位于杭州富陽九龍大道上的抱華樓，有著西方建筑的現(xiàn)代感，簡潔的幾何形體造型、拱形的連廊、金字塔式的天窗……但卻透著濃郁的中國江南氣質(zhì)：天青色的外立面，小橋流水，樓里還蓄水養(yǎng)了幾十尾金魚。

2013年6月13日，這棟“中國”的“現(xiàn)代”小樓迎來了一場“藝術(shù)的盛宴”，中西文化在這里交匯，國內(nèi)外友人在這里共聚—由波蘭瑪麗亞·居里夫人大學(xué)、中國藝術(shù)報、浙江省美術(shù)家協(xié)會、浙江工業(yè)大學(xué)藝術(shù)學(xué)院、杭州師范大學(xué)美術(shù)學(xué)院共同主辦的“藝術(shù)無疆—波蘭當(dāng)代繪畫展”隆重開幕，包括版畫、素描、水彩、丙烯等多種形式的50余件波蘭當(dāng)代繪畫作品首次在中國集中亮相。

知名畫家何水法在開幕儀式致辭中說：“每次在國外看到好的藝術(shù)作品，都想帶回來讓暫時無法走出國門的青年學(xué)子也一睹域外藝術(shù)的風(fēng)采，這是我創(chuàng)立抱華樓的初衷之一。我希望能夠以抱華樓為平臺，盡自己所能為國人引進(jìn)更多更好的域外藝術(shù)?！?/p>

浙江省文聯(lián)書記處書記柳國平則對何水法自費引進(jìn)域外藝術(shù)給予了高度評價：“何水法先生已經(jīng)將‘藝術(shù)無疆做成了一個有口皆碑的知名品牌，相信今后‘藝術(shù)無疆也將發(fā)展成我們浙江省的一個重要文化品牌?！?/p>

何水法近兩年來頻繁引進(jìn)國外展覽，以“藝術(shù)無疆”為題的展覽就已經(jīng)舉辦了三屆六次，每一屆都得到了學(xué)術(shù)界的廣泛好評。

第一屆第一次展覽，何水法引進(jìn)了以烏克蘭人民功勛藝術(shù)家安德魯申科為首的利沃夫畫派的60余幅精品佳作，首次將烏克蘭當(dāng)代油畫的多樣性呈現(xiàn)給了中國觀眾。之后不到半年，何水法又策劃了第一屆第二次展覽，將世界三大玻璃藝術(shù)中心之一的烏克玻璃藝術(shù)與有著“人民藝術(shù)家”稱號的畫家弗拉基米爾·巴對克的油畫作品引入中國，引起了中國藝術(shù)界的巨大震撼。絡(luò)繹不絕的觀眾與學(xué)術(shù)界的交口稱贊，又一次印證了展覽的主題“藝術(shù)無疆”。

在引入外來文化的同時，何水法也應(yīng)邀走出國門，將“藝術(shù)無疆”的旗號插上了烏克蘭最高藝術(shù)殿堂—烏克蘭國家藝術(shù)科學(xué)院與波蘭盧布林市政府專用展館。何水法不僅收到了烏中文化研究中心頒發(fā)的“烏中文化交流大使”榮譽(yù)證書，還與波蘭居里夫人大學(xué)校長海洛耶夫、外事部部長馬列亞達(dá)成了開展藝術(shù)交流的合作意向。此次“藝術(shù)無疆—波蘭當(dāng)代繪畫展”是抱華樓何水法美術(shù)館與波蘭方面開展的首個大型合作展覽。

波蘭是一個文化藝術(shù)繁榮發(fā)展的國度，這里走出了音樂家肖邦和諾貝爾文學(xué)獎得主、女詩人辛波絲卡，也是先后獲諾貝爾物理學(xué)獎、化學(xué)獎的居里夫人的故鄉(xiāng)。波蘭在美術(shù)方面也頗多建樹，不僅有著大量優(yōu)美的建筑古跡和傳統(tǒng)繪畫遺存，而且在現(xiàn)當(dāng)代藝術(shù)方面取得了令人矚目的成績，是東歐當(dāng)代藝術(shù)中心之一。此次展覽為中國觀眾提供了一次較為全面了解波蘭當(dāng)代美術(shù)的機(jī)會。

