刘继卣为天津"八大家"之一的"土城刘家"后裔，自幼受其父著名画家刘奎龄的影响，酷爱绘画，1936年(16岁)入天津市立美术馆西画系，在油画家刘凤虎的指导下系统学习素描、速写、水彩、油画，并从刘子久学习山水画技法，从陈少梅学习山水画和人物。次年自谋职业，开始卖画生活。1947年在天津永安饭店举办个人画展，一时蜚声津京，受世人瞩目。1949年后到中华人民共和国文化部艺术局工作，1950年调人民美术出版社任创作员，从天津迁居北京，得识北京各大名家，获益非浅，艺事上更为精进。先后创作了一批享誉画坛的作品。特别是50年代初期，创作的连环画册《鸡毛信》出版，颇具匠心的构图，活灵活现地描绘了小放牛娃的英雄故事。这部连环画一出版，立即轰动了美术界，使刘继卣的声誉大振。1957年曾随中国美术家代表团访问捷克斯洛伐克。出版个人画册多种。刘继卣画的人物仕女、花鸟走兽，多为工笔与写意相结合，在其绚丽多彩和准确造型的的基础上，显得格外凝重、奔放、潇洒、传神。他的作品把西洋画的情调渗透进中国画的意境中，却丝毫不露痕迹，形成自己独特风格。他的艺术成就，引起当时美术界的重视。此后多次参加国内外画展，屡获好评。特别值得一提的是，荣宝斋现已出版的《荣宝斋画谱》现代卷128册中有五册是刘继卣的(第3册刘继卣动物部分，

第25册刘继卣花鸟草虫部分，第54册刘继卣人物部分，第55册刘继卣白描部分，第128册刘继卣狮虎豹狸部分)，另外只有齐白石先生有此殊荣为五册，可见其造诣的非比寻常。1954年毛泽东主席在天津接见了刘奎龄、刘继卣父子，当展阅继卣作品时，为之称赞不已:"博古通今，刘氏出人材!"。

 刘继卣生前为中国美术家协会理事，北京市工笔人物画研究会副会长，北京市花鸟画研究会副会长。人物、动物、花鸟等，工写兼长。作品有组画《武松打虎》，获1956年第六届世界青年联欢节美术作品奖、1956年莱比锡书展览会金奖、1984年瑞士西耶尔第一届国际连环画节获特别荣誉奖。组画《闹天宫》参加社会主义国家造型艺术展览，获美术作品奖;被美术评论家誉为"中国画世纪经典"。国画《金丝猴》、《东北虎》被中国邮票公司采用为纪念邮票发行，1980年同获全国最佳邮票奖。1982年刘继卣为《中国壬戌(狗)年生肖纪念币》的发行而专门绘制了《立犬图》(8克金狗面值200元)。此画构图简洁，不仅精确描绘立犬生理特征，且将其与人相通之灵性及旺盛生命力尽显无遗，寓动于静，极为传神，也是先生晚年的力作之一。由于其画是专门为纪念币的发行而作，因此该币也被推崇为整套币中，原画与币结合最完美的一枚币，同样简洁明快的艺术基调，将神韵一一诠释。其纪念银币，在1984年在美国克劳斯出版社和《世界货币新闻》联合主办的"世界硬币大奖"评选中获得"最佳银币"奖，赢得了极高的国际荣誉，大大提升了中国钱币在国际钱币市场的地位。其后他的《双兔图》(1987年中国生肖--8克金币金币面值150元、5盎司丁卯兔年银币，，银币面值50元)，《猴图》(1992年中国生肖纯金1盎司壬申猴年金币面值100元)、《子母牛》(1997年中国生肖-12盎司金牛面值1000元)《双牛图》、《蕉荫双狗图》(2006年中国丙戌狗金银纪念币金币面值50元，银币面值10元)等作品又多次出现在生肖纪念币上。

 刘继卣1936年(16岁)入天津市立美术馆西画系，在油画家刘凤虎的指导下系统学习素描、速写、水彩、油画，并从刘子久学

习山水画技法，从陈少梅学习山水画和人物。当时这个天津唯一的美术教育园地，设在河北中山路中山公园里。他朝朝夕夕出入其间，对于花园内的花草树木的成长、鸟兽虫鱼的生活，都深入观察，作为写生题材，从而打下了坚实的绘画基础。次年，即十八岁开始卖画生活。

武松打虎组图

1949年至1950年，刘继卣先后创作了一批享誉画坛的作品。刘继卣以他高尚的品格、精湛的画艺为祖国艺术宝库增添了宝贵财富。他长于工笔、白描和重彩，后多画写意，融中西画法于一炉。他笔下的人物、动物、花鸟、山水形神兼备，画风严谨，多为工笔与写意相结合，独具特色，在国内外享有盛誉。

美术界称他的艺术生命得到充分锻炼和发展，是在50年代以后。1950年，刘继卣从天津迁居北京，得识北京各大名家，获益非浅，艺事更为精进。

刘继卣由于探讨中国画的传统技法，养成随时观察事物的习惯。一次他带小孩逛动物园，因为集中精神观察老虎，竟将带着的小孩丢了，最后由动物园工作人员替他找到。据报载他病逝前创作了巨幅国画"双狮图"献给国家，临终前仍念念不忘"中国画要为民族文化争辉夺彩"，这位画家深厚的爱国热情是值得钦敬的。

 刘继卣总是用自己的全部精力、全部感情来对待每一部作品。记得他在创作《大闹天宫》时，真是如鱼得水，兴奋异常。《大闹天宫》是用工笔重彩画的。中国传统的工笔重彩画法，不仅要求画家有过硬的线描、造型、设色的基本功，而且非常费力。一片盔甲，一朵云彩，一撮猴毛，要先用淡墨一遍一遍的晕染，一般要染上十几遍以至更多，然后上色，这色才浓重深厚。要是直接上色，色就浮、单薄，也就俗了。一共八幅画，画了将近一年，还不算为此所作的大二的准备工作。一幅不算大的画，要画一个多月，每天从早画到天黑，看不清颜色了才止。真可说是废寝忘食，人以为苦，他却以为乐。他觉得沉浸于自己所喜爱的意境中，是一种美的享受。

1956年《闹天宫》组画由人民美术出版社出版，以年画的形式在全国大量发行，深受广大人民群众的欢迎。随后《闹天宫》组画原作八幅，由人民美术出版社转借给当时的中国美术组织机构，送到世界有关国家进行巡回展出。展览完成后，只还给刘继卣先生《闹天宫》原作八幅中的六幅，另外的第二幅第四幅原作，被告知"不 慎丢失 难以找到"。惊天动地之艺术杰作竟不能完整回归，就连后来周恩来总理调阅原作时，也只能看到六幅。刘继卣先生为此更是伤心万分。此后再出版《闹天宫》组画时，其中的第二 第四两幅，只得使用早先出版物的翻拍照片来制版。这真是天大的遗憾。

闹天宫组图

事隔几十年，奇迹却发生了!中国美术出版总社的刘延江先生，在弘扬祖国文化 组织出版连环画珍品的过程中，几经周折，从中国美术馆尘封的众多藏品中，将《闹天宫》组画丢失的第二 四两幅原作找到。立即将这两幅几十年不见天日的艺术瑰宝，进行了 拍照 制版，并借出参加了纪念人民美术出版社建社五十周年展览会，在中国美术馆展出。2003年天津杨柳青画社根据刘继卣先生《闹天宫》八幅原作出版了的4开大画册!

刘继卣为人厚道，一心画画，不黯世事，生活中大事(画画)不糊涂，小事就不免有糊涂之时。有一次，他很自信地去北京站接一位身穿绿军大衣，手提黑皮包的远方来客，结果没接着。回来说:没想到北京站有那么多穿绿大衣提黑色的人，我接谁好? 参加农村"四清"时，工作队长让他去粮库查帐，他认真地把所有的帐本翻了一遍，却没弄清要查的是什么。让老刘去查"四不清"帐，也实在是够难为他的。另一方面，他也不是一个古板乏味的人，他有很丰富的文学知识，爱好音乐，唱得一口好京剧，老生小生都行。记得在他的婚礼上，就应贺客之请，唱了一擞《罗成叫关》;他也爱在晚饭时喝那么一小盅，却从未见过他过量。他待人诚恳，不善心计，不知道什么叫吃亏，什么叫占便宜。他只要有画可画，能面他所想画的画，就什么都有了。他是一个忠厚的"书呆子"。

 主要作品还有《红楼梦》(组画)、《春光无限》、《金丝猴》、《东北虎》、《三打白骨精》、《黄巾起义》(为中国革命历史博物馆作)、《金田起义》(为南京革命历史博物馆作)等。这些作品向世界展示了新中国绘画艺术的风采，以其卓越的造型艺术在国际画坛上确立了自己的地位!也因此许多美术评论家称赞他是:"东方的伦勃朗和米盖朗基罗"。亦擅作连环画，在连环画界有"北刘(继卣)南顾(炳鑫)"之美誉。作品主要有《鸡毛信》、《东郭先生》、《生死缘》、《永不掉队》、《奇怪的旅行》等。其中《鸡毛信》荣获1953年中国保卫儿童委员会儿童作品一等奖。连环画《穷棒子扭转乾坤》、《东郭先生》1963年分别获全国连环画创作评奖绘画一等奖、二等奖。由于对连环画艺术的革新和发展所起的巨大作用，刘继卣成为中国连环画艺术一代宗师、中国现代线描连环画的奠基人之一。他的作品还被译成多国文字行销海外。 他临终前抱病创作了巨幅中国画《双狮图》，献给了全国人民代表大会。

以他的连环画创作看，有古代题材《东郭先生》、《大闹天宫》、《武松打虎》、革命历史题材《鸡毛信》、《王秀鸾》，现代题材《穷棒子扭转乾坤》、《朝阳沟》，童话题材《奇怪的旅行》、《乌鸦与狐狸》等。

作品介绍

刘继卣先生技法精湛，依据传统而不拘泥传统，融中西绘画于一体，自成一派。这种画风成为五十年代连环画界仿效的典范。刘先生由于有着深厚的绘画功力，在创作的连环画中，熟练地运用各种线描技法和绘画技巧，来表现不同时期不同题材的作品。

《水帘洞》、《武则天》采用多种线描技法融一体，以表现金鸾殿金碧辉煌，人物服饰雍容华贵(以长线，密线和细线为主)。而表现现实题材的则多采用短线、疏线、粗细结合的线条(指一组线条或一根线条不同的部分)，体现出朴实简练的绘画风格。

从《穷棒子扭转乾坤》中可以看出朴实简练的绘画及他对人体解剖掌握得如此成熟，表现得游刃有余。而在《东郭先生》中对树木的表现则采用明暗法，增强了立体感。此外他还运用了国画中不同的皴法来表现景物，使其远近关系更为明显，达到了高度的和谐与完美。

对于同题材的作品，刘先生在表现手法上也不是千篇一律。工笔画《武松打虎》在着色上明快清秀，《闹天宫》则着色艳丽、凝重，疏密有致。

刘先生秉承家学(其父刘奎龄，以擅长画鸟兽而闻名于中国画坛)，在描绘连环画中所出现的鸟兽，可谓得心应手

，技高一筹。《水帘洞》《筋斗云》中的群猴、虎、鹿、鹤;《东郭先生》中的狼、牛、驴;《鸡毛信》中的羊;《武松打虎》中的老虎。刘先生通过对动物骨骼结构、肌理驰懈、皮毛、班纹等内外形体及生理特征的描绘，展现在人们面前的鸟兽，不仅形神兼备栩栩如生，还赋予鲜明的性格，他笔下的动物不仅是现实生活中真实动物的写照，还经过画家的艺术再创造，赋予了思想感情的拟人化动物形象。

在描绘动物上，刘先生还有一手绝技--劈笔丝毛，是由其父刘奎龄独创的一种特殊绘画技法发展而来。《水帘洞》、《筋斗云》中群猴的皮毛，《闹天宫》中孙大圣的面部都采用了这种技法，表现出了细腻入微的质感，令人叫绝。 .

