文克勞迪奧·斯特里納蒂

山林云水圖系列-日映嵐光輕鎖翠（油畫） 陳鈞德Series of Mountains and Rivers--- Green Mountain After Rains (Oil painting) CHEN Junde

歷史就像鐘擺從一側(cè)擺動到另一側(cè)。

18世紀時，歷史這個在中國和歐洲文化之間搖擺的鐘擺，曾在一個方向上非常精確地擺動：我們所稱之為的“中國風”，作為一種真正的風尚，被傳播到了西方世界。最重要的是，清漆家具——這種家具裝飾著別具中國文化和生活個性的場景及人物——的風尚，在包括意大利在內(nèi)的無數(shù)西方文化中流行。在18世紀的威尼斯、米蘭和都靈，我們發(fā)現(xiàn)了大量的中國風家具和帶有中國人生活場景的掛毯。在音樂、戲劇和文學(xué)中，也經(jīng)常出現(xiàn)來自中國的人物，或是受中國文化的啟發(fā)從而被創(chuàng)造的人物。來自中國的風潮因其雅致、優(yōu)美讓整個世界為之著迷，尤其深深地吸引了貴族階層。但還不僅于此。威尼斯旅行家馬可·波羅于14世紀抵達中國，并在其創(chuàng)作的暢銷書中講述了他在東方的冒險經(jīng)歷以及他對中國這個美妙而迷人的世界的了解，現(xiàn)在這本書在西方國家中依然流行。在他的記錄中，中國的藝術(shù)和科學(xué)都非常先進，像他這樣見多識廣的威尼斯商人也從未停止過對其所經(jīng)歷的新鮮奇妙事物感到驚訝。

接著，在兩個多世紀后的17世紀和18世紀之間，許多意大利傳教士曾踏足中國，其中包括著名的利瑪竇以及其他許多與他同時期或稍晚于他的傳教士們。這些傳教士十分成功地融入了中國的生活，他們也了解怎樣才能夠在歐洲和中國之間找到和諧的連接、了解這個連接將會給世界帶來怎樣的變化。盡管講著迥異的語言，社會習(xí)慣也不盡相同，但兩個偉大的帝國最終卻能夠相遇并融合。

然而，出于對知識、科學(xué)、技術(shù)和政治以及對美術(shù)的熱愛，出于對生命一致的熱忱，出于對更富饒且富有成果的生活體驗，兩個看起來如此不同又相距甚遠的國度仍然緊密地聯(lián)系在了一起。

思索這些偉大的大師是如何生活在普世藝術(shù)史上的一個階段，是令人動容的。在他們的藝術(shù)中，人類精神的一些基本價值輕易且急迫地從一種傳統(tǒng)模式之下轉(zhuǎn)化至另一種傳統(tǒng)之下，與此同時，這一轉(zhuǎn)化既沒有使其自身文化的起源失去任何的原始意義，又突如其來地在意料之外的某些方面豐富了自身。

我們當然可以堅持認為，在很多情況下，我們在很多肖像畫中看到的精神和道德張力源于儒家思想——這種明確地滲透在中國文化方方面面的思想——對西方油畫的深刻同化；但同樣可以肯定的是，中國文化在西方思想的某些方向上找到了一個與其直接且完美的交匯點。這些西方思想可以追溯到基督教傳播之前古希臘時期的柏拉圖，并已經(jīng)融入了我們當前的價值體系。因此，一個共同的根源可以讓中國藝術(shù)家?guī)е@種感情和尊重進入我們的世界，而只有藝術(shù)才能在更普遍的社會辯論中實現(xiàn)這種感情和尊重。

中國文化以其最核心的價值觀為特征，并導(dǎo)致了與西方世界激烈且深刻的交流。中國文化不再被視為遙遠的或是被誤讀，而是在許多方面與西方靠近并共享其理念，同時不以任何方式放棄其更深刻和真實的根源。這事關(guān)融合與對話，而不是歸屬或模仿。

