孫國(guó)維

中共十九大勝利閉幕后，北京文藝舞臺(tái)好戲連臺(tái)。繼北京人藝在首都劇場(chǎng)由何冰、宋丹丹、濮存昕、楊立新和徐帆五大主演聯(lián)袂登場(chǎng)的京味話劇《窩頭會(huì)館》受到熱捧之后，德國(guó)交響樂團(tuán)在中山公園音樂堂奏響了貝多芬作品以紀(jì)念他逝世190周年。電視連續(xù)劇《急診室醫(yī)生》正在熱播，央視網(wǎng)音樂頻道則在現(xiàn)場(chǎng)直播《長(zhǎng)相知——中國(guó)古典詩詞音樂會(huì)》。更吸引眼球的還是在中國(guó)美術(shù)館舉辦的《“滄海一粟——?jiǎng)⒑Ｋ谒囆g(shù)展》。

畫盡神州尤愛黃山奇景

這次展覽共展出101幅大師的書畫作品。涉及多種題材和風(fēng)格，是近年來劉海粟作品難得一見的全面回顧。展覽共分三個(gè)篇章：（一）“我欲騰云上天都”。展出28幅黃山作品。其中，11幅是油畫，17幅是潑墨潑彩；（二）“今日荷花別樣紅”。包括34幅以花鳥山水為主的中國(guó)畫和2幅書法；（三）“神州盡在彩霧中”包括中國(guó)各地風(fēng)景的37幅油畫。

劉海粟對(duì)黃山情有獨(dú)鐘。一生中最重要的作品也以黃山為主要題材。他一生曾經(jīng)十上黃山，成為旅游和美術(shù)界的美談。他愛黃山成癖。他描述黃山為“天下絕秀”：千峰萬嶂，干云直上，不傲不附，如矢如林，幽深險(xiǎn)怪，詭奇百變。他的代表作就是《黃山云海奇觀》和《披著狐皮的姑娘》，后者是他的第三任妻子?？梢娝麗埸S山如同嬌妻。1982年，他第九次上黃山，作詩歌頌黃山道：“黃山七十有二峰，峰峰削出青芙蓉，天風(fēng)海濤曲未終，澗泉鳴樹風(fēng)鳴松?！眲⒑Ｋ谂c黃山之緣跨度長(zhǎng)達(dá)70年之久。從寫意到創(chuàng)造，從“昔我?guī)燑S山”到“今做黃山友”。畫家與表現(xiàn)對(duì)象由神遇而跡化，成為不分你我的整體。

傳奇經(jīng)歷鑄就藝壇大師

展覽特意介紹了海翁的生平及其傳奇經(jīng)歷。他姓劉名海粟，字季芳，號(hào)海翁。別署靜遠(yuǎn)老人，存天閣主。生于1896年3月16日，祖籍江蘇常州，卒于1994年8月7日，屬于跨世紀(jì)老人。他的藝術(shù)遺產(chǎn)十分豐富，人生閱歷尤其可貴。他是我國(guó)上個(gè)世紀(jì)涌現(xiàn)的“百年巨匠”中極負(fù)盛名的畫家和美術(shù)教育家。1912年創(chuàng)辦上海圖畫美術(shù)院（后改為上海美術(shù)?？茖W(xué)校），1949年任南京藝術(shù)學(xué)院院長(zhǎng)。早年學(xué)油畫，風(fēng)格倉古渾雄，兼學(xué)國(guó)畫，線條有剛勁鐵骨之力。后又潛心于潑墨畫法，走筆龍蛇，彩墨縱橫，在美術(shù)界樹一代新風(fēng)。曾擔(dān)綱上海藝術(shù)家協(xié)會(huì)主席和中國(guó)美術(shù)家協(xié)會(huì)顧問。