刘继卣先生的用笔顺逆纵横，简约潇洒，自由奔放，遒劲锋利，根据结构夸张含蓄，用墨干净，用色明亮，巧、俏、灵、动、精、妙。初学者忌甩，忌脏，忌腻，因不知所以而误入歧途。《刘奎龄》一书的作者何延喆、齐珏写道:"其子刘继卣的作品则大刀阔斧，充满张力，强调一种勃发的生命气息。"造假者照葫芦画瓢，灵动之神气难以模拟，线、墨、色皆谬以千里。

"所有古代画家，绘制走兽，最多兼擅两门。今之任伯年、虚谷、张善孖、徐悲鸿诸巨擘，亦皆以专工一两种走兽享名当代···。"而刘继卣先生涉及中国画工笔重彩、写意，人物、走兽、山水，翎毛花卉，草虫蔬果，为天下万物传神写真，画坛全才，一代天骄。

刘继卣先生融和西画造型、透视、色彩，写实与写意和谐创新是成功的。不同于徐悲鸿画马;不同于李可染画牛;不同于黄胄画驴，更不同于父亲刘奎龄，难能可贵。他伟大卓越的艺术成就，从生活中来，从创作中来。父亲的言传身教，观察生活，理解生活，大量的速写，苦辛耕耘;巅峯之作八幅组画《大闹天宫》;经典的十六幅组画《武松打虎》;家喻户晓的《鸡毛信》，《东郭先生》;以及《兔子的尾巴》;《乌鸦与狐狸》等等30余部连环画，海娃和羊，东郭和狼，亦人亦猴的孙悟空，无不生动。大量的创作，奉献心血，积累了丰富的经验，特征动态熟记于心，信笔拈花将人间万象最优美的一瞬跃然纸上，令无数世人倾倒崇拜。

独立完成的连环画作品

01《鸡毛信》243幅 大众图画 1950 (另有修改版200幅，本次天津新版198幅)

《鸡毛信》大众图画出版社1950年9月出版。50开本，内页数243页，初版发行量19万册。

《鸡毛信》(上集)1950年9月大众图画

《鸡毛信》(下集)1951年2月大众图画

02《王秀鸾》108幅 大众图画 1950年11月初版

03《复仇的火焰》28幅人民美术1951

04《永不掉队》48幅 朝花美术 1951

05《东郭先生》83幅 人民美术 1951

06《小英雄捉特务》6幅 1951 刊登在五十年代初《新观察》杂志封三

07《抱大石头的(小)孩子》11幅 人民美术 1951年10月北京(黑白，彩色两种版本)

08《心爱的小人书 》8幅 人民美术 1951年10月北京

09《生死缘》(上集133幅下集124幅) 人民美术 1952

10《曲耀离互助组抢垧播种》?幅。徐先立编、刘继卣绘1952年连环画报17期

11《不朽的国际主义战士罗盛教同志》》 幅数不详《连环画报》1952年总第22期

12《粉碎美帝国主义的细菌战》幅数不详《连环画报》1952年总23期

13《战士们被激怒了》8幅《连环画报》1952年总24期

14《长处和短处》 彩版4幅 《连环画报》1952年总第29期

15《龙虾、梭鱼和天鹅》 彩色4幅 《连环画报》1952年总第30期

16《谁能保护小家小家/白兔》彩色8幅 《连环画报》1952年总第31期

该书连环画正式版人民美术于 1954年出版名字改为《谁能保护小白兔》

17《不要冤枉小花猫》7幅 1952年(有彩色与黑白两个版本)

18《武松打虎》初稿 彩色28幅 《连环画报》1952年总第38期

此版连环画《武松打虎》28幅 大众美术社 1954年8月正式出版

19《向学习模范看齐/文化大进军》 24幅(刊登在《连环画报》1952年总第28期又名《文化大进军》)人民美术 1952年10月 定价900元

20《"马家顺在，阵地在!"--中国人民志愿军青年团员马家顺坚守文衡山的故事》6幅? 刊登在1953年《中国青年》封底?

21《生产战线上的的一对新夫妇》25幅《连环画报》1953年第4期总第42期2月16日出版

22《一个志愿军战士的未婚妻》 彩色19幅 《连环画报》1953年第6期

23《愚公移山》7幅 刊登于1953年《学文化》杂志第16本

24《游动物园》26幅的挂图式彩色连环画(1954年14期连环画报7月21日出版总第76期20幅，本次天津新版为18幅)

25《奇怪的旅行》 66幅朝花美术 1954 (有彩色与黑白两个版本)

26《列宁的故事之平常的会见》11幅上海人美 1954

27《武松打虎》 16幅人民美术 1955 (重彩)(荣获1956年第六届世界青年联欢节美术作品奖、56年莱比锡书展览会金奖、84年瑞士西耶尔第一届国际连环画节获特别荣誉奖。)

28《闹天宫》8幅人民美术 1956 (重彩)参加社会主义国家造型艺术展览获美术作品奖

29《河神娶妇/西门豹》19幅 朝花美术 1956 (彩色)(1954年第5期连环画报刊登时的名字为《西门豹》)

30《兔子的尾巴为啥这样短》26幅 朝花美术 1956年12月 (彩色)《连环画报》《兔子的尾巴》1955年6月刊17幅

31《乌鸦与狐狸》 20幅朝花美术 1956年6月 (彩色)印量52000 48开 定价一角三分

32《水帘洞》40幅 人民美术 1957月1版1次 (有彩色与黑白两个版本)

33《小鹿》8幅《连环画报》1957年第15期

34《老鼠》8幅《连环画报》1957年第15期

35《酒泉组画》4幅人民美术(彩色)《连环画报》1959年11期，正式出版于1963?

36《建明人民公社大放光辉》(组画)8幅黑白图，《连环画报》1960年第11期，此作品是否就是《穷棒子》?不详!姜维朴诗刘继卣画。像是画建明社的创作稿

37《狼来了》10幅人民美术1961(彩色)

38《剥核桃/司马光小故事》11幅 1961年 (有黑白与彩色两种版本)

39《穷棒子扭转乾坤》167幅 1963年3月1版1次 人民美术

40《筋斗云》56幅 人民美术 1963年10月 (有彩色与黑白两个版本)

41《朝阳沟》 98幅人民美术 1964年8月

42《人欢马叫》 幅数不详 人民美术 1965

43《黄巢起义》27幅 发表在1975年8期《革命接班人》上画家使用了化名

《黄巢造反孔徒丧胆》38幅

44《柳下跖怒斥孔丘》?幅(至少5幅) 工笔重彩国画(农民起义、?、笔戈相说、怒斥孔丘、民起胄溃)(对开柳下跖怒斥孔丘 .9.5 品， 75 年 7 月 1 版 1 印，对开，。刘继卣画，上海人民出版社出版，印数 165000 张， 300 元 / 张)

45《自负的虎》4幅(彩色)1981年

46《武则天故事》 18幅。天津人美 2008年刘继卣线描稿16幅和全部18幅的铅笔稿。这是大师的这部遗作首次以全貌面世，此作代表了刘继卣传统线描的最高水平。

与其他人合作的连环画作品

47《胡同(里)变了样》54幅绘画者为刘继卣、邵国寰 / 禾长人民美术 1952年1月北京初版 开本不详48开?初版发行量10000册 定价2000元

48《王国藩与建明社》61幅绘画者为刘继卣、王 角 人民美术 1958年10月1版1次

分彩色黑白两个版本

《连环画报》于1958年18期和19期分上下两期刊登46幅彩色连环画《王国藩与建明社》

49《"一厘钱"精神》费声福、刘继卣、游允常绘北京幻灯制片厂1963年9月再版;20幅;;玻璃纸质;

50《雷锋》 绘画者为刘继卣、董洪元 人民美术 1965

51《毛主席的好学生焦裕禄》76幅人美1966年3月 1版1次 绘画者为刘继卣、林锴、陈惠冠、童介眉、任率英1/60

52《紧跟毛主席,战旗扛到底--用毛泽东思想武装起来的年青指挥员王英洲》105幅

绘画者为刘继卣、 熊孔成湖北美术 1971年

53《揭投降派宋江--〈水浒〉故事选编》230幅人美1976年6月

绘画者为刘继卣,刘汉宗,任率英,李世南,陈惠冠,林锴,于学俭,刘永凯,赵隆义等,另外还有些工农兵学员.

待证实的刘继卣连环画作品

54《保护祖国的森林》10幅?15幅? 1951年

55《蒙族姑娘奇那林花》1953年 《中国青年报》待证实

56《黔驴之技》待证实

57《列宁与卫兵》?

58 《共产主义战士----赵小和》10幅幻灯片安徽幻灯制片厂 根据连环画报改编1975年11月

未发行作品

59《金箍棒》

刘继卣绘制连环画封面作品

除上面大部分作品封面外主要还有:

1程十发《何细妹》封面 1952年

2苗地《罗弄送信》封面 1955年

3北京人美冯灌父等《都江堰》封面 1955年

4北京人美林雪岩、汪玉山《岳飞义服杨再兴》封面1955年

5北京人美卢汶、张亦秋、张鹿山《老将黄忠》封面1955年7月

6朝花美术 张鹿山《苏武》封面1956年4月

7朝花美术林一鹤、梁蓉慕《探矿的人们》封面(195606版)

8何明翰《小猎人》封面1956年

9河北美术《西游记》套书张树德《龙宫借宝》封面 1958年

10北京人美《王国藩与建明社》封面1958年10月

11北京人美卢柏森《毛主席在武钢》封面1959年3月

12北京人美张令涛、胡若佛《杨家将》套书之《双龙会》(1959年16期《连环画报》封面)

13北京人美 张令涛、胡若佛《杨家将》套书之《李陵碑》封面1960年

14连环画《李龙打虎》封面?还是《李龙打鹿》封面?待考证

15北京人美《岳飞传》套书之《枪挑小梁王》封面1960年

16北京人美《岳飞传》套书之《小商河》封面1960年

17北京人美《岳飞传》套书之《风波亭》封面1960年

18北京人美《东郭先生》封面1960年

19徐余兴《王小皤起义》封面1960年

20北京人美康殷《杜甫》封面 1960年

21陈志琳《钢铁红二连》封面1960年

22北京人美《孙悟空三打白骨精》封面1964年

23北京人美《孙悟空三打白骨精》封面(与任率英合作)1973年

《连环画报》封面作品

1《城乡交流》1951年第8期《连环画报》封面1958年9月16日出版

2《双龙会》 1959年第16期《连环画报》封面

3《建明公社的早晨》(彩色)(1960年11期连环画报封面)

4《工人休养所》

插图作品

插图作品(一)(1955年以前部分)

01《石不烂赶车》(赵树理)(职工业余学校课外读物)(封插)8幅北京工人出版社1950年3月一版

02《中国青年》之《庆翻身》1幅1951年总第63期注(此幅为棒槌兄贴图《少年牧牛图》)

03《连环画报》之《韩恩互助组相应号召向全国农业劳模挑战》4幅彩色插图 刊登在总第4期 由于该期已经刊登了刘继卣的另外两部作品 所以用了化名"纪友"(与本名继卣谐音)

04《高玉宝传》(吴钧陶)太平洋出版社1952年12月初版，封面阿老图，刘继卣、陈云华插图(其中刘继卣2幅(1)"打的就是你，看你再敢不敢来偷鸡"(2)"这信是刘叔叔给你的"

05《战士与祖国》(青年读物)6幅插图 1952年1版1次(见过2幅小图)

06《传麦种》(董均伦)封插9幅 人民文学出版社1952年3月初版(部分与《金须牙牙葫芦》相同)(传麦种、半湾镰刀、猴子夫妻、蜡嘴与锡嘴、狼、浪荡鬼、潘大年、拾黄金、元宝)

07《连环画报》之《亚洲及太平洋区域和平会议》1幅总32期1952年9月16日出版

08《连环画报》之《中国代表团到了苏联》1幅总32期1952年9月16日出版

09《连环画报》之《为了和平》1幅 契尔诺夫.斯马契柯画刘继卣复描总36期1952.11.16

10《周支队大闹平川》(马烽)封插10幅 (9幅)工人出版社 1952年12月

11《大闹天宫》(文学初步读物)封面1幅加3幅水墨插图(大圣不由分说，举棒就打。)(大圣捻着诀，念声咒语，对众仙女道:"住!住!住!")(老君赶上抓一把，被他一捽，捽了个倒栽葱。)1953年出版 人民文学出版社

12《周铁汉》(徐光耀)(文学初步读物)4幅插图1953年3月出版 人民文学出版社

13《连环画报》《歌唱新中国的妇女》1幅1953年第5期3月6日出版(画的是鲁大妈、金秀兰、蓝陈香、申纪兰、郝建秀、赵桂兰、李兰丁、解秀梅、郭俊卿9人及妇女群像)