當代中國藝術(shù)家的個性都非常強烈，雖然其目的有著深刻的一致性，但風格卻各不相同。他們的風格范圍十分廣闊，從著重強調(diào)模仿高超技術(shù)的自然主義、20世紀七八十年代美國最強大的超現(xiàn)實主義到象征主義、抽象風格乃至波普藝術(shù)。即使這些藝術(shù)家都是學(xué)院派畫家，但他們的風格仍然能夠體現(xiàn)出個人品味和個體體驗的多樣性，并分享其所屬傳統(tǒng)具有的文化前提。

如果將中國幾千年的漫漫歷史與我們的歷史擺在一起比較，它的劃分里并沒有與我們的時期——諸如巴洛克的文藝復(fù)興、新古典主義——直接對應(yīng)的階段。對于西方人而言，藝術(shù)史的所有方面都具有深遠的意義，但對于一個中國知識分子來說，“文藝復(fù)興”一詞或許已經(jīng)包含了那段時期內(nèi)藝術(shù)變化的所有細微差別。

置身于杰出的中國作家的視角之下，顯然不是只有一個西方傳統(tǒng)文化可以與之對抗和較量——與法國、德國、俄羅斯以及斯堪的納維亞世界相比，和意大利文化的對話是截然不同的。我所舉例這些文化，是因為這些藝術(shù)家在學(xué)術(shù)環(huán)境中形成的宏大的具象藝術(shù)傳統(tǒng)，這些藝術(shù)家對歐洲和美國的多元化的具象藝術(shù)傳統(tǒng)有清晰的認知，他們對這種傳統(tǒng)非常感興趣，甚至有時會表達出自己敏銳和成熟的批評。

我們注意到在當代中國藝術(shù)領(lǐng)域有一個奇特的特征，即藝術(shù)家對微觀、細枝末節(jié)、日常生活中大多未被注意的細節(jié)具有敏銳的關(guān)注，其實它們是人類情感最核心的組成部分，是藝術(shù)家通過能力和愛來識別和突出描繪的人類情感最核心的部分。

一組宏大的人物繪畫在我們眼前展開，畫中每一個角色都代表著自己，同時又超越其個體而構(gòu)成一種普遍的象征。從這個意義上說，今天的藝術(shù)參考文藝復(fù)興時期的藝術(shù)是合理的。因為文藝復(fù)興時期的一個重要特點是即時和自發(fā)的聯(lián)合，但又是由藝術(shù)和科學(xué)之間的嚴格調(diào)解所產(chǎn)生而來。事實上，藝術(shù)家是其代表的才能領(lǐng)域的科學(xué)家，但最重要的是，藝術(shù)作品是對人類和自然進行科學(xué)調(diào)查的結(jié)果。

毫無疑問，來源于中國傳統(tǒng)的每一種藝術(shù)形式的獨特之處，始終是對生命的最終意義以及存在本身的意義探索。一方面，西方世界在其藝術(shù)和哲學(xué)創(chuàng)作中確實深刻地得到了滋養(yǎng)，但總是與其他的關(guān)注以及表達形式混合在一起。另一方面，在中國，也許在儒家思想的基礎(chǔ)上，這種藝術(shù)和感知的獨特之處一直在哲學(xué)、文學(xué)和繪畫領(lǐng)域處于最首要的位置。

大漠晚風（油畫） 王克舉Night Wind in Dessert (Oil painting) WANG Keju

很明顯，當代中國油畫家從來沒有一絲一毫地放棄這一前提條件，這個前提條件強烈地刻畫了古代中國和現(xiàn)代中國特征，但我們可以這么說，中國油畫藝術(shù)家甚至將這一前提嫁接到西方文化主干之上。但另一方面，西方文化控制著這些前提條件，不讓它們過多地出現(xiàn)。

從這個意義上說，中國油畫里關(guān)于風景甚至是靜物或室內(nèi)的繪畫作品都十分典型。很明顯，我們的意圖是在我們周圍的環(huán)境中投射我們的精神狀態(tài)，這是大部分作品中的一個明顯狀況。這使得我們能夠理解這些繪出具有極高內(nèi)在質(zhì)量的繪畫的作者是如何體現(xiàn)其中國人身份的。

