Western Master Painting Unveiled at Tsinghua University Art Museum

西方繪畫大師作品亮相清華藝博

10月22日至12月23日，60幅享譽(yù)世界、蜚聲藝壇的藝術(shù)大師的作品集中亮相在清華大學(xué)藝術(shù)博物館舉辦的“西方繪畫500年——東京富士美術(shù)館館藏作品展”上，一幅16至20世紀(jì)西方藝術(shù)發(fā)展的歷史畫卷徐徐展開。

展覽以時間為敘事主線，流派為發(fā)展形態(tài)，分個性發(fā)現(xiàn)與人文闡揚、華彩樂章與懷古幽情、古典理性與浪漫情感、真實鏡像與光色建構(gòu)、純粹觀念與混雜多元五個單元，展現(xiàn)了西方藝術(shù)500年的發(fā)展歷程，可謂是“一部濃縮的西方藝術(shù)史”。

China-Japan Art Exchange Exhibition Displays Ink-painting from Both Countries

中日美術(shù)交流聯(lián)合展展中日水墨

From October 22ndto December 23rd, 60 pieces of art masters with worldrenowned reputation have been unveiled at the Tsinghua University Art Museum's "500 Years of Western Painting - Tokyo Fuji Art Museum Collection Exhibition", a historical picture of the development of Western art from the 16thto the 20thcenturies began to unfold for the public.

Taking time as the main line of narrative, development form as the genre, the exhibition is divided into five parts: individuality and humanity, wonderful chapters and nostalgia, classical rationality and romantic emotion, real mirror and light-colored construction, pure concept and mixed diversity,demonstrating the development of 500-year Western art,considered as "A condensed history of Western art".

11月22日至12月24日，由北京畫院、日本南畫院聯(lián)合主辦的“第十回·中日美術(shù)交流聯(lián)合展”在北京畫院美術(shù)館舉辦。

展覽共展出兩院藝術(shù)家近年力作7 5幅，作品均以水墨為材料，藝術(shù)家從不同角度取材表現(xiàn)眼中的山水、人物、花鳥。作品范圍廣泛，充分詮釋出水墨畫在不同的文化語境里的獨特風(fēng)采。中國畫與日本南畫雖然呈現(xiàn)出不盡相同的風(fēng)格面貌，但是它們同屬于東方水墨藝術(shù)的大范疇之中，同樣講求筆墨布白，抒寫意趣，意境空靈，各呈異彩。展覽把水墨藝術(shù)的探索擴(kuò)展到了兩國藝術(shù)家之間的交流切磋、合作探索，形成合力，共同致力于水墨畫在當(dāng)代的繼承與創(chuàng)新的實踐探索。

Written on Skin:Artists Themselves Create the Tree of Life

《切膚之痛》 ：“藝術(shù)家自造了生命之樹”

10月23日，《切膚之痛》半舞臺版在北京保利劇院上演，作為亞洲首演，該劇也在首都舞臺上掀起了觀演熱評。

此次上演的半舞臺版《切膚之痛》的一大亮點是對玻璃鐘琴、古大提琴（維奧爾琴）等古樂器的使用。玻璃鐘琴的音色如水銀瀉地，但這種樂器多用于室內(nèi)樂的創(chuàng)作，在大編制的交響樂隊中很難獲得一席之地。古大提琴因其柔和的音色以及有限的音量，在17世紀(jì)之后難以適應(yīng)編制擴(kuò)大的樂團(tuán)和露天演奏而逐漸消隱。然而，喬治·本杰明在《切膚之痛》中卻用現(xiàn)代音樂的技法賦予了這兩種古老的樂器以新生。

On October 23rd, the semi-stage version ofWritten on Skinwas staged at the Poly Theatre in Beijing. As its premiere in Asia, the show also starts as a heated topic on the capital stage.

One of the highlights of the semi-stage version ofWritten On Skinwas the use of ancient instruments, such as the glass carillon and the ancient cello (Viol). The sound of the glass carillon is like flowing mercury diarrhea, but this kind of instrument is mostly used for the creation of chamber music, and it is quite difficult for it to gain a certain place in the large-scale symphony orchestra. Due to its soft tone and limited volume, the ancient cello gradually disappeared after the 17thcentury as it was most difficult to adapt to the enlarged orchestra and openair performance. However, George Benjamin employed the techniques of modern music to give a brandnew birth to these two ancient instruments via theWritten On Skin.

From November 22thto December 24th, the "Tenthround · China-Japan Art Exchange Exhibition", jointly co-organized by Beijing Fine Art Academy and Japan Nanga Institution has been held at the Art Museum of Beijing Fine Art Academy.

The exhibition has displayed a total of 75 pieces by renowned artists from both institutes in recent years. With the same ink materials, the artists use different angles to express the landscape, characters, flowers and birds in their eyes, the wide range of which has comprehensively explained the unique style of ink-painting in different cultural contexts.Although the Chinese paintings and Japanese Nanga have different styles, they belong to the same category of oriental ink art, emphasizing the overall plan,expression of sentiment and their spirits with unique wonders. The exhibition extends the exploration of ink art to the exchanges and cooperation between artists of the two countries, cooperating with joint efforts in the practical exploration of inheritance and innovation of ink painting in the contemporary era.