14《生活小故事》第二辑(文雄等)插图新观察丛书1953 阿老等图，见到刘继卣3幅插图

15《连环画报》《拥护中华人民共和国证宪法草案》1幅1954年总14期

16《真正的爱情》(新故事)通俗读物出版社 多人刘继卣1幅(同封面)1954年7月

17《武松打虎》 4幅(白描) 通俗读物出版社 1954年9月1版1次

18《青年英雄的故事》刘继卣绘制了《刘胡兰》部分2幅插图(我死也不屈服)(这样的一双军鞋怎么有脸送给八路军呢) 1954年6月 中国青年出版社

19《金须牙牙葫芦》(董均伦、江源)1幅彩色封面14幅白描插图 1955年5月天津通俗出版

社

20《狼军师》(苏东)封插 1955年一版一次刘继卣、舒华精美插图7幅群益堂出版

其中刘继卣插图1幅为中山狼

21《老山界》1幅 初级中学课本 文学第一册1955年5月1版

22《平常的人》1幅(提到旁人，也不必我问，那战士话多了起来) 初级中学课本文学第一册1955年版

23《民间文学》之《七兄弟》1幅1955年9月号

24《民间文学》之《骡马店里的故事》1幅1955年9月号

25《民间文学》之《兔子报仇》1幅1955年10月号

26《民间文学》之《"咕咚"》1幅1955年10月号

27《民间文学》之《猫头鹰和乌鸦》1幅1955年10月号

28《民间文学》之《狐狸为王》1幅1955年10月号

29《民间文学》之《王老汉砍柴》1幅1955年11月号(经证实)

30《民间文学》之《嘴会转》1幅1955年11月号(经证实)

31《民间文学》之《千里蹦》1幅1955年12月号(经证实)

32《民间文学》之《书呆子》1幅1955年12月号(经证实)

33《鲁智深》(文学初步读物)封插4幅 1955年9月出版 通俗读物出版社

34《野火烧不尽》(张联方、王愿坚、高朗亭)封插 4幅+1幅彩色封面 工人出版社1955年11月北京

刘继卣插图(二)1956-1960年部分

01《光荣的岗位》1956年3月一版，中国青年出版社，(森林里的大夫、让荒山开遍花朵、打虎英雄)刘继卣插图三幅。(全书插图5幅，还有沙兵，刘勃舒各一图。)

02《黑旋风李逵》(文学初步读物)封插 6幅1956年2月 通俗读物出版社

03《我的两家房东》(康濯)(文学初步读物)5幅刘继卣、毓继明1956年2月出版 通俗读物出版社 未标注清楚作者，看着像刘继卣3幅，毓继明2幅

04《我爱劳动了》(谢冰心)封插15幅?1956

05《民间文学》之《阿凡提的故事》之《老天实在有眼》1956年1月号(经证实)

06《民间文学》之《阿凡提的故事》之《以脸救馕》1956年1月号(经证实)

07《民间文学》之《阿凡提的故事》之《鸟语》1956年1月号(经证实)

08《民间文学》之《三个根加的故事》1幅(四川藏族民间故事)1956年2月号(经证实)

09《民间文学》之《骗亲的货郎》1幅(四川藏族民间故事)1956年2月号(经证实)

10《中国青年》故事新编《尊重人才的燕昭王》插图1幅 刊登于1956年第3期(经证实)11《民间文学》之《鲁班故事十一篇》之《赵州桥》1幅1956年4月号(经证实)

12《民间文学》之《借龙宫》1幅1956年4月号(经证实)

13《民间文学》之《蝈蝈笼子》1幅1956年4月号(经证实)

14《民间文学》之《橄榄湖》1幅1956年4月号(经证实)

15《民间文学》之《兔子的尾巴》1幅1956年5月号(经证实)

16《民间文学》之《猎人海力布》1幅1956年6月号(经证实)

17《中国青年》故事新编《月光下的少年》1幅刊登于1956年第6期(经证实)

18《中国青年》故事新编《纸上谈兵》1幅刊登于1956年第8期(经证实)

19《中国青年》故事新编《夸父追日》1幅刊登于1956年第9期(经证实)

20《岳飞枪挑小梁王》(岳大爷把枪一起，把个梁王，头望下，脚朝天，挑于马下。)初级中学课本 文学第一册1956年版

21《社戏》(鲁迅)(母亲送出来吩咐要小心的时候，我们已经点开船，在桥石上一磕，退后几尺，即又上前出了桥)初级中学课本 文学第一册1956年版

22《解珍解宝》(当时顾大嫂手起，早戳翻了三五个小卒子，一齐发喊，从牢里打将出来)

初级中学文学课本第三册1956年9月

23《柳毅传》(李朝威唐人传奇)(子何苦而自辱如是)高级中学文学课本第二册1956年9月

24《赤壁之战》(今将军诚能命猛将统兵数万，与豫州协规同力，破操军必矣)高级中学文学课本第二册1956年9月

25《民间文学》《红色勇士谷诺干》(蒙古民间故事诗)插图2幅1956年三月号

26《民间文学》《三根金头发》插图3幅1956年七月号

27《民间文学》之《山东长白山区的传说》5幅(农民起义军首领王薄的传说、禹王爷担了九十担石头变成了九节长白山、苇花照山开牵不出金牛来、姑娘花好看怕人不下来、长白山仙女扎裙子，庄家地里撒银子)《民间文学》1956年八月号

28《美丽的牵牛花》6幅 彩色插图 50年代一本外文儿童读物上的。(只见过2幅)

29《虎口救小孩》6幅 《中国妇女》1956年第9号

30《三件宝器》(董均伦、江源)中国少儿 1956年12月(最新出版的天津全集为13幅)

31《民间文学》之《藏王的求婚使者》1幅1957年1月号(经证实)

32《民间文学》之《金瓶和猴子》1幅1957年1月号(经证实)

33《林冲发配》(但有歹心，教你头也与这树一般)高中文学课本第三册1957年7月

34《大闹天宫》(…打退了哪吒太子，战败了五个天王)高中文学第三册1957年7月

35《严贡生和严监生》(严监生……把手从被单里拿出来，伸出两个指头)高中文学第三册 1957年7月

36《平原烈火节选》1幅(姓郭的，闭上你的臭嘴吧)初级中学课本文学第一册1957版

37《孟姜女》插图3幅 刊登于《中国民间故事选》第一集外文出版社1957年11月

38《中山狼》戏曲故事 封插5幅 作家出版社 1958年1版一次刘继卣(看封面图为东郭先生内页)

39《喜鹊登枝》(浩然短篇集)之《一匹瘦红马》作家出版社58年5月初版刘继卣插图

40《中国民间故事集》作家出版社1959年一版一次精装本，封面设计张光宇，刘继卣3幅插图《猎人传》、《英雄艾里·库尔班(维吾尔族)》、《宝筒》(黎族)张光宇3幅插图。

另外还有另一个版本《中国民间故事选》(一)人民文学1959年1月北京

41《民间文学》中《鲁班故事》之《鲁班学艺》2幅 《桌子的故事》1幅1959年4月号

42《阿凡提的故事》幅数不详，出现过2幅 作家出版社1959年8月初版北京

43《民间文学》"老根据地的革命传说故事"之红军帽-湖南革命传说故事1幅1959年3月号

44《民间文学》"老根据地的革命传说故事"之红旗的故事-广西侗族自治区革命传说故事1幅1959年3月号

45《民间文学》中《捻军的传说故事》(《二老渊》1幅《老乐拒捕》1幅《鲁王与小黄马》(此幅与人民文学1960年7月号《任化邦》实际是同稿，只不过右倾斜了N角度)1幅

46《武则天》(郭沫若)插图2幅刊登在《人民文学》 1960年5月号

47《人民文学》《任化邦》1幅刊登在1960年7月号(经证实)

刘继卣插图(三)1961年以后部分

01《人民文学》《打猎》题图白描画1幅 1961年第10期

02《人民文学》《胆剑篇》插图4幅.刊登在1961年7-8月合刊中

03《人民文学》《动物的画像》插图2幅(骆驼、犀牛)刊登在1961年7-8月合刊中

04《人民文学》陈翔鹤《陶渊明写〈挽歌〉》插图2幅刊登在1961年11月号

05《人民文学》《打狼》插图2幅刊登在1961年11月号

06《鸡毛信》封插6幅 1960年1版3次 内页为连环画中的选页(封面为彩色重新绘制) 文字改革出版社(《鸡毛信》插图8幅?1961?)

07《说不完的故事》(王尧)封插 (出现过4幅)1962

08《东郭先生》插图1幅北京市初级小学试用课本语文第8册1962年1月

09《春秋故事》(林汉达)封插26幅(白描)+1幅封面(彩图)=27幅 少年儿童 1962 .

10《战国故事》(林汉达)封插32幅(白描)+ 1幅封面(彩图)=33幅 (白描)少年儿童

1962年

11《三顾茅庐》(玄德……到庄前下马，叩门问童子曰:先生今日在庄否)初中文学第四册

12《胆剑篇》(曹禺、梅阡、于是之)封面画 中国戏剧出版社 1962年10月北京

13 《秦汉农民战争史》之《黄巾起义战争图》 1幅 三联出版社1962 主要插图三幅:另外两幅是:陈胜吴广起义图-刘旦宅;赤眉起义军战争图-刘凌沧

14《民间文学》之《老李种地》五大莲池传说民间文学1963年5期

15《民间文学》之《贤惠姑娘》1963年第6期(经证实)

16《月芽儿初上》(茹志鹃)插图1963儿童文学第一期(出现过2幅)

17《进城》2幅1963儿童文学第一期

18《三代人的脚印》( 多人插图，其中刘大师两幅-借了地主十五串钱以后。)1963年9月中国青年出版社 19《小山子的故事》(杨啸)15幅封插(彩版和白描)1964年1月 中国少儿

20《荷花满淀》(杨啸)25幅 中国少年儿童出版社1964年4月一版一次。(白描)1964(最新出版的天津全集为22幅缺2幅捉鬼其中16幅原插图分为2幅故天津实为23幅)

21《岳云》(马少波)(儿童话剧剧本)封面岳云画像 中国戏剧出版社 1964年5月北京

22《永远不忘阶级和阶级斗争》(邵宇)插图2幅 1965年(未经证实)

23《敢叫日月换新天》(沈群)封插(农村组画)刘继卣插图3幅("一把土""一条扁担""还有1幅不详" 1966年1月一版一次人民美术出版社"一把土""一条扁担"另有彩版)

24《〈李自成〉人物图咏》插图4幅 (出现过李自成、刘宗敏、牛金星、高夫人或红娘子)4幅 1978年

25《中国古代著名哲学家评传》刘继卣插图4幅?(郭象画像、郭象注《庄子》、桓谭像、痛斥图识出现过4幅)刘继卣插图在第2卷即汉朝卷 齐鲁书社1980年9月出版

26《故事新编》之《女娲》1幅(经证实)

27小学课本算数 第一册封面(经证实)

28小学课本算术 第四册封面(经证实)

29《姑娘提篮乡间走》(此幅为棒槌兄贴图出处不详，题目为虎威自拟)

刘继卣插图(四)有待进一步证实部分

01《儿童歌曲故事舞蹈》彩色插图6幅1959(未经证实)

02《在和平的海岸上》(前苏联)人民出版社《新观察》第8期插图?幅

03刘继卣绘肖像画1幅 陈岩:宝古斋经理。

04刘继卣绘肖像画1幅 王积玉 辽宁收藏家，可能是刘弟子

05《团指挥员》(雪畴)插图1幅 1980年(未经证实)

国画及其它作品

画作:

纸本《水浒人物》《三国人物》《人物肖像》《西湖风景》《四大天王》《不动神》、绢本《钟馗》《天兵降鬼图》《八骏图》《孔雀开屏》、工笔重彩《福禄寿三星图》《牧马图》《洗马图》《套马图》《西施浣纱》《贵妃出浴》、石雕《朱元璋》《如来佛》、泥塑《张骞出使》。32油画《春耕/耕地》、

1939年《天灾图》、

1942年《芦雁》。

1950年新年画《生产计划》。木刻水印图轴《熊猫》

1951年油画《农民欢迎新四军北上抗日》。

1952年宣传画《响应祖国的号召，坚决消灭美国侵略者的细菌战》

1952年《中华人民共和国代表团到了苏联》(2幅白描图刊登于总32期连环画报1952年)

1954年画《毛主席和农民》(素描《毛主席肖像》?)转战南北(组画)、挂图《拥护中华人民共和国宪法草案》。

1955年素描《王积玉造像》。《李白吟诗》(为四川省江油李白纪念馆作中国画)(82《花间独酌图》)。 1957年画《三战吕布》《农夫和运草马车》。

1958年《金田起义》(为南京革命历史博物馆作)

