让笔墨归山河——林风眠之女林蒂娜 2008年 晚年口述画集序言

我是林蒂娜，林风眠唯一的女儿。2008 年，我在巴西裹约热内卢寓所口述此文，作爲《林风眠家藏与法国藏家珍藏合集》序言，讲我如何跨越半个世纪，收藏、守护父亲画作，完成他的嘱托，让他的艺术从上海、巴西、香港，连向法国，终归中国。

1956 年，我与母亲离开上海移居巴西。临行前夜，父亲在南昌路画室，把一箱画作与文玩交到我手裹，轻声说： “蒂娜，这些画是我的命。你收好，不管走多远，都要守住。将来有一天， 它们要回中国，也要让世界看见。”我抱着木箱，不敢多问，祗记住他眼裹的不拴与坚定。这一去，便是二十二年别离。

这批 1956 年临行托付的家藏，共 70 幅，爲父亲 1930 年代至 1950 年代中期代表作：仕女、山水风景、荷塘芦雁、花鸟静物，是他艺术生涯中最珍贵的“早期至中期核心家底”。

在巴西的日子，我把这批画藏在阁楼，避光、防潮、防虫，每年换季都小心展开检视。父亲陆续从上海、后来从香港寄来新作，仕女、芦雁、西湖、花鸟， 每一幅都写满思念与坚守。我慢慢明白， 我收藏的不祗是画，是父亲“调和中西”的一生，是他放不下的故土与艺术。

1978 年，父亲来巴西团聚。我把珍藏二十二年的旧作与多年来的新作一并捧出，他一幅一幅细看，手指抚过纸面，久久不语。他再叮嘱我： “香港我会继续画，你把各时期的作品都理清楚，不要散。法国有知己藏家，收了我近百幅作品，都是上世纪四五十年代的真心所藏，你要与他们保持联系，让这批画有完整记录。”我一一应下，这是父亲给我的使命。

父亲与法国藏家的缘分，始于 1940 年代初上海法租界。穆罗（Mourot）夫妇等法国藏友，因艺术相知，以知己相交，自 1942 年起持续入藏，至 1952 年基本定型，总计 96 幅，均爲纸本彩墨、设色水墨，  原装镜框，未经修补、未曾流散。这批作品集中于 1940 – 1950 年代中期，正是其中期成熟巅峰，题材清晰成序列：仕女（古装仕女、持莲仕女、双人仕女）、风景（西湖、江畔、庭院、秋山）、花鸟鱼禽（荷塘、芦雁、悬鹤、游鱼）、戏曲人物与静物。父亲常说， 这些藏家懂他的中西融合，懂他的笔墨情怀。我遵他嘱托，自 1970 年代起与法方持续书信往来，逐件核对尺十、题识、铃印、创作年代与递藏路径，  形成完整档案，让这段跨国收藏有据可查、成爲信史。

1977 年父亲赴港，祗带走三十余幅画，其余留在上海，后由亲友与机构珍藏；香港十四年，他笔耕不辍，晚年精品不断托付于我。我将上海旧藏 70 幅、巴西递藏 43 幅、香港晚年新作 58 幅，按年代与题材逐一整理、建档编号，形成脉络完整、无断代的家藏体系，总计 171 幅，完整覆盖1930 – 1940 年代探索期、1940 – 1950 年代成熟期、1977 – 1991 香港晚年凝练升华期。

1991 年，父亲在香港离世，最后写下： “我想回家，回杭州。”这四个字，成我余生之诺。

我一生不事创作，祗做父亲艺术的守护者。家藏 171 幅与法国穆罗家族96 幅珍品，合计 267 幅，共同构成他艺术生涯最完整、最可靠的私人收藏体系：早年探索、中期成熟、晚年凝练，完整呈现他融西于中、独开生面的道路。我拒絶多次商业出价，坚持以学术爲先，现存部分作品以合集出版、以展览面世，不爲牟利，祗爲兑现父亲“让艺术回家、让世界看见”的遗言。

如今，我们将现存部分家藏与法国藏家珍藏整理，让这段跨越国界的收藏与传承，成爲信史；让林风眠的名字，重回中国现代美术的核心，也在欧洲继续讲述中国艺术的精神。这些笔墨，是他的生命，也是我的生命；也是传承遗産，更是中国的文化山河。今以此口述爲序， 愿父亲的艺术，代代相传，永不消散。

林风眠（1900—1991）， 原名凤鸣，广东嘉应（今梅州）人。近现代画家、美术教育家。1919 年留学法国，先后在巴黎第戎美术学院、巴黎美术学院学习。1925 年回国，任国立北平艺术专门学校校长。1928 年，在杭州主持创办国立艺术院（后改名国立杭州艺术专科学校），任首任校长兼教授。

