阿童

潘鴻海在2012年1月完成的新作前 Pan stands in front of his newly completed oil painting in January 2012.

今年的早春二月，寒氣逼人。地處繁華地段的上海美術(shù)館內(nèi)，卻是一派暖意盎然景象：巨大的展廳內(nèi)，60余幅油畫筑就了一個美妙的江南夢境；如潮的人流云集展廳，沉浸于氣勢恢弘的“江南”夢里。２月１８日，當(dāng)今中國畫壇江南題材油畫獨樹一幟的代表性人物、年屆七十的浙江畫院名譽院長、著名藝術(shù)家潘鴻海大型作品展“江南憶”隆重拉開帷幕。

水鄉(xiāng)憶戀，織成江南夢

潘鴻海，出生于上海梅隴水鄉(xiāng)小鎮(zhèn)。年少時在蘇州求學(xué)，長大后考入了當(dāng)時的浙江美術(shù)學(xué)院附屬中學(xué)，幾年之后又從浙江美術(shù)學(xué)院油畫系畢業(yè)留杭從事出版工作。后來又到浙江畫院從事美術(shù)創(chuàng)作。從上海到蘇州到杭州，江南最典型的人文地域風(fēng)情給他的青春記憶刻下了不可磨滅的印象。更巧的是，他的姓名都與水有著密切的關(guān)聯(lián)，于是這次的展覽海報也蕩漾著江南的秀水。提起舉辦“江南憶”作品展的初衷，潘先生說：“今年正好是我的70歲生日，我想把我的思鄉(xiāng)情懷和我這輩子的創(chuàng)作，向上海的父老鄉(xiāng)親作個匯報，表達我的感謝?！?/p>

從小生長于江南，被溫潤如水的江南文化浸潤和滋養(yǎng)著的潘鴻海畫中描繪最多的那種白色長裙，其實就是中國古代在江南地區(qū)流傳千年的“西施裙”樣式。為了將這些人文的印象長久保留，他始終以最誠摯的藝術(shù)激情描繪著心中的江南，

STARDOM名家風(fēng)采

筆下的油彩也始終流淌著那一份讓人倍感親切、純凈而又濃烈的江南情韻?！澳菚r，?？吹酱謇锏墓霉脣饗鸫┲t肚兜乘涼，也?？吹剿齻兌酥九枧e著木槌到河邊洗衣，這些小時候的記憶，整個地貫穿在我的創(chuàng)作生命中，我創(chuàng)作這些作品只是想最真切地反映自己的家鄉(xiāng)情懷。 ”

油彩江南，凝鑄中國魂

正如潘鴻海先生所說，最初只是抱著對故鄉(xiāng)的眷戀而創(chuàng)作，無法預(yù)料這一切終將給他帶來什么。自1986年潘鴻海的油畫《囡囡》參加全國展覽并被中國美術(shù)館收藏之后，系列作品《姑蘇行》《江南行》相繼問世，廣受好評，奠定了他自己的藝術(shù)風(fēng)格并逐漸受到收藏家們的熱捧。然而，面對撲面而來的贊美和盛譽，潘鴻海沒有任何張揚和自滿，一直孜孜不倦地探索表達清曠怡人江南風(fēng)景、靈秀溫婉江南風(fēng)情。面對關(guān)于創(chuàng)作動能的各種追問，他只有簡短而有力的幾句話：“我喜歡畫畫，我喜歡畫江南！畫了幾十年，還是畫江南！江南永遠(yuǎn)也畫不完！ ”

潘鴻海畫中的水鄉(xiāng)村鎮(zhèn)，氣息清新，風(fēng)輕光柔，流布著氤氳的水氣和淡雅的朦朧，自然又嫻熟地融入了印象派和西方寫實主義的風(fēng)格。中國美術(shù)學(xué)院院長許江曾說，西方油畫藝術(shù)與中國本土油畫語言的結(jié)合上，潘鴻海作出了突出的貢獻。江

水鄉(xiāng)晨霧 Morning Mist at a River Town, a painting by Pan Honghai

又回外婆家 A Visit to Grandma, a painting by Pan Honghai

南的氣質(zhì)，如同南方那細(xì)極了的雨絲飄逸在西方油畫的厚重且有著強烈的視覺沖撞感的空間。用油畫表現(xiàn)江南，是艱難的油畫本土化命題。數(shù)十年的執(zhí)著追求，潘鴻海本著對江南的最真摯、最細(xì)膩的解讀，探索出了一條唯美、詩意的江南題材油畫創(chuàng)作道路。今天，他筆下呈現(xiàn)的不僅僅是一幅幅鮮活生

良渚玉馨（列入浙江省重大歷史題材美術(shù)創(chuàng)作工程）

This is Pans painting about Liangzhu, a suburb of Hangzhou, where a civilization once prospered. This painting is part of a provincial project to visualize the provinces history.