(61沪教版年画，《金田起义》《太平天国》)。父子白描小动物画

1959年画《剑术》、《农村大跃进壁画》

1960年手书对联轴"威展雄图千山远，喧啸声徊万谷鸣"。

1961年画《草原春暖》、《三猴图》

1962年《黄巾起义》(为中国革命历史博物馆作)插图《黄巾起义军战争图》。动物条屏，《立马当阳》(国画)。

1963年组画《红楼梦》。《武则天》白描组画。幻灯片《"一厘钱"精神》。

1964年《梁山排座位/三打祝家庄》。

1968年《新京剧红灯记》1968年2月2日于北京

《芭蕾舞剧白毛女》。

1971年《红色娘子军》。

1972年《驯鹿》。《草原之歌》2种。《虎》，《狮》

1973年《郑成功收复台湾》(此画遗失)(为人民大会堂台湾厅创作纸本工笔重彩)屏风《群鹿图/新茸》。四条屏《动物》。

1974年《老虎衔鹦图》、《天神》。小品《鹿鸣》《淡雅》。

1975年《农民起义》《柳下跖怒斥孔丘》年画。

1976年纸本素描写生200余幅。《木兰从军》

1977年纸本《春》、《三打白骨精》1977年春于首都(横版)(有横竖两个版本)、《女牧民》。

1978年《无限春光》(《春光无限》?)《木兰跃马》(国画)。

1979年琉璃厂宝古斋经理陈岩像

1980国画《蒲松龄》。《仕女》。

1982《声威震大千》、《双狮图》巨幅中国画(为全国人民代表大会作)

《驯鹿》、《虎赞》(26幅老虎画)

《曹雪芹像》(国画)

《击鼓战金山》(国画)

《金丝猴》被中国邮票公司采用为纪念邮票发行，1980年同获全国最佳邮票奖。

《东北虎》被中国邮票公司采用为纪念邮票发行，1980年同获全国最佳邮票奖。

《关公显圣》(年画)

《夏日》(国画)

《李白行吟图》(国画)

草原春暖(国画)

青梅在奚(国画)

《诸葛亮》

《牧鹅少女》

附录:刘继卣艺术年表

1918年

10月3日，刘继卣出生于天津市南郊土城村，祖籍浙江省绍兴市。

1921年

3岁，受其父著名画家刘奎龄指教开始习画。

1924年

6岁，入私塾学习书法，并临摹《芥子园画谱》。

1925年

7岁，随父出游江南，会见日本画家横山大观，同行写生。

1926年

8岁，学习工笔重彩画，临摹家藏西方油画。

1928年

10岁，在私塾学习诗词。

创作纸本中国画《水浒人物》、《三国演义人物》。

1929年

11岁，由天津画店定题绘制商品画。

创作中国画《人物肖像》、《西湖风景》，绢本工笔重彩《牧马图》、《福禄寿三星图》。

1930年

12岁，入天津市立中学读书。

随父结识爱新觉罗·溥仪、溥杰兄弟、画家溥儒。

1932年

14岁，替父代笔作画。

创作绢本工笔重彩《洗马图》、《套马图》，油画《耕地》等。

1933年

15岁，随父赴北平会见画家张善子、张大千兄弟。

1934年

16岁，在天津，结识画家刘子久，并请教山水画技法。

1936年

18岁，入天津市立美术馆西洋画科。学习素描、油画、雕塑。

创作绢本工笔重彩《西施浣纱》、《贵妃出浴》。

1937年

19岁，创作石雕《朱元璋》、《如来佛》，泥塑《张骞出使》。

1938年

20岁，参加天津学生运动，慰问抗日战士。

创作工笔重彩《四大天王》、《不动神》。

1939年

21岁，天津发洪水，学校停课。创作中国画《天灾图》多幅。

1940年

22岁，因画《天灾图》讽刺日伪而入狱。

1945年

27岁，于天津私立天申中学任教，创作中国画《八骏图》、《天兵降鬼图》、《孔雀开屏》、《钟馗》。

1947年

29岁，在天津举办个人画展。

1949年

31岁，会见蔡若虹，受命调往北京。

创作纸本水墨画《双鹰》。

1950年

32岁，在北京人民美术出版社任美术编辑。

创作连环画《鸡毛信》，由人民美术出版社出版。

1951年

33岁，赴四川省绵阳参加"土改"工作。

创作连环画《东郭先生》，由人民美术出版社出版。

1953年

35岁，与裴立女士结婚。

被选为中国新民主主义青年团第二次全国代表大会代表，第二次全国文学艺术工作者大会代表。

1954年

36岁，11月赴天津，与父亲一起受到毛泽东主席接见。

连环画作品《鸡毛信》获中国人民保卫儿童委员会奖。

创作工笔重彩组画《武松打虎》，由人民美术出版社出版，创作纸本素描《毛主席肖像》。

1955年

37岁，组画《武松打虎》(16幅)完成，参加第五届世界青年联欢节美术展览，获三等奖。连环画《东郭先生》获全国连环画一等奖。

创作工笔重彩组画《闹天宫》(8幅)由人民美术出版社出版。为四川省江油李白纪念馆作中国画《李白吟诗》。

1957年

39岁，参加中国美术家代表团(团长为傅抱石)出访苏联、捷克斯洛伐克等东欧各国。

1958年

40岁，赴河北省遵化县参加农业劳动，深入生活，收集素材。

1959年

41岁，为中国历史博物馆创作中国画《金田起义》。

1960年

42岁，参加第三次全国文学艺术工作者代表大会。

1961年

43岁，参加纪念曹雪芹诞辰200周年的创作活动，作工笔重彩作品《红楼梦》组画6幅。

1963年

45岁，创作白描组画《武则天》(16幅)后，郭沫若创作话剧《武则天》剧本，三人曾就武则天人物造型进行深入切磋。

1964年

46岁，赴吉林省农村参加"四清"工作。

创作工笔重彩《三打祝家庄》。

1966年

48岁，"文化大革命"开始，停止美术创作活动。

1970年

53岁，赴湖北咸宁文化部"五七干校"参加劳动。

1972年

54岁，奉国务院命调回北京，为国宾馆进行中国画创作，创作中国画《驯鹿》等多幅。

1973年

54岁，为人民大会堂台湾厅创作纸本工笔重彩《郑成功收复台湾》(此画遗失)

1974年

56岁，参加北京饭店中国画研究组的创作活动。

创作纸本中国画《猛虎衔鹦图》。

1975年

57岁，因创作所谓"黑画"承受批判。

1976年

58岁，赴河北石家庄国务院"五七干校"劳动，作纸本素描写生200余幅。

1977年

59岁，创作纸本中国画《春》、《三打白骨精》，庆祝"四人帮"垮台。

所绘《动物画资料》由人民美术出版社出版。

1978年

60岁，中国科学教育电影制片厂为刘继卣等拍摄专题片《中国花鸟画》。

《刘继卣写生展》在北京举办。

1979年

61岁，参加第四届全国文学艺术工作者代表大会，当选中国美术家协会理事。

出任工笔重彩画会副会长，花鸟画会副会长，中国画研究会顾问。中国邮票发行总公司为其中国画作品《东北虎》发行邮票。

在北京举办个人画展。

中国新闻电影制片厂为其拍摄专题片《三代画家》。

1980年

62岁，为山东省淄博蒲松龄纪念馆作中国画《蒲松龄》。

1981年

63岁，荣宝斋出版刘继卣《动物画谱》，山东美术出版社出版《刘继卣画集》、《刘继卣人物画选集》。

1982年

64岁，在黑龙江省举办《刘继卣作品展》。

为安徽省景阳岗树碑创作白描人物《武松打虎》。

为中国人民银行造币公司设计狗图金币。

创作巨幅中国画《双狮图》。

1983年

65岁，赴黄山、北戴河、长白山写生。

因病入北京三零一医院治疗。

11月5日逝世。

1984年

3月5日，刘继卣追悼会在中国人民政治协商会议礼堂隆重举行。

一九八三年刘继卣先生与夫人裴立在宅院中

一九八三年刘继卣先生与夫人裴立在宅院中

刘继卣先生的典范意义

在中国现代连环画史上，画家刘继卣先生应该是德高望重、没有争议的典范人物。他存在的意义，不仅在他的生前，也在他的身后。刘先生是1983年去世的，享年65岁。他在世时，并没有大红大紫过，或者说，他多的是大红大紫的机会。但他和一些画家一样，习惯于默默劳作，偏偏不善于包装宣传，去追求所谓的"价值"和"效应"，因而，他存在的可贵，在于他活在亿万读者的心里，也正因为如此，他才具有了典范的意义。刘先生辞世虽已经二十多年，但谈到连环画和国画，无论老读者还是青年读者，有谁对刘继卣先生不推崇备至?

刘继卣先生的典范意义，首先在于他与时代俱进的前进意识和革命热情。刘继卣先生1918年出生于天津一个丹青世家，其父刘奎龄，当时已是沽上以画飞禽、鸟兽、花卉、树木知名的画家，受父亲的影响和教诲，刘继卣先生很早就掌握了中国花草禽鸟动物画法。与前辈不同的是，在掌握传统画法的同时，他在18岁就进入天津市立美术馆，从刘子久先生学山水，从刘风虎学素描、水彩，用功学习和研究了西洋美术技法，并竭力将其与中国传统美术结合起来，使他的作品既有中国画的构图用笔和意趣，又有西洋画的透视光影和解剖依据，丰富了作品的表现力，扩展题材范围，为以后的连环画创作奠定了坚实的基础。自1937年起，他已经开业卖画，举办个人画展，在天津也跻身于名家之列了。如果按这条路走下去，成大气候，成名画家，也是可以预期的事，但刘继卣先生在此之外，却选择了一条陌生的路。

1949年，新中国成立了。1950年，中共中央发出普及文化、改造旧连环画的号召。其时，北京以至于北方，从事连环画创作的画家历来不多，远无上海连环画大本营的雄厚实力和巨大影响，解放区来的画家也缺乏这方面的经验。但北京作为新中国的首都，必须负起引领新时代文化大潮的责任。蔡若虹先生在此时受命组建大众图画出版社。蔡若虹先生是来自解放区的资深的漫画家和文艺理论家，能文能画，又慧眼识人。刘继卣先生应蔡若虹之邀，毅然告别卖画生涯，加入了"大众"，目的很明确，创作出全新内容全新形式的新时代连环画，去占领和改造旧连环画市场，把革命思想普及到广大群众中去。

连环画历来是难登大雅之堂，这其中当然社会偏见的因素，同时也与"连坛"本身在历史中形成的诸多积弊有关。连环画"小人书"与传统国画相比，在相当多的人眼里，是形若霄让，刘继卣先生对创作体式做大转型是需要大决心、大勇气的。至于刘继卣先生当时的想法是什么，他没有留下文字资料。虽然当时还没有"一切听从党安排"、"到祖国最需要的地方去，以及"党的需要就是我的自愿"之类的口号，虽然刘继卣先生不是出于生计的考虑，但我们只要就事论事，就不能不感受到他对新中国的热情，对普及大众文化的热情。这在当时是很难的事，是具有典范意义的。

对于刘继卣先生执着于普及形式的连环画创作，也有人以为是牛刀杀鸡，是才情的浪费，这样的说法也可以理解，以刘先生的国画功底而论，他的发展道路是宽广的，但刘先生对连环画情有独钟，坚持不懈几十年，以画风精细。笔致流畅。色彩丰富、构图别致广受赞誉。长期以来，连环画界有"南顾北刘"之说，这赞誉代表了"连坛"的一个时代高度和一段闪光的历史。他的画，影响了一大批后来者，至今为人称道和怀念。刘继卣先生是名至实归的:他画的《鸡毛信》曾获1955年中国保卫儿童委员会儿童作品一等奖，《武松打虎》1956年获得第五届世界青年联欢节美术奖;1957年组画《闹天宫》入选社会主义国家造型艺术展览;《穷棒子扭乾坤》曾于1963年获第一届全国连环画评奖一等奖。获奖是一方面，更重要的是刘继卣先生以自己以及更多连环画艺术的同志的成就，在20世纪50年代初期就把新的连环画艺术推上了艺术的殿堂。王朝闻先生在《<王秀鸾>的一个形象》一文中就评赞了王秀鸾"这造型十分真实，十分生动，十分深刻"，它的成功，使一些轻视连环画普及性工作的人在《王秀鸾》这种优秀的造型之前，至少应该部分地打消连环画是低级艺术的成见。刘继卣先生的绘画艺术，在现代连环画史上，显然具有典型意义。