形象表現(xiàn)與書法之間的古老關(guān)系是歐洲西方藝術(shù)不了解或不甚了解的純粹中國特色。這也是中國油畫不可忽視的一個方面：古代書法藝術(shù)的影響嵌入了堅實且自然主義結(jié)構(gòu)的西方現(xiàn)實主義之中。我們面對的是一個非常現(xiàn)實的繪畫世界，但它卻像在最遙遠和卓越的中國傳統(tǒng)中那樣，是被“書寫”而成的。有時候這些繪畫看起來像地理地圖，有時候又會給人一種清晰的感覺，像是跟隨著畫家工作，從一個非常近距離的視角轉(zhuǎn)移到非常遠的視角。

畫家，無論在歐洲還是在中國的傳統(tǒng)中都扮演著探索者的角色，但又有著顯著的差異。此次，我們“遇到”了一些畫家，他們的現(xiàn)實主義力量似乎超越了20世紀七八十年代美國超現(xiàn)實主義的最膽大妄為的表述；此外，我們還“遇到”了一些藝術(shù)家，他們的風格似乎仍與那些古代的畫家相連，他們在紙上繪出一個單一的符號，然后誘惑那些觀察作品的人使用自身思維的回想能力去思考畫面。

總的來說，我們面臨著一個真實的時間交匯，世界文明史上成果最豐碩的時刻往往是以此為基礎(chǔ)的。

交響藍白黑（油畫） 聞立鵬Symphonic Blue White Black (Oil painting) WEN Lipeng

晚年黃賓虹（油畫） 靳尚誼Huang Binhong in Later Years (Oil painting) JIN Shangyi

History is like a pendulum swinging from one side to the other.

In the 18thcentury,history,the pendulum swinging between the Chinese and European culture,swung very precisely in one direction: what we call the "Chinese Style",as a true fashion,it was spread to the Western world.Most importantly,the lacquer furniture,decorated with scenes and characters of Chinese culture and individuality,is popular in countless Western cultures,including Italy.In Venice,Milan and Turin in the 18thcentury,we have found a lot of Chinese furniture and tapestries with Chinese life scenes.In music,drama and literature,people from the Chinese world,or people inspired by Chinese culture,are often created.The trend from China has fascinated the whole world because of its elegance and beauty,especially the aristocratic class.What's more,Venice traveler Marco Polo arrived in China in the 14thcentury and described his adventures in the East and his understanding of China's wonderful and fascinating stories in his best-selling book.Books are still popular in the Western world.In his record,China's art and science are very advanced,and the well-known Venetian merchants like him have never stopped to be surprised by the new and wonderful issues they have experienced in this country.

江水與石頭的書（白鶴梁）（木板上布底油畫并用多種材料）鐘涵River and Stone Books (Bai Heliang) (Oil painting on the board by using a variety of materials) ZHONG Han

Then,over two centuries between the 17thand 18thcenturies,many Italian missionaries have set foot in China,including the famous Matteo Ricci and many other missionaries who were at the same time or later than him.They have been very successful in integrating into Chinese life.They also knew how to find a harmonious connection between Europe and China and understood how this would change the world.Despite the strange language and social habits,the two great empires could finally meet and merge.

However,out of passion for knowledge,science,technology,politics and art,for the enthusiasm for life,and a more productive and fruitful life experience,two great countries that look so different and far apart still closely linked together.

It is much moving to think about how these great masters lived in a stage in the history of universal art.In their art,some of the basic values of the human spirit are easily and urgently transformed from one traditional mode to another,while at the same time,this transformation does not lose any of its own cultural origins' primitive meaning,and suddenly,enriches itself in some unexpected ways.We can,of course,insist that,in many cases,the spiritual and moral tensions we admire in many portraits stem from Confucianism,the idea that is clearly infiltrated in all aspects of Chinese culture,the profound assimilation of Western oil paintings; But it is also certain that Chinese culture has found a direct and perfect intersection in some direction of Western thought,which can be traced back to Plato in ancient Greece before the spread of Christianity,and have been integrated into our current value system.Therefore,a common source allows Chinese artists to enter our world with this feeling and respect,and only art can achieve this feeling and respect in more general social debates.

The Chinese culture is characterized by its core values and has led to intense and profound exchanges with the Western world.It is no longer considered as distant or misunderstood,but in many ways close to the West and share its ideas,while not giving up its deeper and more real roots in any way.It's about integration and dialogue,not attribution or imitation.