1914年，年僅19歲的劉海粟在他創(chuàng)辦上海美專破天荒地開設(shè)了人體寫生課，起初雇用男模特，后來啟用女模特，輿論大嘩。1917年，舉辦上海美專成就展覽會(huì)，公開陳列人體模特作品，某女校校長(zhǎng)竟破口大罵劉海粟是“藝術(shù)叛徒”、“教育界的蟊賊”。一石激起千層浪，自此，劉海粟不得安寧。許多美術(shù)界同行有的給予同情和支持，有的與其分道揚(yáng)鑣。軍閥孫傳芳自己三妻四妾，生活糜爛，對(duì)于海翁的藝術(shù)革新和創(chuàng)見卻斥之為大逆不道。他一邊聲討，一邊下令通緝，揚(yáng)言要焚燒美專，氣勢(shì)洶洶，大有泰山壓頂之勢(shì)。海翁不得不暫避風(fēng)頭，出國(guó)游歷。

1918年劉海粟到北京大學(xué)講學(xué)，并舉辦他第一次個(gè)人畫展，獲得廣泛好評(píng)。其中，蔡元培和郭沫若的贊許和鼓勵(lì)使他信心倍增。第二年他東渡日本，參加帝國(guó)美術(shù)院開幕大典，并和日本畫家藤島武二等交游論藝，切磋畫技?！冻招侣劇窞樗跂|京舉辦畫展。海翁的繪畫藝術(shù)受到日本同行的贊許，他被推崇為“東方藝壇的雄獅”?；貒?guó)后，他充實(shí)了畫院的設(shè)備和課程。并著有《米勒傳》和《塞尚傳》，向國(guó)內(nèi)美術(shù)界介紹西方畫壇的藝術(shù)經(jīng)驗(yàn)和成就。1929年海翁赴歐洲訪問，考察游歷法國(guó)、意大利和瑞士等國(guó)。3年內(nèi)創(chuàng)作了近百幅油畫作品。曾兩次入選法國(guó)秋季沙龍，獲得法國(guó)美術(shù)界好評(píng)。他曾與畢加索、馬蒂斯等畫壇大伽交游論藝。巴黎大學(xué)教授路易·拉羅拉撰文稱贊他為“中國(guó)文藝復(fù)興大師”。1930年欣逢比利時(shí)獨(dú)立紀(jì)念，海翁應(yīng)聘為美術(shù)館平陳委員。他的作品《九溪十八澗》獲得榮譽(yù)獎(jiǎng)。當(dāng)年，《海粟油畫》出版。

img src="http://img1.qikan.com.cn/qkimages/whjl/whjl201801/whjl20180106-2-l.jpg" alt="" />

1938年春，劉海粟回到上海，應(yīng)上海商務(wù)印書館之約，寫成80萬字的《海粟叢書》，共分6卷出版。畫論精辟，廣為流傳。從1931年到1949年，他的大部分時(shí)間都在國(guó)外游歷考察。中華人民共和國(guó)成立后曾任華東藝術(shù)?？茖W(xué)院院長(zhǎng)和南京藝術(shù)學(xué)院院長(zhǎng)等職。1981年應(yīng)聘為意大利國(guó)家藝術(shù)學(xué)院院士，并被授予金質(zhì)獎(jiǎng)?wù)隆?/p>

先行一步融合中西文化

正是劉海粟的包容和博大的胸襟，鑄就了他獨(dú)樹一幟的表現(xiàn)主義藝術(shù)，從而實(shí)現(xiàn)了中西互補(bǔ)和對(duì)立統(tǒng)一。使他成為上世紀(jì)初中國(guó)現(xiàn)代美術(shù)的啟蒙者和解放者，又不愧是我國(guó)現(xiàn)代美術(shù)教育史上最堅(jiān)定的反封建先鋒。由于他敢于打破陳規(guī)陋習(xí)，是我國(guó)美術(shù)界走出國(guó)門的先行者，所以是他最早吸收西方的先進(jìn)藝術(shù)理論和實(shí)踐，并把他們引進(jìn)了中國(guó)。他終身都以本心面對(duì)世界，孜孜不倦地創(chuàng)新，因此，他的作品中較為明顯地融合了西方后印象派、野獸派畫家和中國(guó)寫意美術(shù)的美學(xué)風(fēng)格。他先行一步探索東西方文化對(duì)接，進(jìn)而成為中國(guó)畫壇的領(lǐng)軍人物。在篳路藍(lán)縷的歷程中，劉海粟披荊斬棘，一往無前，以蓬勃的才情，軒昂的斗志和豐碩的成果，把可能變?yōu)楝F(xiàn)實(shí)，從而譜寫了中國(guó)現(xiàn)代美術(shù)運(yùn)動(dòng)初創(chuàng)階段的華彩樂章，為世人所傳頌。