在刘继卣先生身上，在他几十年的连环画创作生涯中，也时时体现出老一代艺术家"砚田耕牛"般的务实和谦虚精神，勤恳劳作，不尚喧嚣，不羡虚荣，有人说，刘先生是不去关心政治的，所以除了"文革"，此前虽然政治运动频仍，但刘先生似乎置身事外，保其无虞，而艺术是他生活中的惟一追求，他可以为作画，去僻远的山野荒村观察写生，并不以为苦，他可以一张画画一个多月，废寝忘餐，力求尽美，后一点是自然的，那是真正的艺术家的生命，精神的寄托，而前者的看法，却失之绝对，没有政治热情的画家怎能画出那么多的作品，活现那么多的人物如王秀鸾，海娃，王国藩，还有虽是古典人物，身上却映照出足令今人警醒并受到启示的无论是历史人物抑或是神话人物?没有清醒的政治意识和激情，这绝然是不行的。

刘继卣先生的为人低调倒是真的。他为人宽厚，与人无争，待人以诚，不善心计，只以创作为生命的全部。据他的学生回忆，刘先生不以艺术为己物，在课堂上下记永远是一个和蔼无私，严格认真的好老师。他虽然是旧时代画坛上的过来者，但他没有沾染任何旧画师"保守"、"绝技"、"窍门儿""秘不示人"的习气。问及刘先生享有盛誉的动物画制作中的用墨如何"黑极而绒"，虎的皮毛如何"薄中见厚，有珠光宝色"，等等，他总是和盘托出，与学生和同志共享。他也很少为文，很少大谈他的创作经验，他似乎仅以身教为本分，因而，要想找到他写的这类文章，很难，也没有人在刘先生生前好好总结他的创作经验，这时常让我们慨叹不已，前些时候，笔者为写此文，在旧藏中意外发现四十多年前的一幅剪报，正是刘先生署名的创作谈，不禁大喜，从文章看，应该不是刘先生专门为刊物所写，很可能是别人记录的刘先生自述。文章没有涉及什么理论问题，只谈创作技法和创作过程，谈得具体详实，朴实无华，使人遥想刘先生讲述时的神采，并深受启发。

几十年来，中国现代连环画在不断前进的过程中，高潮迭起，成就宏富，正是因为有一大批如刘继卣先生这样的领军画家的开辟草莱和不懈努力。当我们在总结历史经验，为使连环画在新的历史时期再创辉煌、再度崛起的时候，总结以刘继卣先生为代表的老一代连环画家的创作思想和创作历程，回顾他们的作为杰出画家的思想、精神和人格，以及历史功迹和突出贡献，不仅仅在于他是"和我们的文艺有一段因缘的人，我们是要纪念的"，更是因为他们作为"连坛"杰出的画家，在今天仍具有并未因时移世易而过时的典范意义。

刘继卣连环画艺术特征

首先是善于塑造北方农村人物形象。在刘继卣为数众多的连环画作品中，他以华北农村为主要的生活基地，塑造了众多不同阶级、年龄、性别、身份的北方典型人物形象，如《鸡毛信》中的海娃、《穷棒子扭转乾坤》中的农村干部、《东郭先生》中的东郭先生，都具有北方人民质朴、憨厚、单纯、执著的性格特征，正是对于这些北方人物的成功塑造使刘继卣的连环画作品充满了真实生动的感染力。

其次，干涩遒劲的线形特征。刘继卣在连环画具体绘制技法主要运用的是传统线描画法(主要是铁线描和兰叶描)，他常常用简练的线条来勾画出复杂的形象。他的线质很有特色，用焦墨干笔勾勒，给人以干涩劲挺的视觉感受，有别于上海连坛名家流丽、润泽的线性，也有别于其他北方名家过于传统的线描方式(这种传统线描画风是吴门画派与宫廷派的结合)，干涩浓重的线描效果配合了北方人物质朴、憨厚的形象特征。同样流丽润泽的线描则更适合表现南方人聪慧、灵秀的气质表现。传统线描形式因其程式化、概念化的局限只适合于表现传统图式，对于现实生活的表现却并不适合，例如用清代改七芗、费丹旭的仕女描法用来表现现代劳动妇女就不适合了。

刘继卣画连环画的速度很快，一天能绘制近十张画稿。他的用笔熟练流畅，但笔下线条却给人以干涩之感，这种线形特制在同时代连环画家中极为少见，是画家本人绘画功力和北方环境特点相结合的产物。

第三、强调动物在画面中的地位。动物画本就是刘继卣的家学，擅长塑造动物形象是刘继卣连环画的另一个重要成功因素。刘继卣连环画中对于动物的描绘，除了外形的逼真、生动外，更着意从故事情节出发，结合动物自身特点，赋予动物以拟人化的性格和比拟人世的社会属性，使动物也能表达出人的情感，充满人性化的意味。画家有意识地提升动物在作品的地位，着重刻画故事情节中的人、兽互动关系，使动物不再仅仅作为人物的陪衬。这个特色在《东郭先生》中的中山狼、《武松打虎》中的猛虎、《大闹天宫》中的孙悟空身上表现得尤为明显。

因而刘继卣笔下的动物，不仅是现实生活中真实动物的再现，更是经过画家艺术创造赋予了思想感情的动物形象，体现了"源于生活、高于生活"的艺术创作法则。画中的动物形象与故事中人物的典型性相结合，深化了作品的思想主题。

晚年的刘继卣多以小写意画风面世，主攻走兽、人物两科，以崭新鲜明的面目确立了在现代中国画坛上的一席之地。刘继卣的写意动物画强调以笔墨造型，所作形象真实生动，构图主次分明，用笔快疾奔放，多用侧锋，注意笔触效果，用笔飞动如"风樯阵马"，具有"笔所未到气已吞"的大气魄，节奏感很强，充满了生机和张力，视觉冲击力强烈，不求精雕细刻却能给人以细腻逼真之感，设色明快浑厚，有丰富的层次感，是对其父画风的进一步开拓和发展的。

刘继卣是近代中国画坛上一位继往开来的艺术大师。他的卓越成就不仅表现在他高超的艺术造诣和深邃的文化底蕴，同时也表现在令人敬佩的创新精神上。他不仅继承了刘奎龄的绘画风格，还把这种风格做了全面的创新与发展。刘继卣的绘画功力相当深厚，在整个中国绘画史上有这样功力的画家并不多。

 Liu Jibo, a descendant of Liu Jia in Tucheng, one of the eight greatest painters in Tianjin, was influenced by Liu Kuiling, a famous painter of his father. He loved painting very much. In 1936, Liu Jibo entered the Western Painting Department of Tianjin Municipal Art Museum. Under the guidance of Liu Fenghu, an oil painter, he studied sketch, sketch, watercolor and oil painting systematically. He also learned landscape painting techniques from Liu Zijiu for a long time. Chen Shaomei studies landscape paintings and characters. The next year, he started to sell paintings. In 1947, a personal painting exhibition was held at Yongan Hotel in Tianjin. It was well known in Tianjin and Beijing and attracted worldwide attention. After 1949, he worked in the Art Bureau of the Ministry of Culture of the People's Republic of China. In 1950, he transferred the People's Fine Arts Publishing House as a creator and moved to Beijing from Tianjin. He gained a good knowledge of Beijing's famous artists, and gained a lot from it. He has successively created a number of well-known works in the painting world. Especially in the early 1950s, the comic book Chicken feather Letter was published, with ingenious composition, vividly depicting the heroic story of the calf-herding doll. As soon as the comic book was published, it immediately stirred up the art circle and boosted Liu Jishao's reputation. In 1957, he visited Czechoslovakia with a delegation of Chinese artists. Publish a variety of personal picture albums. Liu Jishan's paintings of ladies, flowers, birds and animals are mostly based on the combination of Meticulous Brushwork and freehand brushwork. On the basis of their brilliant and accurate shapes, they are extraordinarily dignified, bold, unrestrained and vivid. His works permeate the mood of Western paintings into the artistic conception of Chinese paintings, but show no trace, forming their own unique style. His artistic achievements attracted the attention of the art circles at that time. Since then, he has participated in many paintings exhibitions at home and abroad, and has been praised repeatedly. In particular, five of the 128 modern volumes of Rongbao Zhai Painting Spectrum published by Rongbao Zhai are Liu Jishao's (the third animal part of Liu Jishao,

Volume 25, Flowers, Birds, Fungi and Insects, Volume 54, Characters of Liu Jimu, Volume 55, Lions, Tigers, Leopards and Leopards of Liu Jimu, Volume 128. In addition, only Mr. Qi Baishi has the honor of five volumes, which shows that his accomplishments are extraordinary. In 1954, Chairman Mao Zedong received Liu Kuiling and Liu Jishao's father and son in Tianjin. When he exhibited Jishao's works, he praised them very much: "Bogutong today, Liu's talent!"

Liu Jishao was a director of China Artists Association, vice president of Beijing Fine Brushwork Figure Painting Research Association and vice president of Beijing Flower and Bird Painting Research Association. Characters, animals, flowers and birds, etc. are both good at writing and writing. His works include the group painting Wusong Dahu, which won the Fine Arts Award of the Sixth World Youth Festival in 1956, the Gold Award of the Leipzig Book Exhibition in 1956, and the Special Honour Award of the First International Comic Festival in Siyer, Switzerland, in 1984. The group painting "The Heavenly Palace" participated in the plastic arts exhibition of socialist countries and won the prize for fine arts. It was praised as "the classic of Chinese painting in the century" by art critics. The traditional Chinese paintings "Golden Monkey" and "Northeast Tiger" were adopted by China Stamp Company to issue commemorative stamps, and won the National Best Stamp Award in 1980. In 1982, Liu Jimao specially drew up the "Literary Dog Picture" (8g Golden Dog face value 200 yuan) for the release of "Commemorative Coin of Chinese Renxu (Dog) Year Zodiac". This simple composition not only accurately depicts the physiological characteristics of the erect dog, but also shows its spirituality and vigorous vitality, moving in the quiet, very vivid, and is one of Mr. Li's masterpieces in his later years. Because its paintings are specially designed to commemorate the issuance of coins, the coin is also respected as the set of coins, the original painting and coins are the most perfect combination of a coin, the same concise and lively artistic tone, will interpret the charm one by one. Its commemorative silver coin won the "Best Silver Coin" award in 1984, which was co-sponsored by Claus Publishing House and World Monetary News. It won a very high international honor and greatly promoted the status of Chinese coins in the International Coin market. Later, his "Double Rabbit Pictures" (1987 Chinese Zodiac - 8 grams of gold coins with a face value of 150 yuan, 5 ounces of Ding Mao Rabbit Silver coins, with a face value of 50 yuan), Monkey Pictures (1992 Chinese Zodiac gold with a face value of 100 yuan), Cows (1997 Chinese Zodiac - 12 ounces of gold bulls with a face value of 1000 yuan), Double Niu Pictures, Banana Yin Shuangguo Picture (in 2006, the gold and silver commemorative coins of Chinese C-Pi dog were worth 50 yuan and the silver coins were worth 10 yuan) and other works appeared on the commemorative coins of the zodiac.

Liu Jimu entered the Western Painting Department of Tianjin Municipal Art Museum in 1936 (aged 16). Under the guidance of oil painter Liu Fenghu, he studied sketch, sketch, watercolor and oil painting systematically and learned from Liu Zijiu.

Learn landscape painting techniques and learn landscape painting and characters from Chen Shaomei. At that time, the only art education park in Tianjin was located in Zhongshan Park, Zhongshan Road, Hebei Province. He went in and out of the garden day and night, observing the growth of flowers, plants, trees and the life of birds, animals, insects and fish in depth, as a sketch theme, thus laying a solid foundation for painting. The next year, at the age of eighteen, he began to sell paintings.

Wusong Dahu Group Map

From 1949 to 1950, Liu Jishao successively created a number of well-known works in the painting world. Liu Jishao added valuable wealth to the treasure house of Chinese art with his noble character and exquisite painting skills. He is good at meticulous brushwork, white sketch and heavy colors. Later, he painted freehand brushwork and integrated Chinese and Western painting. His characters, animals, flowers and birds, mountains and waters have both shape and spirit, and his painting style is rigorous. He combines fine brushwork with freehand brushwork, which has unique characteristics and enjoys a high reputation at home and abroad.