后任中国美术家协会常务理事及上海分会副主席等职。倡导新艺术运动，长期从事美术教育与创作实践，是“中西融合”艺术理想的倡导者。擅长描写仕女、静物、风景， 独创出一种富于时代气息和民族特色而又高度个性化的抒情画风，被誉爲“中国现代绘画艺术之父”。

林蒂娜 Dino Lin（婚后： Dino Therese Markowitz） 2008 年

林蒂娜介绍：

林蒂娜，林风眠的女儿，是一位艺术家和音乐爱好者。

她出生于中国，是著名画家林风眠的独生女，其母亲爲法国籍妻子爱丽丝 ·法当。林蒂娜自幼展现出艺术天赋，尤其热爱音乐，曾师从著名提琴家普洛克学习小提琴，后由色拉契夫教授继续指导。

在个人生活方面，林蒂娜与父亲林风眠关系密切。1950 年代，她随母亲移居巴西，此后父女二人长期分离，林风眠在晚年创作的许多作品，如《仕女》等，都以她爲灵感来源，寄托了深切的思念之情。 官网 林风眠于 1991 年在香港临终前，曾用铅笔写下“我要回家……要回杭州 … … ”的遗言，林蒂娜曾提及这是父亲的遗愿。

林蒂娜于 2008 年在巴西逝世。

穆罗（Mourot）夫妇简介：

一、林风眠与穆罗（Mourot）夫妇的关系

相识背景：1940 年代，法国穆罗夫妇（Mr. & Mme Mourot）移居上海，任职于上海法语联盟（Alliance Française），负责讲座、展览、音乐交流等活动。林风眠的法国籍妻子积极参与联盟活动， 1947 年经妻子引荐，穆罗夫妇结识林风眠。

友谊性质：以艺术鉴赏与交流爲纽带，建立深厚跨文化友谊。1980 年代，穆罗夫人专程赴香港探望历经磨难的林风眠，情谊延续数十年。

收藏纽带：穆罗夫妇自 1940-50 年代起，直接从林风眠本人购藏作品，成爲其重要海外藏家。  穆罗收藏林风眠书画题材与品类：涵盖风景、花鸟、仕女、戏曲人物、静物等林风眠经典题材，  多爲水墨、彩墨、水粉，展现其“中西融合”风格。

Let Brush and Ink Return to Mountains and Rivers --Preface to the Oral Autograph Art Collection of Lin Fengmian’s Daughter Lin Tina in Her Later Years, 2008.

I am Lin Tina, the only daughter of Lin Fengmian. In 2008, I dictated this text at my residence in Rio de Janeiro, Brazil, serving as the preface to Joint Collection: Lin Fengmian’s Family Treasures and Masterpieces from French Collectors. It recounts how I spent half a century collecting and safeguarding my father’s paintings, fulfilling his last wish, and connecting his art from Shanghai, Brazil and Hong Kong to France, before it ultimately returns to China.

In 1956, my mother and I left Shanghai and moved to Brazil. On the eve of our departure, in his studio on Nanchang Road, my father handed me a chest of paintings and art curios, and said softly: “Tina, these paintings are my life. Keep them safe. No matter how far you go, guard them well. One day in the future, they shall return to China, and be seen by the whole world.” Holding the wooden chest, I dared not ask more, only remembering the reluctance and resolve in his eyes. That departure marked twenty-two years of separation. This batch of family collections entrusted to me before leaving in 1956 totals 70 pieces, featuring my father’s representative works from the 1930s to the mid-1950s: beautiful ladies, landscape paintings, lotus ponds with wild geese, flowers, birds and still lifes. They are the most precious core works of his early and middle artistic career. During my years in Brazil, I stored these paintings in the attic,protecting them from light, moisture and pests. I carefully unfolded and inspected them every change of season. My father continuously sent new creations from Shanghai, and later from Hong Kong— paintings of ladies, wild geese by reeds, West Lake scenery, flowers and birds. Each piece was filled with longing and perseverance. I gradually came to understand that what I preserved was not merely paintings, but my father’s lifelong pursuit of integrating Chinese and Western art, as well as his lingering attachment to his homeland and artistic ideals.

In 1978, my father reunited with us in Brazil. I presented to him the early works I had treasured for twenty-two years, along with all the new pieces he had sent over the years. He examined them one by one, his fingers brushing over the paper, remaining silent for a long time. He entrusted me once more: “I will keep painting in Hong Kong. Sort out all my works from different periods and never let them scatter. There are kindred collectors in France who hold nearly a hundred of my paintings, all sincerely collected in the 1940s and 1950s. Keep in touch with them, and compile complete records for these works.” I promised to do as he asked, for this was the mission my father had bestowed upon me.