動的水鄉(xiāng)風(fēng)情圖像，更是一個個癡守住了最深層中國文化內(nèi)涵的江南意境。

從1973年創(chuàng)作的《母女肖像》《紅妝少女》到《搖啊搖》，又從《古儀沉香》系列到《外婆家》，再到歷時一年繪成的巨幅新作《繡江南》……一群群清雅嬌羞、溫婉靈秀的水鄉(xiāng)女子婉約地從畫布中緩步走來……從最初的描情繪景，到后來的敘事達意，他的創(chuàng)作近幾年正發(fā)生著升華。2009年1月，當(dāng)列入“浙江省重大題材美術(shù)創(chuàng)作工程”的《美麗洲良渚——中華文明之光》驚艷于世人的時候，這幅跨越了6000年時空的巨作以不凡的藝術(shù)氣度與深厚文化底蘊，詮釋了一個極富感染力的遠(yuǎn)古文明之下的本色江南。為創(chuàng)作這一巨制，潘鴻?；私荒甑臅r間研究和收集素材，用他自己的話來說“查閱的資料疊起來差不多和身體一樣高”。跑了良渚、嘉興、杭州、上海等地四五個歷史博物館，走訪了當(dāng)?shù)卦S多這方面的研究專家，聽他們介紹良渚的歷史。甚至長時間地站在良渚遺址之上，去體會和感悟遠(yuǎn)古的景象。才終于將這一個宏大的“江南遠(yuǎn)古文明”場景展現(xiàn)在觀眾面前。

這樣的一種藝術(shù)創(chuàng)意精神，與其說是藝術(shù)家在用畫筆描摹江南的鐘靈毓秀，不如說是藝術(shù)家用心靈守望著這一塊充滿詩情畫意的江南人文厚土。

父女情深，傳承藝術(shù)根

在這次“江南憶”展覽上，還有一個吸引人的亮點。潘鴻海的女兒、中國美術(shù)學(xué)院國畫系博士、講師潘汶汛也于同期舉辦了一場個人展覽。與“江南憶”的主題呼應(yīng)，她的同期新水墨國畫展命名為“浣溪紗”。

自幼酷愛繪畫的潘汶汛，沒有因為父親的盛譽而循著江南油畫路子走，她選擇的藝術(shù)創(chuàng)作門類是中國畫。她說，創(chuàng)作之中，她所追求的是線條與筆墨賦予可見形象聯(lián)想之外那更深沉的意味。作為感恩，也作為祝賀，她將自己最新創(chuàng)作的新水墨系列40余幅作品組成一個展覽，為“江南憶”添上一抹空靈、神秘和美妙的清氣。正如潘汶汛曾撰文描述的那樣：“不確定的交換沸騰才是美妙。 ”于是展覽中便飄散著中國藝術(shù)的清氣，由江南油畫中來，在當(dāng)代水墨里彌漫。而我們有理由相信，這一場美妙的展覽，是潘鴻海先生和他的女兒奉獻給江南大地一段可以銘記的佳話。□

Master Paints Dream Scenes

of South

By Ah Tong

A dream of natural and cultural beauty of the south of the Yang-tze River Delta is now on exhibition from February 18 through 26, 2012 at Shanghai Art Gallery. Pan Honghai is the dreamer and the 60-plus oil paintings on display are the dream stuff.

The 70-year-old Pan is the honorary president of Zhejiang Paint-ing Academy and a master of oil painting who works heart and soul to painting the legendary beauty and culture of the river area in the south of the Yangtze River Delta. Born in a river village in a suburb of Shanghai in 1942, Pan studied in Zhejiang Academy of Fine Arts (the predecessor of present-day China Academy of Art) from 1962-1966 after studying at the affiliated middle school of the academy. Upon graduation, he entered a publishing house in Hangzhou and later he joined Zhejiang Painting Academy.

As he has been embraced by the beauty of rivers and ponds of the south all his life, he embraces the beauty in return. It is only natural that his art focuses on the scenes he is familiar with all his life.

In 1986, his painting “Little Girl” received very good critical re-view at a national exhibition and it later went into the collection of China National Art Gallery. This prize-winning artwork became the first of his later successful artistic explorations, which have become popular with audience and collectors.

Pan started painting women in the south of the Yangtze River Delta very early his career. In 1973, he painted portraits of a mother and a daughter. The memories of childhood years in villages and towns became alive in his artistry. In January 2009, he created a huge painting that traced the roots of Liangzhu, prehistoric remains of the 6,000-year-old ancient civilization in a northern suburb of Hangzhou.

His daughter Pan Wenxun, an artist with a PhD degree, does not follow her fathers oil painting style. Instead, she chooses the tradi-tional Chinese painting as the means. She is enamored of the same natural and cultural beauty of the south of the Yangtze River Delta. Her solo exhibition runs in parallel with her fathers solo at the same gallery, featuring the same regional idyllic dream stuff. Her paintings are a series of 40 plus portrayals of the region, dream and reality and a lot of beautiful things between them. □