Liu Haisu Art

Exhibition in Beijing

By Sun Guowei， our special reporter in Beijing

From November 3 to 26， Liu Haisu Art Exhibition was held at the National Art Museum of China in Beijing. Liu Haisu （1896-1994） was a landmark artist and art educator of the 20th-century China. The event featured 101 artworks of painting and calligraphy by the artist. It was a rare and comprehensive review of the artists career and artistic achievement. The exhibition was divided into three sections. The first part displayed 28 works about Yellow Mountain， a scenic attraction in Anhui Province. Eleven were oil paintings and 17 were in the traditional Chinese style， characterized by splashes of color and ink. In the second part were 34 landscape and bird-flower paintings and 2 works of calligraphy. The third part featured 37 landscapes highlighting the nations best known scenic scenes.endprint

Liu was a gifted artist. In 1912， the 17-year-old young artist founded Shanghai Institute of Fine Art with his two friends. In 1914， the 19-year-old art educator boldly launched an unprecedented figure drawing course at the school. At first， only male models were employed. Then female models also appeared in classrooms. The media coverage was sensational. In 1917， at an art exhibition in Shanghai featuring the works of the students of the school， some nude paintings were displayed. These nude paintings flabbergasted the whole nation. Conservatives blasted the nude paintings. A schoolmaster of an all-girl school dismissed Liu as “the traitor of the arts”. Sun Chuanfang， a warlord， threatened to burn down the art school and order an arrest of Liu Haisu. Liu went overseas to avoid further trouble.

The turning point appeared in 1918 when he was engaged to give lectures at Beijing University and held his first solo exhibition in Beijing. In 1919， he studied in Japan and held an exhibition in Tokyo. After returning to China， he provided teaching devices and enriched the curricula at the institute. He wrote two books introducing Jean-Francois Millet and Paul Cezanne to Chinese readers. From the 1930s to 1949， he spent a lot of time traveling overseas. In Europe， he painted and presented his oil paintings and made friends with masters. After the founding of the Peoples Republic of China in 1949， he served as president of East China Institute of Fine Arts and Nanjing Academy of Arts.

In the history of modern Chinese art， Liu Haisu is recognized as the founder of a distinct system of art education. Three other major art education systems are respectively named after their founders： Xu Beihong， Lin Fengmian and Pang Xunqin. Liu is now widely considered as a pioneer and liberator of Chinese modern art in the early decades of the last century. He is also considered as a combatant fighting the outdated stereotypes and traditions of the past. Liu was the first Chinese who introduced western art concepts and practices into China. In his career， Liu embraced the world and never ceased to be creative. His artworks integrate the impressionism and fauvism of the west and the Chinese freehand aesthetics. By exploring the integration of the western and the eastern culture， he became a pioneering artist in the history of modern Chinese art.

The first part of the exhibition in November focused upon Yellow Mountain in Anhui. Liu Haisu had a special passion for the scenic peaks， which some consider are the most scenic in China. In about 70 years of his life of 98 years， Liu toured the mountain ten times. In his younger years， he considered the mountain as his mentor about the landscape beauty. He explored the grotesque shapes and forms of the towering peaks and wondered how he could portray them in his paintings. As years elapsed and he matured， he then considered the Yellow Mountain as his friends. While painting the Yellow Mountain， he thought he was painting himself into these marvelous peaks.endprint