Art circles claim that his artistic life has been fully exercised and developed since the 1950s. In 1950, Liu Jimao moved to Beijing from Tianjin, and gained a good knowledge of Beijing's famous artists. He benefited a lot from this, and his art was more advanced.

Liu Jimao has formed the habit of observing things at any time because he explores the traditional techniques of Chinese painting. Once he took his children to the zoo, because he was concentrating on watching tigers, he lost the children he was carrying, and finally the zoo staff found them for him. It is reported that before his death, he created a giant Chinese painting "Double Lions" for the country. Before his death, he still remembered that "Chinese painting should strive for the glory of national culture". The painter's deep patriotic enthusiasm is worthy of admiration.

Liu Jishao always treats every work with all his energy and all his feelings. I remember that when he wrote The Heavenly Palace, he was just as excited as a fish in water. The Heavenly Palace is painted with Meticulous Brushwork and heavy colors. The traditional Chinese meticulous heavy-color painting method requires not only the painter to have the basic skills of line drawing, modelling and color setting, but also very laborious. A piece of armor, a cloud, a pinch of monkey hair should be dyed with light ink over and over again. Generally, it should be dyed more than ten times. Then, it should be colored. This color is strong and deep. If colored directly, the color will float, thin and vulgar. Eight paintings have been painted for nearly a year, not counting the preparations for sophomore year. It takes more than a month to paint a small painting. Every day, from morning till dark, the color can't be seen clearly. It can be said that people forget to eat and sleep. They think they are bitter, but they think they are happy. He feels that immersing himself in his favorite mood is a kind of enjoyment of beauty.

In 1956, the Painting Group of "Naoting Heaven Palace" was published by People's Fine Arts Publishing House. It was widely distributed throughout the country in the form of New Year's Pictures and was welcomed by the broad masses of the people. Subsequently, eight original paintings of the "Naotian Palace" group were transferred by the People's Fine Arts Publishing House to the then Chinese Art Organizations and sent to the relevant countries of the world for itinerant exhibition. After the exhibition was completed, only six of the eight original works of Mr. Liu Jimao's "Heavenly Palace" were returned, and the second and fourth original works were told that "it is difficult to find them if they are lost carelessly". Even when Premier Zhou Enlai visited the original works, he could only see six of them. Mr. Liu Jishao is even more sad about this. The second and fourth pictures of the group painting "The Heavenly Palace" had to be reproduced using photographs taken from earlier publications. It's a great pity.

Maotian Palace Group Map

After several decades, a miracle has happened! Mr. Liu Yanjiang of China Art Publishing Corporation, in the process of promoting the publication of comic book treasures by the motherland cultural organization, has gone through many setbacks and found the 24th or 2nd original works lost in the dusty collection of the Chinese Art Museum. Immediately, the two artistic treasures, which had not seen the sun for decades, were photographed and edited, and lent to participate in the exhibition commemorating the fiftieth anniversary of the founding of the People's Fine Arts Publishing House for exhibition in the Chinese Art Museum. In 2003, Tianjin Yangliuqing Painting Co., Ltd. published four large albums based on eight original works of Mr. Liu Jimao's "Heavenly Palace"!

Liu Jikuo is a kind person, devoted to painting, not gloomy, life events (painting) is not confused, small things will inevitably be confused. On one occasion, he went confidently to Beijing Station to meet a distant visitor wearing a green army coat and carrying a black leather bag, but he didn't follow up. Back to say: I didn't expect that there were so many people wearing green coats and carrying black in Beijing Station. Who should I pick up? When participating in the "Four Clear" in the countryside, the head of the task force asked him to go to the grain depot to check the accounts. He carefully doubled all the accounts, but did not find out what to check. It is hard enough for Lao Liu to check the "four unclear" accounts. On the other hand, he is not a dull person. He has rich literary knowledge, loves music and sings a good Peking Opera. All the old and the young can do it. I remember that at his wedding, he sang "Luo Cheng Shouguan" at the invitation of greeting guests; he also liked to drink that small cup at dinner, but never saw him overdo it. He was sincere and thoughtless, and did not know what to lose or take advantage of. As long as he has pictures to draw and can face the pictures he wants to paint, he has everything. He is a loyal "nerd".

The main works include Dream of Red Mansions (group painting), Infinite Spring, Golden Monkey, Northeast Tiger, Sanda White Bone Essence, Yellow Towel Uprising (for the Museum of Chinese Revolutionary History), Jintian Uprising (for the Museum of Nanjing Revolutionary History), etc. These works have shown the world the elegance of New China's painting art, and established its position in the international painting circle with its outstanding plastic arts. Therefore, many art critics praised him as "Rembrandt of the East and Miguelangiro". He is also good at making comic strips, and has the reputation of "BeiLiu (Jimao) Nangu (Bingxin)" in the comic strip circle. His works include Chicken Hair Letter, Mr. Dongguo, Life and Death, Never Left Behind, Strange Travel, etc. Among them, "Chicken Mao Xin" won the first prize for children's works of the China Committee for the Defence of Children in 1953. In 1963, the comic strip "Poor stick turns the tide" and "Mr. Dongguo" won the first prize and the second prize of the national comic strip creation award. Because of his great role in the innovation and development of comic strip art, Liu Jishao became one of the masters of Chinese comic strip art and founders of modern Chinese line drawing comic strip. His works have also been translated into many languages and sold overseas. On his deathbed, he created a huge Chinese painting, The Double Lions, which was dedicated to the National People's Congress.

According to his comic book creation, there are ancient themes such as "Mr. Dongguo", "Da Hao Tiangong", "Wu Song Da Hu", "Chicken feather letter" and "Wang Xiulu" with revolutionary historical themes, modern themes such as "Poor sticks turn the tide", "Chaoyanggou", fairy tale themes such as "Strange Travel" and "Crow and Fox".

Introduction of Works

Mr. Liu Jishao is a skilled artist, based on tradition without sticking to tradition, integrating Chinese and Western paintings into one and forming a school of his own. This style of painting became a model to be emulated by the comic strip circles in the 1950s. Because of his deep painting skills, Mr. Liu skillfully uses various line drawing techniques and painting techniques to express works of different periods and themes in his creative comic strips.

Water Curtain Cave and Wu Zetian adopt a variety of line drawing techniques to integrate, to show the brilliance of Jinluan Hall and the elegance of people's clothing (mainly long lines, dense lines and fine lines). However, most of the realistic subjects are represented by short lines, sparse lines and thick and thin lines (referring to a group of lines or different parts of a line), which reflects the simple and concise painting style.

From "Poor stick to turn the tide", we can see that simple and concise painting and his mastery of human anatomy are so mature that he is more skillful. In "Mr. Dongguo", the method of light and shade is used to express trees, which enhances the stereoscopic sense. In addition, he also used different methods to express the scenery in Chinese painting, which made the distance relationship more obvious and achieved a high degree of harmony and perfection.

For the works with the same theme, Mr. Liu is not uniform in the way of expression. The fine brushwork Wusong Dahu is bright and beautiful in coloring, while the Heavenly Palace is bright, dignified and dense.

Mr. Liu inherits his family studies (his father, Liu Kuiling, is famous for his skill in painting birds and animals in Chinese painting circles). He is very good at depicting birds and animals in comic strips.

He is one of the most skilled. Monkeys, tigers, deer and cranes in Shuixian Cave and Jindouyun; wolves, cattle and donkeys in Mr. Dongguo; sheep in Chicken Hair Letter; tigers in Wusong Dahu. Through describing the internal and external body and physiological characteristics of animal skeleton structure, texture relaxation, fur and band pattern, Mr. Liu shows the birds and beasts in front of people. They are not only vivid in form and spirit, but also endowed with distinct personality. The animals in his works are not only the portrayal of real animals in real life, but also the artist's art. Creation endows humanoid animal images with thoughts and feelings.

In describing animals, Mr. Liu also has a unique skill - hairing brush, which was developed by his father Liu Kuiling's unique painting techniques. The monkeys'fur in Water Curtain Cave and Fighting Clouds and Sun Dasheng's face in Laotian Palace all adopt this technique, showing a delicate and subtle texture, which is amazing.

Mr. Liu Jimao's pen is simple, free and unrestrained, and sharp. It is exaggerated and implicit according to its structure, clean with ink, bright in color, smart, smart, flexible, delicate and delicate. Beginners avoid throwing, dirty, greasy, and go astray because they don't know why. He Yanxue and Qi Juan, the authors of Liu Kuiling, wrote: "His son Liu Jimu's works are bold, full of tension, emphasizing a thriving life breath. "Falsifiers draw gourds and gourds, and their spirit is difficult to imitate. Lines, ink and colours are ridiculous for thousands of miles.

"All ancient painters, drawing animals, are good at two at most. Nowadays, Ren Bonian, Xugu, Zhang Shanfu and Xu Beihong are all famous for their specialty in one or two kinds of animals. "Mr. Liu Jishao, on the other hand, deals with Chinese paintings with heavy colors, freehand brushwork, characters, animals, landscapes, feathers, flowers, grass, insects, vegetables and fruits. He is a faithful portrait of all things in the world, a versatile painter and a proud generation.

Mr. Liu Jishao has been successful in blending Western painting style, perspective and color, realism and freehand brushwork in harmony and innovation. It is different from Xu Beihong's horse painting, Li Keran's cattle painting, Huang Qiang's donkey painting and his father Liu Kuiling painting. His great and outstanding artistic achievements come from life and creation. Father's words and deeds, observation of life, understanding of life, a large number of sketches, hard work; the top of the eight group paintings "Da Nao Tiangong"; the classic 16 group paintings "Wu Song Da Tiger"; the household-known "Chicken Hair Letter", "Mr. Dongguo"; and "Rabbit's Tail", "Crow and Fox" and so on more than 30 comic strips, Haiwa and sheep, Dongguo and wolf, as well as Monkey Sun Wukong, are all vivid. A large number of creations, dedication, accumulated rich experience, characteristics of dynamic memorization in mind, letters and brushes will be the world's most beautiful instantaneous paper, so that countless people pour over the worship.

Independently completed comic strips

01 "Chicken feather letter" 243 popular pictures 1950 (another 200 modified editions, 198 new editions in Tianjin)

Chicken feather letter was published by Popular Picture Publishing House in September 1950. The first edition has a circulation of 190,000 copies.

The Chicken Maomao Letter (Episode I) Popular Pictures of September 1950

Liu Jishao's work photo

Liu Jishao's work photo

"Chicken feather letter" (the second part) February 1951 Popular Pictures

02 "Wang Xiuluan" 108 popular pictures, first edition in November 1950

03 Fire of Revenge 28 People's Fine Arts 1951

04 "Never Left Behind" 48 Chaohua Art 1951

05 Mr. Dongguo 83 People's Fine Arts 1951

06 "Little Hero Catches Secret Agents" 6 1951 published in the early 1950s "New Observation" magazine cover three

07 "Children with Big Stones" 11 People's Fine Arts in Beijing, October 1951 (black and white, color two versions)

08 "Loving Little Man" 8 People's Fine Arts in Beijing, October 1951

09 "Life and Death" (133 in the first episode and 124 in the second episode) People's Fine Arts 1952

10 "Quyao Leaves Mutual Assistance Group to Sow in the Trench"? Xu Xianli Edited and Liu Jimao Painted 17 Issues of 1952 Comic Paper

11 Comrade Luo Shengjiao, Immortal Internationalist Soldier, No. 22, 1952

12 Bacterial Warfare to Crush American Imperialism

13 The Soldiers Are Enraged. Eight Comic strips, 1952, 24 issues

14 "Advantages and Disadvantages" Colour Print 4 "Comic Book" 1952 No. 29

15 "Lobster, Barracuda and Swan" Colour 4 "Comic Paper" 1952 No. 30

16 Who Can Protect Little Family/White Rabbit Colour 8 Comic strips No. 31, 1952

The book's comic book, the official version of People's Art, was published in 1954 under the title "Who Can Protect the Little White Rabbit"

17 Don't Wrong Little Cat, 1952 (with two versions in color and black and white)

18 First Draft of "Wusong Dahu" Coloured 28 "Lianhua Picture Newspaper" Total No. 38, 1952

This edition of the comic strip "Wusong Dahu" was officially published in August 1954 by 28 popular art societies.

19 The People's Fine Arts in October 1952 was priced at 900 yuan for 24 pieces of "Seeing Qi/Great Cultural Forward from Learning Model" (published in Lianhua Picture Newspaper, 1952, No. 28, also known as "Great Cultural Forward").