在展覽開幕前兩天，何水法就與居里夫人大學(xué)藝術(shù)學(xué)院院長米哈洛夫斯基、副院長烏拉、教授瑪利亞展開了一次中波藝術(shù)對話，針對波蘭當(dāng)代藝術(shù)與中國藝術(shù)的共通性問題展開了學(xué)術(shù)探討。何水法指出中國畫在注重個性化語言發(fā)展、注重開拓創(chuàng)新、不以真實再現(xiàn)對象為評判作品優(yōu)劣標(biāo)準(zhǔn)等方面與西方當(dāng)代藝術(shù)是相通的，瑪利亞則概括了波蘭當(dāng)代藝術(shù)的特點：“不再是看到什么畫什么，而是想到什么畫什么，注重自我感情的表達(dá)，注重通過畫面向世界訴說情感?！?/p>

據(jù)主辦方介紹，此次展覽注重“專業(yè)性”和“學(xué)術(shù)性”，展出的作品全部出自波蘭居里夫人大學(xué)藝術(shù)學(xué)院以及盧布林美術(shù)研究所的教師之手，包含了傳統(tǒng)的木版畫、石版畫、絲網(wǎng)版畫，還包括新興起的數(shù)碼版畫以及平面設(shè)計作品，并有素描、丙烯、水彩、綜合繪畫等多種藝術(shù)形式，集中展示了波蘭最具代表性的版畫藝術(shù)和平面設(shè)計藝術(shù)，反映了他們的基本風(fēng)貌和整體水平。就這些作品而言，每一位藝術(shù)家都有著自己獨立的藝術(shù)表達(dá)方式，建立起了一個獨立的記錄世界的觀察視角，無論具象、抽象或者符號化了的作品，都是藝術(shù)家在低調(diào)含蓄地表達(dá)自己所理解的詩意的現(xiàn)實。

（本文照片由何一楓、朱鳳娟拍攝）

Borderless Art—The debut of modern arts from Poland in Hangzhou

By Zhu Fengjuan

Baohualou may be the most eye-catching building on the Jiulong Avenue in Fuyang， one of the satellite cities of Hangzhou. Featuring an enchanting combination of traditional Chinese architectural elements and Western modernity crafted by geometric patterns and pyramid-style skylight， the boutique space has become an art hub and is the dream of its owner coming true.

“Baohualou was created with the goal to offer an elite platform to share the global art trends with Chinas young artists who have never got chances to go abroad to feast their eye on the goings on in the international art arena，” said He Shuifa， the owner of the place， in the opening ceremony of a major art exhibition on June 13 this year.

Featuring the latest art trends in Poland， the sumptuous ‘a(chǎn)rt feast is just one of the convincing examples showing how the artist realizes what he calls ‘borderless art in this fine art space and his contribution to a provincial-level cultural brand promoted under the same name.

Baohualou has been the proud host of six exhibitions of such scale and influence in the past two years， all under the theme ‘borderless art.

The first exhibition of the series featured the works by Andrew Atroshenko， one of the most prominent artists from Ukraine， and was considered the debut of the modern oil paintings of Ukraine in China. The exhibition was soon followed by the glass art show from Ukraine， one of the worlds top three glass art palaces， and the works by the most famous oil painter of Ukraine.

He Shuifa also brought ‘borderless art outside of China and raised the flag at the most prestigious art palace in Ukraine， which earned him the reputation of ‘Sino-Ukraine art ambassador and led to more high-end cooperation in the art fields between the two countries.

Poland has long been proud of its culture and art. It is the homeland of Chopin and nurtured such shining figures as the Nobel Prize laureate Wislawa Szymborska and Madame Curie. It also stands out in the world art scene for its unrivaled architectural and art heritages. Poland has long been one of the art hubs of modern art in Eastern Europe.

In a warming-up seminar held two days ahead of the opening of the exhibition at Baohualou， He Shuifa talked to several artists from the Art School of Madame Curie University about what the artists of the two countries share in their pursuits， pointing out that modern artists in the two countries share a lot in creativity， a noticeable focus on individualized styles in the artistic interpretation， and flexibility in evaluating the quality of art works.

His conclusion was echoed by Marie， a professor from the university， who summed up the modern trends of the modern art of Poland by saying： “Polish artists today are not painting what they see， but are portraying whats in their imagination. They are expressing feelings..”

The exhibition in June showed a high professional and academic level. Covering a wide range of artistic genres such as woodcut， lithograph， graphic design， pencil sketch， propylene drawing， water color and digital printmaking， all the works on display are crafted by the masterful hands and brushes of the teachers in the Art Department of Madame Curie University and Lublin Art Institute， showing the cream of modern art in Poland and the charismatic style of each participating artist.