4．丁聪和他的漫画
杨宪益 戴乃迭
丁聪开始主要是创作漫画，同时也编辑过电影画报，从事美术编辑工作。在内地和香港期间还设计过舞台布景。这些经验对他为小说作插图很有帮助。太平洋战争爆发以后，他从香港回到内地参加“香港受难”展览，并随剧团到各地写生，接触到当时难民的生活，画出他们困苦的处境。如他在成都曾为当时的悲惨生活画了一幅“花街”，还画了其它揭露战时国民党腐败社会的作品。由于他的贡献，他成为当时中国美术家协会的一位杰出代表。
design翻译1944年，他为鲁迅的名著《阿Q正传》画的插图，讽刺了当时的地主阶级和假洋鬼子，对天真的阿Q的苦难遭遇表示了同情。他对贫苦大众的深厚感情都体现在他那个时期的作品之中。
1945年他回到上海，后来又去香港，在那个时期作了不少抨击国民党反动统治的漫画。他曾经说过：“漫画犹如匕首，可以用来刺穿那个黑暗悲惨的年代！”
解放后，他来到北京，编辑了《人民画报》，又画了不少漫画和书籍插图，设计过各种展览。
在丁聪布置的一次古典小说《红楼梦》的展览会上，我们相识了。他笑眯眯地，像个弥勒佛，兴致勃勃地带着我们看他的那些美术设计。那次展览的大量资料提供了《红楼梦》一书的历史背景，当时的服装和生活用具，甚至包括宫廷科举制度下考场作弊的材料等等。那是我们所见过的一次具有趣味的展览。
1957年丁聪被错划过右派，到北大荒劳改。虽然有时气温低到零下30度，他毫无怨恨情绪，仍保持着自己的幽默。1960年他恢复名誉，到美术馆工作，但在1966年“文化大革命”期间又被送到干校，当上了猪倌。
1979年他恢复自由后，决定要补上所失掉的时间。请他作画的很多，他在许多报纸和刊物上发表漫画，并为不少著名作家如鲁迅、老舍和茅盾等人的小说画了插图。在认真研究这些作品之后，他精心绘制了插图，忠实地反映了作品内容、人物性格和时代特征。
丁聪是一位多才多艺、技巧全面的画家，特别擅长的是漫画和书籍插图。一幅好的插图不仅能反映出作家所说的内容，而且能加深作品的艺术深度。丁聪正是成功地做到这一点。他以画家敏锐的洞察力选出重要的细节，取其精华，而不使人物漫画化。他为这本书所作的插图不仅使人觉得有趣，而且使人深思。他的独特风格和简洁手法是长期探索的果实。
他作画速度惊人，画面简洁明了，而这正是他苦心经营的成绩。
丁聪的老朋友们都叫他“小丁”，这不仅是因为他年少成名，而且是因为他“不失其赤子之心”，为人坦率、真诚、正直。他到哪里，人们都会听到他那爽朗的笑声。他的作品的风格正反映了他本人的性格。
4．丁聪和他的漫画
Ding Cong and His Cartoon
by Yang Xianyi and Gladys Yang
Ding Cong started his career by drawing cartoons and helping to edit film magazines and pictorials，In the interior and Hong Kong he also designed stage sets and costumes，an experience which stands him in good stead when illustrating stories from the past，After the outbreak of the Pacific War in 1942，he went back to the interior and contributed to the exhibition” Hong Kong in Torment．”His travels with a repertory company brought him in touch with social outcasts，whose sufferings he often took as his theme．Thus his "Th
e Red Light District" and other drawings of social phenomena portray the hard life of prostitutes in Chengdu as well as the rampant corruption in wartime China. In recognition of his outstanding work he was made a member of the Modern Art Association.    In 1944 he drew brilliant illustrations for Lu Xun's masterpiece The True Story of Ah Q, satirizing the landlord and Imitation Foreign Devil but showing sympathy for feckless Ah Q, considering him as a victim of his times. This sympathy for the poor and ignorant pervades all his illustrations.
Returning to Shanghai in 1945, and later when he returned to Hong Kong, Ding Cong drew cartoons attacking the Kuomintang's reactionary regime. "Cartoons can be compared to daggers," he said. "Armed with them I have pierced through dark and gloomy times.
After Liberation Ding Cong came to Beijing, became an editor of the China Pictorial, drew cartoons, illustrated stories and helped to design exhibitions. One of our earliest recollections of him is when, like a smiling Buddha, he showed us round the fascinating e
xhibition of the classical novel A Dream of Red Mansions which he had been instrumental in arranging. The wealth of material assembled shed light on the novel and its historical background, the costumes and furnishings of that time, even the tricks resorted to by desperate candidates to cheat in the imperial examinations ….That was one of the best exhibitions we have seen.
In 1957, wrongly labelled as a Rightist, Ding Cong was sent to the Great Northern Waste to work on the land. Though the temperature sometimes dropped to 30 degrees below zero, he never complained but retained his sense of humour. In 1960 he was cleared and given a job in the National Art Gallery. But in 1966 came the "cultural revolution," he was sent to a cadre school and then to the countryside to work as a swineherd.
When rehabilitated in 1979, Ding Cong determined to make up for lost time. His work is in great demand. His cartoons keep appearing in papers and magazines. He has illustrated many books by such famous writers as Lu Xun, Lao She and Mao Dun, as well as many others. After making a careful study of these works he faithfully reflects and illuminates them with his meticulous draftsmanship and his keen sense of character and period.
Ding Cong is an all-round artist but above all a brilliant cartoonist and illustrator. A good illustration should do more than simply reproduce what a writer has said: it should give it a new dimension by adding the artist's insight. This Ding Cong does most successfully, using his cartoonist's eye to select significant details and bring out salient features without drawing caricatures. His illustrations in this book are not merely amusing but forceful and thought-provoking. Over the years he has evolved his distinctive style and simplified his compositions. His drawings can be recognized at a glance. The speed with which he now works is based on painstaking practice.
Ding Cong's old friends still call him Little Ding, not simply because he won fame under this name but because of his lovable childlike qualities. He is frank, enthusiastic and straightforward, full of fun and with no malice in his make-up. Wherever he goes we hear laughter. "The style is the man"--- this applies to both writers and artists.

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