The bond between my father and French collectors originated in the French Concession of Shanghai in the early 1940s. French art lovers including Mr. and Mrs. Mourot bonded with him over art and forged a profound friendship. They began collecting his works in 1942,and their collection was finalized in 1952, amounting to 96 pieces in total. All are colored ink paintings and tinted wash paintings on paper, preserved in original frames, never restored or dispersed. Created between the 1940s and mid-1950s, these works represent the pinnacle of his mature middle period, with well-organized thematic series: ancient-style ladies, lotus-bearing ladies, paired ladies; landscapes of West Lake, riverbanks, courtyards and autumn mountains; flowers, birds, fish and animals including lotus ponds, reed geese, pine and cranes, and swimming fish; opera figures and still lifes. My father often said these collectors truly understood his integration of Chinese and Western aesthetics and the sentiments embodied in his brushwork. Following his instructions, I maintained correspondence with French collectors starting in the 1970s, verifying each work’s dimensions, inscriptions, seals, creation years and collection provenance, and establishing complete archives. This cross-border collection history is thus well-documented and verifiable.

When my father moved to Hong Kong in 1977, he took only over thirty paintings with him, leaving the rest in Shanghai, which were later preserved by relatives, friends and cultural institutions. During his fourteen years in Hong Kong, he painted tirelessly and entrusted me with numerous fine late works. I systematically sorted, archived and cataloged 70 family-collected pieces from Shanghai, 43 works preserved in Brazil, and 58 late masterpieces from Hong Kong by chronological order and theme. This forms an uninterrupted and complete family collection of 171 artworks, covering his exploratory period (1930s–1940s), mature period (1940s–1950s), and refined late creative phase in Hong Kong (1977–1991).

My father passed away in Hong Kong in 1991. His final words were written down: “I want to go home, to Hangzhou.” These four words became the lifelong promise I have kept.

I have never engaged in artistic creation myself, devoting my entire life to being the guardian of my father’s art. The 171 pieces of family collections, together with 96 treasured works from the French Mourot Family, make up 267 masterpieces in total. Together, they form the most comprehensive and authoritative private collection documenting his artistic journey—recording his early exploration, middle maturity and late refinement, and fully presenting his pioneering path of merging Western artistic techniques with traditional Chinese art. I have rejected numerous commercial acquisition offers and always prioritized academic inheritance. Selected works have been published in compilations and exhibited publicly, not for profit, but to fulfill my father’s last wish: to bring his art back home and let the world witness its beauty.

Today, we have compiled the surviving family collections and treasures from French collectors, solidifying this cross-border legacy as verified historical record. We aim to restore Lin Fengmian’s rightful place at the core of modern Chinese fine arts, and continue spreading the spirit of Chinese art across Europe. These brush and ink works embody his life, and mine as well; they are precious cultural heritage, and the profound cultural landscape of China. I present this oral preface in the hope that my father’s art will be passed down from generation to generation, eternal and undying.

Lin Tina

Dino Lin (Married Name: Dino Therese Markowitz)

2008

About Lin Tina

Lin Tina, the daughter of Lin Fengmian, was an artist and music enthusiast.

Born in China, she was the only daughter of the renowned painter Lin Fengmian and his French wife, Alice Fardin. Gifted in the arts from an early age, she had a particular passion for music. She studied violin under the famous violinist Prokop, and later received professional guidance from Professor Sarachev.

She shared an intimate bond with her father Lin Fengmian. In the 1950s, she moved to Brazil with her mother, leading to a long-term separation between father and daughter. Many of Lin Fengmian’s late works, such as Portraits of Ladies, drew inspiration from her, conveying his profound longing. Before his passing in Hong Kong in 1991, Lin Fengmian wrote a last note in pencil: “I want to go home … back to Hangzhou.” Lin Tina once mentioned this as her father’s final wish.

Lin Tina passed away in Brazil in 2008.

Brief Introduction to Mr. & Mrs. Mourot

1. The Friendship Between Lin Fengmian and the Mourots Background of Acquaintance

In the 1940s, the French couple Mr. & Mrs. Mourot settled in Shanghai and worked at the Alliance Française, organizing lectures, art exhibitions, music exchanges and other cultural events. Lin Fengmian’s French wife was an active participant in the Alliance’s activities, and it was through her introduction that the Mourots met Lin Fengmian in 1947.

Cultural Friendship: Bound by art appreciation and cross-cultural communication, they built a deep and lasting friendship. In the 1980s, Madame Mourot traveled to Hong Kong specially to visit Lin Fengmian after his years of hardships, and their friendship endured for decades.

Collection Connection: Starting from the 1940s to the 1950s, the Mourots purchased artworks directly from Lin Fengmian, becoming one of his most important overseas collectors.

Themed Categories of the Mourot Collection: Their collection covers Lin Fengmian’s classic themes: landscapes, flowers and birds, ladies, opera figures and still lifes. Most pieces are created with ink, colored ink and gouache, fully showcasing his iconic artistic style of integrating Chinese and Western art.