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★首位获许进入紫禁城未开放地带的外国画家，现场实物写生，珍贵作品别具情调；
★完全采用中国墨、中国毛笔创作，西方绘画透视法和中国绘画“虚与实”手法的结合；
★精彩画作辅以记录画家足迹的文字，中英文双语对照，充分体现了中西文化的完美交融。

内容简介

著名法国画家乔得龙深入北京的胡同和四合院、名寺古刹，以中国传统的水墨结合西洋笔法，创作了表现北京独特文化内涵的珍贵作品。这些非常精美的画作曾在香港和澳门展出，引起轰动。本书在收入这些画作时，还辅以画家本人的笔记、著名作家老舍的作品选抄，文图相得益彰。

作者简介

乔得龙（Charles Chauderlot）
乔得龙先后参加了法国国内及国际上的50多场画展与竞赛，举办了十余场个展，并参与了多次联合展览。他成为巴黎马莱画家协会会员。
这期间他赢得的奖项和荣誉包括：十二次*比赛一等奖，第38届贝济耶国际美术展金奖，第81届巴黎冬季沙龙特别奖。
乔得龙绘画创作的独特之处在于现场实物写生；完全采用中国墨、中国毛笔进行创作；西方绘画透视法和中国绘画“虚与实”手法的结合。
画家同时从中西两种文化中汲取灵感，探索出了一种新颖的美学表现形式。
2002年到2004年，中国当局特许乔得龙进入紫禁城未开放地带写生，他是首位获得这项特权的外国人。
2007年，澳门特区政府邀请乔得龙赴澳门写生，描绘当地的建筑遗产。
乔得龙的作品已在法国、意大利和中国出版。许多画作现已为私人所收藏，法国多个市政府、普瓦希艺术历史博物馆、北京何扬?吴茜现代绘画馆和澳门艺术博物馆也收藏了他的作品。

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目　　录

胡同盛衰Splendour and decline of hutongs
老舍作品选抄：小羊圈胡同The Little-Fold (excerpt from Lao She)
老舍作品选抄：元宝The Flying Silver Ingots (excerpt from Lao She)
老舍作品选抄：张大哥的房子 Zhang Dage’s House (excerpt from Lao She)
神路街Shenlujie
麦子店Maizidian
南池子Nanchizi
老舍作品选抄：洋车Rickshaw Boy (excerpt from Lao She)
老舍作品选抄：暴风雨The Storm (excerpt from Lao She)
河流湖渠Canals, lakes and rivers
老舍作品选抄：游北海“Walking the North Lake” (excerpt from Lao She)
老舍作品选抄：雨后“After the Rain” (excerpt from Lao She)
庙宇春秋Temples

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在线试读部分章节

北京胡同四合院的朴素魅力吸引着我，促使我拿起画笔再现那树木成荫的寂静街巷、华美的院门和生机盎然的庭院。我心中无比赞叹地漫步在这青砖灰瓦的世界，夏日里则在树木的绿色穹宇下徜徉。有时，我的注意力会被一阵骚动所吸引，原是天边划过一群鸽子。街巷里的老居民们时常热情主动地为我送来一杯清爽的啤酒或是沏上一杯热茶，让我心里感到暖融融的。
枣子、石榴、月饼，居民们送给我的小礼物季季不同，使我渐渐感受到季节的更替。
随着时间的推移，我对普通话的掌握不断进步，我能够与老北京们更为顺畅地交流了；更重要的是，他们向我传授了关于北京的历史文化知识。由此，我了解到了胡同与街的区别：“胡同”为东西走向，胡同两旁的院落为民宅；而“街”则为南北走向，城市商业活动在街上进行。老北京们还告诉我，树木种植也应依循传统的象征法则：槐树应种在道路两旁，组成条条绿色林荫道；果树种植在四合院内，红色的果实象征着幸福与繁荣；寺庙内的常见树木为松柏等四季常青的针叶树。
我同时也认识到了四合院方形院落的社会功能。几代人按照长幼有序、尊卑有别的原则分别居住在院内的各组房屋中。每代人都有各自的生活空间，而院中央的花园又将几代人紧密地联系在一起，相互之间可以随时施以援手。作家老舍在《四世同堂》中描述了这种独具北京特色的生活方式。
我在不知不觉中成为了北京老城区消亡的见证人，用毛笔将老街巷的视觉记忆留存了下来；同时我笔耕不辍，记录下北京居民有关老房子的诸多回忆，令其长存。日坛附近的神路街、南池子以及从前属于北京郊区的麦子店已悄然逝去，北京人几百年生活的历史见证也在逝去，从前富人、穷人、商人和官员的生活史也许将变得无从考证。
I discovered, step by step, the rhythm of the seasons through thegifts offered to me: Chinese dates, pomegranates, moon cakes…
In learning the language, not only could I better communicate withthe Old Beijing people but become even more knowledgeable abouttheir city. I got to understand the role of the hutongs runningeast-west, serving the house, contrary to the jie which arenorth-south oriented and relate mostly to commerce. I understoodthat the trees adhere to a strict code: scholar trees form a greentunnel in the streets while the fruit tree with their round redfruit – reflecting happiness and prosperity – are planted in thesiheyuan courtyards, and cypress, junipers and other evergreentrees are found on temple grounds.
I have learned about the social roles which are issued from thesquare shape of the siheyuan where each group of buildingscorresponds to the family hierarchy: parents, children, etc. Eachgeneration used to live in its own space, but at the same time,they faced the central garden and could help each other any time.The writer Lao She describes this typical Beijing society in FourGenerations under One Roof (The Yellow Storm).