The contemporary Chinese artists possess strong personality.Although the purpose is profoundly consistent,the styles remain quite different,showing wide range with emphasis on naturalism that mimics superb technology,from the most powerful surrealism in the United States in the 1970s and 1980s to symbolism,abstraction and even pop art.Even though these artists belong to old-schooled categories,their style can still reflect the diversity of personal tastes and individual experiences,and share the cultural premise of their own traditions.

If we compare the long history of China for thousands of years with ours,there is no stage in its division that directly corresponds to our period,such as the Baroque Renaissance and neoclassicism.For Westerners,all aspects of art history have far-reaching significance,but for a Chinese intellectual,the term"Renaissance" may already contain all the nuances of artistic change during that period.

Under the perspective of outstanding Chinese artists,it is clear that there is not only one Western traditional culture that can compete with it; comparing with France,Germany,Russia and Scandinavia,the dialogue with Italian culture is strangely different.The cultures I have exemplified are because of the grand figurative artistic traditions that these artists have formed in the academic environment.They have a clear understanding of the diverse figurative art traditions of Europe and the United States,and it has raised strong interests from them,and sometimes they even express their keen and mature criticism.

We have noticed that there is a peculiar feature in the field of contemporary Chinese art,that is,artists have a keen attention to microscopic,fine-grained and mostly unnoticed daily life.In fact,they are the core component of human emotions.It is the most central part of human emotions identified and highlighted by artists through their capacity and passion.

A group of grand figures are unfolding in front of our eyes.Each character in the painting represents itself and at the same time transcends its individual to form a universal symbol.In this sense,today's art is reasonable in reference to the art of the Renaissance,as an important feature of the Renaissance was the combination of instance and spontaneity,but it was also created by strict mediation between art and science.In fact,artists are scientists in the field of talent that they represent,but most importantly,works of art are the result of scientific investigations of humans and nature.Art is a study of the essence,and all the artists in this exhibition are researchers who study the essence.This can be found and traced,and more often,on the invisible and unknowable edge.

Undoubtedly,the uniqueness of each art form derived from Chinese tradition is always the exploration of the ultimate meaning of life and the meaning of existence itself.On one hand,the Western world is indeed deeply nourished in its artistic and philosophical creations,but it is always mixed with other concerns and expressions.On the other hand,in China,perhaps on the basis of Confucianism,this uniqueness of art and perception has always been at the forefront of philosophy,literature and painting.

Obviously,they contemporary Chinese oil painters have never given up this precondition,which strongly depicts the characteristics of ancient and modern China,but we can say that the Chinese oil painting artists even grafted this premise to the western cultural backbone.However on the other hand,the Western culture controls these preconditions and prevents them from appearing too much.

In this sense,the Chinese oil paintings are typical of landscapes and even still life or indoor paintings.Obviously,our intention is to project our mental state in the environment around us,which is an obvious condition in most works,which allows us to understand how these painters' works with extremely high intrinsic qualities reflect their Chinese identity.

盛裝的塔吉克姑娘阿依古麗（油畫） 全山石Dressed Tajik girl Ayi Guli (Oil painting) QUAN Shanshi

The ancient relationship between image expression and calligraphy is a purely Chinese feature that European Western art does not know much or understand,also an aspect that Chinese oil painting cannot ignore: the influence of ancient calligraphy art is embedded in Western realism with a solid and naturalistic structure.We are faced with a very realistic world of painting,but it is "written" as in the most distant and remarkable Chinese tradition.Sometimes these paintings look like geographical maps,sometimes giving people a clear feeling,like following painters to work to move from a very close perspective to a very far perspective.

Painters,both in Europe and in the tradition of China,play the role of explorer,but there are significant differences amongst them.This time,we "encountered" some painters whose realism seems to transcend the most daring expression of American surrealism in the 1970s and 1980s; In addition,we have also"encountered" some artists whose styles still seem to be connected with the ancient peers,who draw a single symbol on paper and then tempted those who observe the work to use their own thinking ability.

In general,we are faced with a real time convergence,and the moments of abundant and fruitful achievements in the history of world civilization are often based on this.

黃河（油畫）段正渠The Yellow River (Oil painting) DUAN Zhengqu