20 "Ma Jiashun, Position!" - Six stories of Ma Jiashun, a member of the Youth League of the Chinese People's Volunteer Army, sticking to Wenheng Mountain? Published on the back cover of "China Youth" in 1953?

21 A New Couple on the Production Front

22 The Fiancee of a Volunteer Soldier

23 Yugong Moving Mountains, 7 of which were published in the 16th edition of the 1953 Journal of Learning Culture

24 "Zoo" 26 wall-painted color comic strips (20 of the total 76th issue of the 14 issue of the comic strip newspaper published on July 21, 1954, and 18 of the new edition in Tianjin)

25 Strange Travel, 66 Chaohua Art 1954 (with two versions in color and black and white)

26 The Ordinary Meeting of Lenin's Stories 11 Shanghai Beauty 1954

27 "Wusong Dahu" 16 pieces of people's fine arts 1955 (heavy color) (won the sixth World Youth Festival in 1956, the gold medal of the Leipzig Book Exhibition in 56, and the first International Comic Festival in Siyer, Switzerland, in 84. )

28 "Heavenly Palace" Eight People's Fine Arts 1956 (Heavy Colors) Participated in the Socialist Country Plastic Art Exhibition and won the Art Works Award

29 "River God Married a Woman/Siemens Leopard" 19 Chaohua Art 1956 (Colour) (The name of the fifth comic strip in 1954 was "Siemens Leopard")

30 "Why the Rabbit's Tail Is So Short" 26 Chaohua Fine Arts Dec. 1956 (Colors), "Comic Paper" and "Rabbit's Tail" 17 in June 1955

31 "Crow and Fox" 20 Chaohua Art Prints 52000 48 in June 1956

32 "Water Curtain Cave" 40 People's Fine Arts in July 1951 edition once (with two versions of color and black and white)

33 "Little Deer" 8 "Comic Papers" No. 15, 1957

34 "Mouse" 8 "Pictures" No. 15, 1957

35 Jiuquan Painting Series, 4 People's Fine Arts (Colors). Lianhua Picture Newspaper, No. 11, 1959, was officially published in 1963?

36 The Great Glory of Jianming People's Commune (Painting Group) 8 black-and-white pictures, Lianlian Picture Newspaper No. 11, 1960. Is this work Poor Stick? Unknown! Jiang Weipu's poem Liu Jimu's painting. Like the manuscript of Jianming Society of Painting

37 Wolf Comes, 10 People's Fine Arts 1961 (Colors)

38 Walnut Peeling/Sima Guang Stories 11 1961 (black and white and color versions)

39 "Poor sticks turn the tide" 167 People's Fine Arts, March 1, 1963

40 Fighting Clouds 56 People's Fine Arts in October 1963 (with color and black and white versions)

41 Chaoyanggou 98 People's Fine Arts in August 1964

42 The Number of People's Calls of Joy and Horses is Unknown People's Art 1965

43 Huangchao Uprising 27 paintings were published in the eighth issue of Revolutionary Successors in 1975.

"Yellow Nest Rebellion against Confucius Fear" 38

44 "Liu Xia Zhi Angry at Confucius Qiu"? Paintings (at least 5) with meticulous heavy-coloured Chinese paintings (peasant uprising,?, Bi Gexiang, angry at Confucius Qiu and people's upheaval). (Against Kai Liu Xia Zhi Angry at Confucius Qiu. 9.5, July 1, 75, 1 print, opposite,. Liu Jibo's paintings, published by Shanghai People's Publishing House, have a print of 165,000, 300 yuan per sheet.

45 The Conceited Tiger: Four (Colors) in 1981

46 Stories of Wu Zetian, 18 pieces. Tianjin Renmei Liu Jimu's 16 sketches and 18 pencil sketches in 2008. This is the first time that the master's legacy has appeared in a panoramic way, which represents the highest level of Liu Jimao's traditional line drawing.

A comic book in collaboration with others

47 The 54 painters of Hutong (Li) Chang Fang are Liu Jimao, Shao Guoliang/Hechang People's Fine Arts, the first edition of which was published in Beijing in January 1952. The first edition has an unknown 48 editions. The first edition has a circulation of 10,000 copies and is priced at 2,000 yuan.

48 The 61 painters of Wang Guofan and Jianming Society are Liu Jimao and Wang Jiao People's Fine Arts, published once in October 1958.

Two versions in black and white

In the 18th and 19th issues of 1958, Lianhua Picture Published 46 color comic strips, Wang Guofan and Jianming Society.

49 The Spirit of One Centre Money was reprinted in September 1963 by Fei Shengfu, Liu Jimao and Youyun Changtu Beijing Slide Studio; 20 pieces were made of glass and paper.

50 The Painters of Lei Feng are Liu Jimao and Dong Hongyuan People's Fine Arts 1965

51 Jiao Yulu, Chairman Mao's Good Student, 76 Renmei paintings in the first edition of March 1966 were painted by Liu Jimao, Lin Kai, Chen Huiguan, Tong Jiemei and Ren Zheng Ying 1/60.

52 "Follow Chairman Mao, carry the banner to the end--Wang Yingzhou, a young commander armed with Mao Zedong Thought" 105

The painters were Liu Jimao and Xiong Kongcheng, Hubei Fine Arts, 1971

53 Selected Stories of Song Jiang, a capitulator, and Shuihu, 230 Renmei in June 1976

The painters are Liu Jimo, Liu Hanzhong, Ren Piying, Li Shinan, Chen Huiguan, Lin Kai, Yu Xuejian, Liu Yongkai, Zhao Longyi, and some other workers, peasants and soldiers.

The Confirmed Works of Liu Jishan's Comic Paintings

54 "Protecting the Forest of the Motherland" 10? 15? 1951

55 "Mongol Girl Chinarin Flower" 1953 "China Youth Daily" to be confirmed

56 The Skills of Guizhou Donkeys to be Verified

57 Lenin and the Guard?

58 "Communist Soldier--Zhao Xiaohe" 10 slides Anhui Slide Studio adapted November 1975 according to the comic strip

Unpublished works

59 Golden Hoop Stick

Liu Jishao's Drawing of the Cover of the Comic Book

In addition to the covers of most of the above works, there are mainly:

Cheng Shifa's cover of He Ximei in 1952

2 Miaodi's cover of "Lo Nong Send Letters" 1955

3 Beijing Renmei Feng Guanfu and other cover of Dujiangyan, 1955

4 Beijing Ren Meilin Xueyan and Wang Yushan's cover of Yuefei Yifu Yang Zaixing, 1955

5 The cover of "veteran general Huang Zhong" by Luwen, Zhang Yiqiu and Zhang Lushan from Beijing, July 1955

6 Dynasties Flower Art Zhang Lushan "Suwu" Cover April 1956

7 Dynasty Flower Art Lin Yihe and Liang Rongmu's Cover of People Exploring Mines (195606 Edition)

8 He Mingham's "Little Hunter" Cover 1956

9 Hebei Fine Arts Journey to the West cover of Zhang Shude's Longgong Borrowing Treasures 1958

10 Beijing Renmei "Wang Guofan and Jianming Society" cover October 1958

11 Beijing Renmei Lubson's "Chairman Mao in WISCO" Cover March 1959

12 The Shuanglong Club (cover of the 16th issue of Lianhua Picture in 1959) in the series of "Yang Jia Jiang" written by Zhang Lingtao and Hu Ruofu, Beijing Renmei

13 The cover of Li Ling Stele, a collection of Yang Jia Jiang by Zhang Lingtao and Hu Ruofu from Beijing, 1960

14 The cover of the comic book "Li Long Da Tiger" or "Li Long Da Lu"? To be verified

15 The Cover of Gun-picked Xiaoliang Wang in Beijing Renmei Yuefei Biography Series 1960

16 The Cover of Xiao Shang He in Beijing Renmei's Yue Fei Zhuan Set of Books in 1960

17 The Cover of Fengbo Pavilion in Beijing Renmei Yuefei Biography Series 1960

18 Beijing Renmei "Mr. Dongguo" Cover 1960

19 The Cover of Xu Yuxing's Wang Xiaogong Uprising 1960

20 Beijinger Mei Kangyin's cover of Du Fu in 1960

21 The Cover of Chen Zhilin's Iron and Steel Red Company 1960

22 Beijing Renmei's cover of Monkey King's Three Strikes of White Bone Spirits in 1964

23 Beijing Renmei's cover of Monkey King's Three Strikes of White Bone Elite (in cooperation with Ren Feiying) 1973

The Cover Works of the Comic Book

1 Urban-Rural Exchange, No. 8 of 1951, The Cover of the Comic Book, published on September 16, 1958

2 The Cover of Shuanglong Club No. 16, 1959

3 "The Morning of Jianming Commune" (Colour) (Cover of the 11th issue of the comic strip in 1960)

4 "Workers'Recuperation Home"

Illustrations

Illustrations (1) (before 1955)

01 Shi Bushi Catching a Car (Zhao Shuli) (Extracurricular Readings for Staff and Workers'Amateur Schools) (Sealing) 8 pieces of Beijing Workers' Publishing House, March 1, 1950

02 Annotation to the General No. 63 of Qing Shuan of Chinese Youth in 1951 (This is a picture of a young cowherd by Brother Hammer)

03 Four color illustrations of "Han En Mutual Assistance Group Calling for Challenges to National Agricultural Labor Models" published in the fourth issue of Lianlian Picture Newspaper have been used as aliased "Jiyou" (homophonic with his real name Ji Shan) because of the publication of two other works by Liu Jishao in this issue.

04 "Gao Yubao Zhuan" (Wu Juntao) Pacific Publishing House, early December 1952, cover A Lao Tu, Liu Jimao, Chen Yunhua illustrations (of which Liu Jimao 2 pieces (1), "fight is you, see you dare not steal chicken again" (2), "This letter is from Uncle Liu to you."

05 "Soldiers and Motherland" (Youth Reading) 6 illustrations 1 time in 1952 (see 2 small pictures)

06 The Spreading of Wheat Seeds (Dong Junlun) sealed nine pieces of People's Literature Publishing House in the first edition of March 1952 (part the same as "Golden Musk and Dental Gourd") (Spreading wheat seeds, half Bay sickles, monkey couples, wax mouths and tin mouths, wolves, wandering ghosts, Pan Danian, picking up gold and Yuan bao)

07 The Asian and Pacific Regional Peace Conference of the Comic Paper, a 32-issue issue issue, was published on 16 September 1952.

08 The Chinese Delegation to the Soviet Union, a total of 32 issues, was published on September 16, 1952.

09 "For Peace" in the comic strip, a repetition of Chernov Smachik's Liu Jimu, 36 issues 1952.11.16

10 "Zhou Detachment Makes a Great Noise in Pingchuan" (Ma Feng) Sealed 10 (9) Workers'Publishing House in December 1952

11 The Heavenly Palace of Noise (Preliminary Literature Reading) cover 1 plus 3 ink and wash illustrations (Dasheng can not help but say, raise the stick and fight. (The great sage twisted his knack, chanted incantations and said to the fairies, "Live! Live!" (The old gentleman caught up with him and was overwhelmed by him. ) Publishing People's Literature Publishing House in 1953

12 Zhou Tiehan (Xu Guangyao) (Preliminary Literature Reading) Four Illustrations Published by People's Literature Publishing House in March 1953

13 A picture of "Women Singing in New China" published on March 6, 1953 (painted by Aunt Lu, Jinxiulan, Lan Chen-xiang, Shen Jilan, Hao Jianxiu, Zhao Guilan, Li Landing, Xie Xiumei, Guo Junqing and women's groups)

14 Illustrations in the second volume of Life Stories (Wenxiong et al.) New Observation Series 1953 A Lao et al. See three illustrations by Liu Jishan

15 A Draft Constitution for the Proof of the People's Republic of China

16 "True Love" (New Story) Popular Book Publishing House Many People Liu Jimu 1 (same cover) July 1954

17 Wusong Dahu 4 Popular Readings Publishing House, September 1954, 1 edition

18 The Story of Young Heroes Liu Jishan drew two illustrations of Liu Hulan (I will not give in to death). How could such a pair of military shoes be given to the Eighth Route Army? June 1954, China Youth Publishing House

19 "Golden Whiskers and Teeth Cucurbits" (Dong Junlun, Jiangyuan) 14 white sketches on a color cover. Fig. 15 Tianjin Popular Publication in May 1955

agency

20 "Wolf Military Division" (East Jiangsu) is sealed and inserted once in 1955. Liu Jimao and Shuhua's exquisite illustrations are shown in Figure 7. Qun Yitang is published.