北京胡同四合院的朴素魅力吸引着我，促使我拿起画笔再现那树木成荫的寂静街巷、华美的院门和生机盎然的庭院。我心中无比赞叹地漫步在这青砖灰瓦的世界，夏日里则在树木的绿色穹宇下徜徉。有时，我的注意力会被一阵骚动所吸引，原是天边划过一群鸽子。街巷里的老居民们时常热情主动地为我送来一杯清爽的啤酒或是沏上一杯热茶，让我心里感到暖融融的。

枣子、石榴、月饼，居民们送给我的小礼物季季不同，使我渐渐感受到季节的更替。 
随着时间的推移，我对普通话的掌握不断进步，我能够与老北京们更为顺畅地交流了；更重要的是，他们向我传授了关于北京的历史文化知识。由此，我了解到了胡同与街的区别：“胡同”为东西走向，胡同两旁的院落为民宅；而“街”则为南北走向，城市商业活动在街上进行。老北京们还告诉我，树木种植也应依循传统的象征法则：槐树应种在道路两旁，组成条条绿色林荫道；果树种植在四合院内，红色的果实象征着幸福与繁荣；寺庙内的常见树木为松柏等四季常青的针叶树。

我同时也认识到了四合院方形院落的社会功能。几代人按照长幼有序、尊卑有别的原则分别居住在院内的各组房屋中。每代人都有各自的生活空间，而院中央的花园又将几代人紧密地联系在一起，相互之间可以随时施以援手。作家老舍在《四世同堂》中描述了这种独具北京特色的生活方式。

我在不知不觉中成为了北京老城区消亡的见证人，用毛笔将老街巷的视觉记忆留存了下来；同时我笔耕不辍，记录下北京居民有关老房子的诸多回忆，令其长存。日坛附近的神路街、南池子以及从前属于北京郊区的麦子店已悄然逝去，北京人几百年生活的历史见证也在逝去，从前富人、穷人、商人和官员的生活史也许将变得无从考证。
I started to paint Beijing hutongs and siheyuans only for the
allure they held for me – the calm of shadowed alleys, the
intricately carved doors, the life in those internal courtyards. I
immersed myself in wonder in this universe of bricks and gray tiles
– in the summer under the green vault of its trees. Sometimes my
attention was diverted by the musical flight of a pigeon flock. I
was often comforted by old Beijingers who offered me a cool beer or
hot tea. 
I discovered, step by step, the rhythm of the seasons through the
gifts offered to me: Chinese dates, pomegranates, moon cakes… 
In learning the language, not only could I better communicate with
the Old Beijing people but become even more knowledgeable about
their city. I got to understand the role of the hutongs running
east-west, serving the house, contrary to the jie which are
north-south oriented and relate mostly to commerce. I understood
that the trees adhere to a strict code: scholar trees form a green
tunnel in the streets while the fruit tree with their round red
fruit – reflecting happiness and prosperity – are planted in the
siheyuan courtyards, and cypress, junipers and other evergreen
trees are found on temple grounds. 
I have learned about the social roles which are issued from the
square shape of the siheyuan where each group of buildings
corresponds to the family hierarchy: parents, children, etc. Each
generation used to live in its own space, but at the same time,
they faced the central garden and could help each other any time.
The writer Lao She describes this typical Beijing society in Four
Generations under One Roof (The Yellow Storm). 
As an involuntary witness of the disappearing old neighbourhoods, I
kept a visual and live memory with my brushes, regularly writing
down all the knowledge and the souvenirs of their inhabitants. This
was the case in Shenlujie, near Ritan, in the Nanchizi
neighbourhood and in Maizidian, formerly in the suburbs of Beijing.
Today, nothing survives of these centuries of vibrant lives, the
lives of the wealthy and poor, of businesspeople, of
officials.

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水墨北京

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