2024 艺术无限 · Art Infinity

西学东渐 Western Wisdom Embraces the East

二十世纪初，中华民族在救亡图存中崛起，留学西方成为有志之士的抱负舞台。在法国，社会主义思潮和艺术黄金时代吸引了众多中国青年艺术家。他们勤奋学习，与西方大师共鸣，回国后为中国现代艺术贡献创新力量。本部分展览精选了十一幅跨越东西方文化交融的现当代艺术作品，从潘玉良、林风眠到钟铃、申烟田，这些作品不仅体现了艺术家们对西方艺术的深刻理解和独特诠释，也融入了他们对中国传统文化的热爱与传承。从经典到创新，从东方到西方，让我们一同品鉴这些佳作，感受东西方艺术之间的碰撞与融合，以及艺术家们对于艺术的执着追求和创新精神。

China's national revival in the early twentieth century propelled its scholars to the West. France, with its vibrant socialist ideas and artistic renaissance, became a magnet for young Chinese artists. They absorbed the teachings of Western masters and, upon their return, rejuvenated Chinese art with fresh perspectives. This exhibit presents eleven pieces that meld contemporary Eastern and Western artistic influences. From Pan Yuliang to Lin Fengmian, Zhong Ling, and Shen Yantian, these works showcase a profound grasp of Western art, a reinterpretation through a Chinese lens, and a heartfelt continuation of their own cultural heritage. Experience the dialogue between East and West and witness the artists' dedication to the evolution of art.

作者介绍 | Artist

潘玉良（1895—1977年）

Pan Yuliang

本名张世秀，字玉良，中国著名油画家、雕塑家。潘玉良在法国先后就读于里昂国立美术学校（Beaux-arts de Lyon）、巴黎国立高等美术学校（Beaux-arts de Paris），后又于1925年底考入意大利罗马国立美术学院（Accademia di Belle Arti di Roma）。其艺术风格在西方与东方、传统与现代、大男子主义和新兴女权主义的共存和冲突之中发展而来。

Also known as Zhang Yuliang, is remembered as the first woman in China to paint in the Western style. Despite being remembered for introducing Western paintings to China, she also provided a new lens to how women were seen through her paintings, not just as objects but as subjects. Her art evolved within the flux of conflicting dichotomies of East and West, tradition and modernity, male chauvinism and emerging feminism.

林风眠（1900—1991年）

Lin Fengmian

原名林凤鸣，广东梅州梅江区人，中国画家暨教育家，中国近现代美术的启蒙者和融合中西的中国现代绘画开创者之一，与颜文梁、徐悲鸿和刘海粟并称“四大校长”。1918年后赴法国巴黎高等美术学校留学，受当时流行的现代流派影响，如后印象主义和野兽主义等。1928年创立杭州国立艺术院（现为中国美术学院），任校长兼教授。担任杭州国立艺术院院长期间，林风眠和方干民与吴大羽同为著名的三位西画系教授。

Lin Fengmian, originally Lin Fengming, was a Chinese painter and is considered a pioneer of modern Chinese painting for blending Chinese and Western styles, he was one of the earliest Chinese painters to study in Europe. He was also an important innovator in the area of Chinese art education. He was one of the pioneers of Chinese modern art, who earned the title of "The Four Great Academy Presidents".

钟玲

Zhong Ling

钟铃，毕业于中央工艺美术学院，后在北京建筑大学教授素描和色彩基础课。他在大学艺术基础教育事业里不断探索；在影视、广告表演领域里继续发展；在健美、健身运动中持续努力。他喜欢在这些看似无关的行业中探索它们的内在联系，他追求生活与艺术行为的相互交融。钟铃以他独特的思考和行为方式，在新一代水彩艺术家中独树一帜、别具一格。

Zhong Ling, a graduate of the Academy of Arts & Design， Tsinghua University, taught sketching and introductory colour courses at the Beijing University of Civil Engineering and Architecture. He explores the connection between seemingly unrelated industries and seeks the integration of life and artistic behaviour. Zhong Ling's unique thinking and approach make him stand out among the new generation of watercolour artists.

申烟田（1962年—）

Shen Yantian

申烟田，祖籍河北。1987年毕业于山东工艺美术学院。2000年在纽约举办申烟田画展；2001年在东京举办“申烟田油画展”；2002年在悉尼举办“申烟田画展”；2009年参加“北京经典艺术博览会”。

Shen Yantian is a Chinese Asian Modern & Contemporary artist.