One illustration of Liu Jitao shows a Chinese wolf.

21 Laoshanjie, Volume 1 of Junior Middle School Textbook Literature, May 1955

22 The Ordinary Man, Volume 1 of Junior Middle School Literature 1955

23 Seven Brothers in Folk Literature, September 1955

24 The Story in the Mule and Horse Shop in Folk Literature, September 1955

25 Rabbit Revenge in Folk Literature, October 1955

26 Gu Du in Folk Literature, October 1955

27 An Owl and Crow in Folk Literature, October 1955

28 The Fox Is King in Folk Literature, October 1955

On March 5, Liu Jimao's memorial meeting was solemnly held in the auditorium of the Chinese People's Political Consultative Conference.

In 1983, Mr. Liu Jibo and his wife Pei stood in the house.

In 1983, Mr. Liu Jibo and his wife Pei stood in the house.

Mr. Liu Jishao's Model Significance

In the history of modern Chinese comic strips, Mr. Liu Jishao, the painter, should be a model figure with noble morality and no controversy. The significance of his existence is not only in his lifetime, but also behind him. Mr. Liu died in 1983 at the age of 65. When he was alive, he didn't have the chance to become a big red or purple man, or he had more chances to become a big red or purple man. But like some painters, he is accustomed to working in silence, and is not good at packaging and propaganda, to pursue the so-called "value" and "effect". Therefore, the value of his existence lies in that he lives in the hearts of millions of readers, which is why he has the significance of a model. Although Mr. Liu has passed away for more than 20 years, when it comes to comic books and traditional Chinese paintings, no matter the old readers or the young readers, who does not hold Mr. Liu Jishao in high esteem?

Mr. Liu Jishao's exemplary significance lies first in his progressive consciousness and revolutionary enthusiasm of keeping pace with the times. Mr. Liu Jimao was born in 1918 in a Danqing family in Tianjin. His father, Liu Kuiling, was a well-known painter of birds, birds, animals, flowers and trees in Gushang. Influenced and taught by his father, Mr. Liu Jimao mastered Chinese painting of flowers, plants, birds and animals very early. Unlike his predecessors, he entered Tianjin Municipal Art Museum at the age of 18, studied landscape from Mr. Liu Zijiu, sketch and watercolor from Mr. Liu Fenghu, studied and studied Western art techniques, and tried to combine them with Chinese traditional art, so that his works had the composition of Chinese painting. With pen and interest, as well as the perspective of Western painting and anatomical basis, it enriches the expressive force of the works, expands the scope of the subject matter, and lays a solid foundation for future comic creation. Since 1937, he has been selling paintings and holding personal art exhibitions. He has also ranked among the famous artists in Tianjin. If we follow this road, we can expect to become a famous painter. But besides this, Mr. Liu Jishao chose a strange road.

In 1949, New China was founded. In 1950, the Central Committee of the Communist Party of China issued a call to popularize culture and transform old comic strips. At that time, in Beijing and even in the north, there were not many artists engaged in comic book creation, far from the strong strength and tremendous influence of Shanghai comic book base, and the artists from liberated areas also lacked such experience. But as the capital of New China, Beijing must take the responsibility of leading the cultural tide of the new era. At this time, Mr. Cai Ruohong was appointed to set up the Popular Picture Publishing House. Mr. Cai Ruohong is a senior cartoonist and literary theorist from the Liberated Areas. He can draw and see people. At the invitation of Cai Ruohong, Mr. Liu Jishao resolutely said goodbye to his career of selling paintings and joined the "public", with a clear purpose. He created a new era comic strip with brand-new contents and forms, to occupy and reform the old comic strip market, and to popularize revolutionary ideas among the masses.

Comic strips have always been difficult to get into the hall of elegance. Of course, the factors of social prejudice are also related to the accumulated drawbacks of the "Liantan" itself in history. Compared with traditional Chinese paintings, comic book "Xiaorenshu" is like a cloud in the eyes of many people. Mr. Liu Jishao needs great determination and courage to make a great transformation of his creative style. As for what Mr. Liu Jishao thought at that time, he did not leave any written information. Although there were no slogans like "obey the Party's arrangements", "go where the motherland needs most, and"the needs of the Party are my own volunteers"at that time, although Mr. Liu Jishao was not out of livelihood considerations, as long as we talk about things, we can not help feeling his enthusiasm for the new China and for popularizing popular culture. It was very difficult at that time, and it was of exemplary significance.

It is also understandable that Mr. Liu Jishao is persistent in the creation of comic strips in the form of popularization. Others believe that it is a waste of talent to kill chickens with a cow's knife. As far as Mr. Liu's Chinese painting background is concerned, his development path is broad, but Mr. Liu has a special love for comic strips, and he has persevered for decades with fine painting style. 。 The pen is smooth. Rich color and unique composition are widely praised. For a long time, the comic book circle has the saying of "looking South and looking north at Liu". This praise represents an epochal height and a shining history of "Liantan". His paintings, which have influenced a large number of later generations, are still praised and remembered. Mr. Liu Jimu is well-known: his painting Chicken Maomao Letter won the first prize for children's works of the China Committee for the Defence of Children in 1955, Wusong Dahu won the Fifth World Youth Festival Art Award in 1956, his painting "Making Heaven Palace" was selected into the plastic arts exhibition of socialist countries in 1957, and "Poor stick turning the tide" was selected in 1963. He won the first prize of the first national Comic Book Award in 2001. On the one hand, winning the prize is more important. Mr. Liu Jishao pushed the new comic art into the palace of art in the early 1950s with his own achievements and those of more comrades in comic art. In an article entitled An Image of Wang Xiuluan, Mr. Wang Zhaowen praised Wang Xiuluan as "a very real, vivid and profound figure". Its success made some people who despised the popularization of comic strips at least partially eliminate the fact that comic strips were low-level art before the excellent form of Wang Xiuluan. Prejudice. Mr. Liu Jishao's painting art is obviously of typical significance in the history of modern comic strips.

In Mr. Liu Jimao, in his decades of comic book creation career, he also reflects from time to time the pragmatic and modest spirit of the older generation of artists, "Inkstone farming cattle", hard work, no noise, no envy of vanity. Some people say that Mr. Liu does not care about politics, so in addition to the "Cultural Revolution", political movements have been frequent before. But Mr. Liu seems to stay out of the way and keep it safe. Art is the only pursuit in his life. He can paint and go to remote mountain villages to observe sketches. He doesn't feel bitter. He can paint a picture for more than a month, forgetting to eat and sleep, and striving for perfection. The latter point is natural. That is the life of a real artist. Spiritual sustenance, but the former view, but lost absolutely, no political enthusiasm of the painter how to draw so many works, living so many characters such as Wang Xiulu, Haiwa, Wang Guofan, and even though classical characters, but it reflects enough to remind and inspire people today, whether historical figures or mythological people. Things? Without sober political consciousness and passion, this is absolutely impossible.

It is true that Mr. Liu Jishao is a low-key person. He is generous, uncontrollable, sincere and unscrupulous. He only regards creation as the whole of life. According to his students'recollections, Mr. Liu does not regard art as his own character. He is always a kind, selfless, strict and conscientious teacher in class. Although he was a past painter in the field of old times, he was not affected by the habits of old painters such as "conservatism", "stunt", "tricks" and "secrets". Ask Mr. Liu how to use ink in the production of famous animal paintings "black pole and velvet", how to use tiger's fur "thin and thick, with jewelry color", and so on. He always tells the story and shares it with students and comrades. He also seldom writes, seldom talks about his creative experience, he seems to be based on self-teaching, so it is difficult to find such articles written by him, and no one summarizes his creative experience well before his death, which often makes us sigh. Some time ago, the author wrote this article and found it unexpectedly in old Tibet. More than 40 years ago, a newspaper clipping was written by Mr. Liu's signature. I can't help but rejoice that it was not written by Mr. Liu exclusively for journals, but probably by Mr. Liu's own account recorded by others. The article does not involve any theoretical issues. It only talks about creative techniques and creative process. It talks concretely and concretely. It is simple and unadorned. It makes people think of the spirit of Mr. Liu when he talks about it, and it is deeply inspired.

Over the past decades, Chinese modern comic strips have made great achievements in the process of continuous progress. It is precisely because of the pioneering and unremitting efforts of a large number of leading painters such as Mr. Liu Jimao. When we are summing up historical experience and making comic strips more brilliant and rise again in the new historical period, we summarize the creative thoughts and process of the old generation of comic strip artists represented by Mr. Liu Jishao, and review their thoughts, spirit and personality as outstanding painters, as well as their historical achievements and outstanding contributions. Not only is he "a person who has a relationship with our literature and art, we want to commemorate him", but also because they are outstanding painters of Liantan and still have a model significance which is not out of date with the passage of time.

Artistic Characteristics of Liu Jimao's Comic Paintings

First of all, they are good at shaping the image of rural people in the north. Among Liu Jishan's numerous comic strips, he takes the rural areas of North China as his main living base and creates many typical characters of different classes, ages, gender and identities in the north, such as Haiwa in Chicken Mao Letter, rural cadres in Poor Sticks to Turn the Heaven, and Mr. Dongguo in Mr. Dongguo. They all have the characteristics of simplicity, simplicity and perseverance of the northern people. It is the successful shaping of these northern characters that makes Liu Jimu's comic books full of real and vivid appeal.

Secondly, the linear characteristics of dry and vigorous. Liu Jimao used traditional line drawing (mainly iron line drawing and blue leaf drawing) in his comic strip drawing techniques. He often used concise lines to draw complex images. His line quality is very distinctive. It gives people a dry and vigorous visual feeling by using dry ink brushes. It is different from the beautiful and moist linearity of famous Shanghai Liantan artists and the over-traditional line-drawing method of other famous northern artists (this traditional line-drawing style is the combination of Wumen School and Palace School). The dry and strong line-drawing effect cooperates with each other. The image characteristics of the northern characters are simple and simple. The same flowing and moist lines are more suitable for expressing Southerners'wisdom and exquisite temperament. Because of its stylized and conceptual limitations, traditional line drawing is only suitable for expressing traditional patterns, but it is not suitable for expressing real life. For example, it is not suitable for expressing modern working women by changing Qiqian and Fei Danxu's portrayal of ladies in Qing Dynasty.

Liu Jishan's comic book painting is very fast, and can draw nearly ten drawings a day. His pen is skilled and fluent, but his lines give people a sense of dryness. This kind of special line is very rare among contemporary comic book artists. It is the product of the combination of the artist's painting skills and the northern environment characteristics.

Thirdly, it emphasizes the position of animals in the picture. Animal picture books are Liu Ji-shan's family studies. Being good at shaping animal images is another important success factor of Liu Ji-shan's comic strips. Liu Jimao's comic book depicts animals not only vividly and vividly, but also intentionally proceeds from the plot of the story and combines the characteristics of animals themselves, endowing animals with personified personality and social attributes comparable to human life, so that animals can also express human feelings and be full of humanized meaning. Painters consciously enhance the status of animals in their works, focusing on describing the interaction between human beings and animals in the plot, so that animals are no longer just the foil of characters. This feature is particularly evident in the Zhongshan Wolf in Mr. Dongguo, the Tiger in Wusong Dahu and Monkey King in Da Lao Tiangong.

Therefore, the animals in Liu Jimao's works are not only the reappearance of real animals in real life, but also the animal images endowed with thoughts and feelings by artists'artistic creation, which embodies the artistic creation principle of "originating from life, higher than life". The combination of the animal image in the painting and the typicality of the characters in the story deepens the ideological theme of the work.

In his later years, Liu Jishao came out with the style of freehand brushwork, mainly focusing on animals and characters, and established his position in the modern Chinese painting circle with a fresh and bright face. Liu Jimao's freehand animal paintings emphasize the use of brush and ink to create realistic and vivid images, clear composition, quick and unrestrained brush strokes, more use of side edges, pay attention to the effect of brush strokes, such as the "wind gust horse", with "the brush has not yet swallowed up the spirit", a strong sense of rhythm, full of vitality and tension, strong visual impact. It is a further development of his father's style of painting.

Liu Jishao is an artist who inherits the past and forges ahead in the field of modern Chinese painting. His outstanding achievements are not only reflected in his superb artistic attainments and profound cultural connotations, but also in the admirable spirit of innovation. He not only inherited Liu Kuiling's painting style, but also made a comprehensive innovation and development of this style. Liu Jimao's painting skills are quite profound, and there are not many painters who have such skills in the whole history of Chinese painting.