — and, of course, uncertainties — back in his home country.

《花开敦煌》讲述了一段家族历时八十年、传承保护敦煌的传奇：父亲常书鸿决定放弃巴黎的生活和成为艺术家的美好前景，回到母国只为追寻一个梦想和使命，即使这意味着他将面对许多不确定性。

He graduated from the well-known Ecole Nationale Superieure des Beaux-Arts and won prizes at the prestigious Paris Salon.

常书鸿毕业于巴黎国立高等美术学院，作品在巴黎沙龙展中屡获殊荣。

He would have pursued his potential as a career artist if he had not picked up Paul Pelliot's Catalog of Dunhuang Caves at a street stand selling books on an autumn day in 1935. It contained six volumes featuring photos of over 300 murals and figurines to reveal a remarkable trove of art and cultural exchanges that spanned a millennium.

不出意外，他将在巴黎开启作为职业艺术家的生活。然而在1935年的某个秋天，他在一个街边书摊上意外看到了伯希和的《敦煌图录》，图录有六卷，包含三百多幅壁画和佛像的照片。常书鸿被图片所揭示的这座跨越千年的非凡艺术宝库所震撼。

Many years later, Chang Shuhong recalls feeling awe at seeing those vivid details in the books that revealed a history of his homeland he had not known before.

多年后，常书鸿回忆起书中那些生动细节给他带来的震撼，那是一段从前他不曾了解的国家历史。

"The strokes (in the murals) were powerful, even bolder than that of the works of Fauvism, the structures rendered a feeling of magnificence, and the figures being depicted looked alive and energetic," he once said.

他说（壁画中的笔触）强劲有力，甚至比野兽派的作品更加大胆；画面结构充满宏伟感，描绘的人物看起来栩栩如生，充满活力。

A later visit to the Guimet Museum where he saw cultural objects plundered from Dunhuang by Western explorers further intensified his wish to return to unveil Dunhuang's mysteries to the world.

后来他在吉美博物馆参观的时候，又看到了被西方探险家从敦煌掠夺来的文物，这进一步加深了他想要回国、亲自看一看敦煌的愿望。

Chang Shana was born in Lyon and lived in Paris until she was 6.Her family returned to China amid the chaos of the War of Resistance Against Japanese Aggression (1931-45). They first settled in Chongqing, where she attended primary school — she still remembers some of the local dialect. At the end of 1943, she arrived at Dunhuang after a long, bumpy voyage with frequent layovers and transfers.

沙娜出生在里昂，在巴黎生活到6岁。全家回到中国的时候，迎接他们的却是抗战的炮火和随之而来的颠沛流离。他们最初住在重庆，沙娜在那里上了小学——她现在仍然记得一些重庆方言。1943年底，历经漫长的颠簸，她最终抵达敦煌。

She was impressed by the harsh natural environment of the desert there — often harassed by sands and gales. Material comforts were scarce. This was perhaps ironic, considering Dunhuang's legacy as an oasis of art and cultural exchanges along the ancient Silk Road.

敦煌给她留下的第一印象就是自然环境的恶劣，风沙的侵扰已是家常便饭。物质生活极度稀缺。只有壁画和佛像揭示着敦煌作为古丝绸之路上的一处艺术绿洲的曾经辉煌。

She says she'll never forget the first meal she had in Dunhuang: a bowl of noodles with salt and vinegar.

常沙娜说她永远不会忘记在敦煌吃的第一顿饭：一碗面条，盐巴和醋。

"I remember I then asked, 'How come there is no meat or vegetables?' And, Dad, looking a bit embarrassed, said: 'It's late. There will be mutton tomorrow.' I later realized that was unlikely because there was nothing out there," she recalls.

常沙娜记得当时年纪尚小的她问了句怎么没有肉别的菜呢，父亲看起来有点尴尬，说太晚了，明天做羊；她后来意识到那几乎是不可能的，因为那里什么都没有。

"To make our life better, my father tried to plant flowers and grow vegetables. He worked really hard.”

常沙娜说为了改善生活条件，父亲非常努力的种花种菜。

Yet, Dunhuang did nurture the little girl, in a different way. "The moment I entered the caves, I was dazzled. The caves had no doors and faced east to allow the sunlight in. I had never seen so many murals and statues, bright in color and all over the grottoes," she says.

然而，敦煌也用一种独特的方式给沙娜带来精神滋养。常沙娜说当走进洞窟的那一刻，她就被眼前的景象所震撼，她从未见过如此多的壁画和佛像；当时洞窟没有门，面向东方，阳光照进来撒在壁画和佛像上，色彩更为鲜艳。

She then followed in the footsteps of her father and other artists working in the caves. She followed their instructions to also copy the beautiful wall paintings and figurines from different periods of time.

在往后的日子里，她经常跟随父亲和其他在敦煌工作的艺术家进入洞窟，在他们的指导下，临摹不同时期的壁画和造像。

Her daily routine also included practicing calligraphy, learning French, studying Chinese and taking lessons in Chinese and Western art history, taught by artists who worked with her father researching Dunhuang.

她的日常生活还包括练字、学习法语，跟着其他画家学习中文和西方艺术史。

"There, I completed the first stage of education in my art career, although without a diploma," Chang Shana says.