刘海粟（1896-1994年）

Liu Haisu

原名刘槃，字季芳，号海翁，室名艺海堂、存天阁，江苏武进（今属常州市）人，中国书画家，艺术教育家。专长国画、油画、书法、诗词。刘海粟与颜文梁、林风眠和徐悲鸿并称“四大校长”。1912年11月与乌始光、张聿光在上海创办现代中国第一所美术学校“上海国画美术院”任校长，并取苏轼“渺沧海一粟”词意，改名“海粟”。首创男女同校，采用人体模特儿和旅行写生，被责骂为“艺术叛徒”，但得蔡元培等学者支持。1918年到北京大学讲学，并举办第一次个人画展。1919年到日本考察美术教育，回国后创办天马会。刘海粟先生是我国近代美术教育的开拓者与奠基人，是誉满中外的美术教育家。他学贯中西，艺通古今，在中国画、油画、书法以及诗词、美术理论方面都有卓著成就，是20世纪中国杰出的艺术大师。

Liu Haisu, born Liu Pan and also known as Ji Fang, with the sobriquets Haiweng and his studio names Yihaitang and Cuntiange, was a notable figure from Wujin, Jiangsu Province (now part of Changzhou City), China. A renowned painter and art educator, he excelled in traditional Chinese painting, oil painting, calligraphy, and poetry, earning him a place among the "Four Great Principals" with contemporaries Yan Wenliang, Lin Fengmian, and Xu Beihong. In November 1912, Liu co-founded the Shanghai Chinese Art Academy—the first art school of modern China—where he served as the principal, innovating art education by promoting coeducational platforms, utilizing live models, and encouraging outdoor painting endeavors. Although critiqued and labeled an "art traitor," he garnered the support of intellectuals like Cai Yuanpei. After his tenure at Peking University in 1918 and his subsequent art educational reconnaissance in Japan in 1919, he returned to China and established the Tianma Society. Revered as a founder and an influential force in contemporary Chinese art education, Liu Haisu's legacy extends far beyond his home country, marking him as an eminent art master of the 20th century.

徐悲鸿（1896-1953年）

Zhong Ling

原名徐寿康，男，江苏宜兴人，中国现代画家、美术教育家，兼擅油画及水墨画。中国现代美术的奠基者，与颜文梁、林风眠和刘海粟并称“四大校长”。徐悲鸿是油画“民族化”的重要推动者，也是中国现代美术教育的奠基人，他主张熔国画的笔墨韵味和西画技法于一炉，倡导对造型结构和光线色彩有着精准的把握，并且强调作品精神内涵。他以绘画技术和“改良传统中国画”的艺术观点在近现代美术画坛中独树一帜，对中国近现代美术发展有深远的影响。

Originally named Xu Shoukang, Xu Beihong was a man from Yixing, Jiangsu Province, and a luminary in modern Chinese painting. A master in both oil and ink painting, Xu was pivotal in laying the foundations for China’s modern art alongside Yan Wenliang, Lin Fengmian, and Liu Haisu—collectively known as the "Four Great Principals". A significant proponent for the nationalization of oil painting, Xu also stood at the vanguard of modern Chinese art education. He advocated for a harmonious blend of the traditional Chinese brushwork with Western painting techniques, emphasizing a precise understanding of form, structure, and the interplay of light and color, while underlining the spiritual essence of art. His artistic perspectives on painting techniques and "reforming traditional Chinese art" carved out a distinctive niche for him in the modern art world, exerting a profound influence on the development of modern and contemporary Chinese art.

傅抱石（1904-1965年）

Fu Baoshi

原名长生，学名瑞麟，字庆远，号抱石斋主人，生于江西南昌赐福巷（四府巷），祖籍袁州府新喻县，中国近代画家与美术史论家。江苏省国画院院长、中国美术家协会副主席。擅画山水、人物。崇尚创新，建树良多，创造出用笔有直有根、有折有圆、粗细、轻重、虚实变化万干的山石鼓法——抱石鼓。用笔洗炼、着重气韵，章法结构别出心裁，线条纵逸挺秀，设色沉浑质丽，善于把水、墨、色融为一体。

Born Changsheng and academically known as Ruilin, with the courtesy name Qingyuan and the artistic sobriquet 'Master of the Baoshi Studio', he originated from Cifu Alley in Nanchang, Jiangxi Province, and traced his ancestry to Xinyu County in Yuanzhou Prefecture. As a distinguished painter and art theorist of modern China, he served as the Director of the Jiangsu Provincial Academy of Chinese Painting and as the Vice President of the China Artists Association. Proficient in both landscapes and figure paintings, he was a staunch advocate for innovation, making significant contributions to the field. He pioneered the 'Baoshi Wrinkle' technique for depicting rocks, characterized by a dynamic interplay of lines—alternating between straight and anchored or bent and rounded—and masterful variations in thickness, weight, and textural contrast. His brushwork was marked by its refined elegance, with a focus on the vitality of the spirit. His compositions were thoughtfully crafted, with lines that conveyed a poised and vigorous beauty, and a palette that was deep and lustrous. He was particularly skilled at seamlessly blending water, ink, and pigment.