常沙娜说她在敦煌完成了第一阶段的艺术课程，不过是没有学位的。

Several large copies of jingbian, or sutra depictions, on the walls from the 1940s are on show to offer a glimpse of the solid training she received and the understanding of Dunhuang she accumulated, says her son, Cui Donghui, who's deputy director of the School of Architecture of the Central Academy of Fine Arts.

《花开敦煌》展出了几件常沙娜在40年代临摹的大幅的经变画。常沙娜的儿子、中央美术学院建筑学院副院长崔东辉说这些作品展示了她在敦煌的扎实训练以及对敦煌的理解。

"The basic skills she grasped while copying allowed her to understand the compositions and the relations among the figures in the murals," Cui says.

他说这些积累帮助常沙娜去很好的处理构图和不同人物在画面中的关系。

At 17, she went to study art and museology in Boston, the United States, for two years. She returned at the end of 1950 to assist her father in staging an exhibition of Dunhuang art at the Palace Museum, where their copies of murals and statues were also displayed.

17岁时，常沙娜前往美国波士顿学习了两年的艺术和博物学。1950年底回国后，她协助父亲在故宫举办了一场敦煌艺术展，父女俩临摹的壁画和佛像也同时展出。

The works caught the attention of noted architects and scholars Liang Sicheng and Lin Huiyin.

著名的建筑师和学者梁思成和林徽因也来观展，对沙娜的临摹印象深刻。

Touched by Chang Shana's gift and devotion to Dunhuang, Lin helped her land a job as an assistant lecturer at the architecture department of Tsinghua University.

林徽因感动于常沙娜的天赋和对敦煌的执着，在她的帮助下，常沙娜进入清华大学营造系担任助教。

Lin hoped to introduce the young girl to the fields of design and education, where she would develop new ways to keep alive the heritage of Dunhuang and other traditional art.

林徽因希望她能在设计和教育领域开创一片新的天地，找到新的思路和方法来推进对于敦煌艺术以及其他传统艺术的保护传承。

Lin was one of the key influences on Chang Shana, who inspired her to integrate Dunhuang elements into many aspects of life. Lin took her to factories that made enamelware and porcelain to get inspiration about new ways to give traditional arts and crafts a modern uplift.

林徽因对常沙娜的影响是重要而深入的，比如鼓励她将敦煌元素融入生活的许多方面；她还带着常沙娜去生产景泰蓝和瓷器的工厂，寻找将传统工艺和现代生活方式相结合的可能。

"Lin said you need to make people feel, and live with, the beauty of tradition," Chang Shana says.

常沙娜回忆起林老师常说要让人们感受到传统的美，让他们生活在这种美当中。

Chang Shana later taught at the Central Academy of Fine Arts and the Central Academy of Arts and Design, now the Academy of Arts and Design of Tsinghua University.

常沙娜后来相继在中央美术学院和中央工艺美院也就是如今的清华大学美术学院教书。

As a designer and design educator, she participated in several national projects in which she incorporated the motifs and patterns from the murals, architecture and Buddhist caves that enriched her teen years.

作为一名设计师和设计教育者，她参与了几个国家项目，那些丰富了她整个少女时代的来自敦煌的壁画、建筑结构和佛造像图样都被她一一融入到设计作品中。

She designed silk scarves featuring zaojing (caisson ceiling) patterns from Dunhuang and white doves, which were chosen as gifts to international delegations attending a conference in Beijing in 1952.

1952年，她设计了结合敦煌藻井图案和白鸽的丝巾，被作为礼物赠送给来京参加国际会议的各国代表。

Years later, she became a member of the design team for the interior decoration of the Great Hall of the People, during which time she learned to go beyond aesthetics to also consider other factors such as function and materials.

后来她又成为人民大会堂宴会厅装饰设计团队的一员，这一工作履历使得她更深入的体会到美感和功能材料在实际运用中的结合。

Decades afterward, she incorporated Dunhuang art into her designs at several landmark venues in Beijing, including the Cultural Palace of Nationalities and the Capital Theater.

在几十年的时间里，常沙娜在她参与的许多重要设计任务中都融入了敦煌艺术的元素，包括民族文化宫和首都剧院。

She recalls the time when she launched the touring exhibition a decade ago. "Many people said, you are elderly, and you should no longer make yourself busy with things. I always keep in mind father's wishes to carry on the Dunhuang heritage, and for that reason, I always feel energetic," she says.

常沙娜回忆起十年前开启《花开敦煌》的时候，“大家说你年纪大了，不要再到处跑了；但是（我心里）总有父亲的愿望，（一想起来）老觉得自己精力充沛”。

"The exhibition has toured dozens of cities, and I will keep promoting Dunhuang art as long as I can walk and talk. It is a tribute to my father and my mentor, Lin Huiyin, especially in this year that marks the 120th anniversary of both of their births."

“《花开敦煌》在国内走了几十个城市，只要我还能走的动，我就要到处说（敦煌）。今年是父亲和林老师诞辰120周年，这也是对他们二位的致敬。” 

出品人：朱宝霞 邢志刚

总监制：李文莎 柯荣谊

监制：陈婕 冯明惠 陈祥峰

制片：石甫天

编导：于小鸥  

主持人：石甫天

摄像：杨东方 句培军 何旭刚 石甫天

剪辑：张健

文案：石甫天 于小鸥

微信文稿：林琦

字幕：钮胤羲

语言顾问：顾馨 詹姆斯·麦卡锡 

视觉设计：庞馨蕾

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