肖艷艷

人物名片

全山石，中國著名油畫家，2019年獲第三屆中國美術(shù)獎·終身成就獎等。

秋日的杭城，天朗氣清，錢塘江畔的全山石藝術(shù)中心格外熱鬧。當天，全山石老先生親自策劃的馬玉如、高友林油畫作品展開幕，給這個秋天帶來了不一樣的色彩。

這是難得一見的一場油畫作品展，中國幾代油畫名家都來了。馬玉如、高友林兩位中國美院的老教授，幾十年來孜孜不倦地堅持油畫民族化創(chuàng)作，卻一直很低調(diào)，從不參加展覽，是全老對油畫的熱忱打動了他們。當天，馬玉如在家人的攙扶下來到了現(xiàn)場，高友林戴著呼吸機、坐著輪椅也來了。

在全山石藝術(shù)中心，每年都會舉辦幾場令人喜出望外的油畫展，總會吸引圈內(nèi)外的觀眾紛至沓來。不少展是全老親自策劃的。他說，油畫藝術(shù)是他一生的追求。

出國后，才真正認識油畫

93歲，是本該享清福的年紀，而全老卻完全停不下忙碌的腳步。他在藝術(shù)中心辦公、看畫、授課、接待來賓，忙到?jīng)]有休息天。自2014年藝術(shù)中心開放以來，這里就成了他的家。

全老很潮，銀白的頭發(fā)，配上背帶褲，洋溢著青春活力。

談起油畫時，老爺子眼中的神采，如同畫布上的色彩一般明亮飽和。

全老出身于寧波書香門第，1949年考上了國立杭州藝術(shù)?？茖W(xué)校（中國美院前身）。

那時，油畫引進中國時間很短，教學(xué)體制并不完善。因國內(nèi)很難接觸到真正的油畫作品，大家只能傳閱畫報，來臨摹學(xué)習(xí)。按全老的話說，以當時的印刷質(zhì)量，畫報和原作相比，“差了兩萬八千里都不止”。直到1954年有機會到前蘇聯(lián)列賓美術(shù)學(xué)院留學(xué)，他才知道究竟什么是油畫。

藝術(shù)中心會客廳墻上掛著一幅黑白舊照，那是他和幾位中國同學(xué)在前蘇聯(lián)時的留影，個個風(fēng)華正茂。

那時，雖已是美院的青年教師，他仍要從大一學(xué)起，一邊學(xué)語言，一邊補專業(yè)。

“我認為自己畫得很像，為什么成績不如蘇聯(lián)同學(xué)？”初來乍到，一向自信的全山石感到了困惑。

為了找到答案，他利用休息時間，在各大博物館臨摹油畫名作，突然有一天就恍然大悟了。“油畫不僅僅是用顏料在畫布上畫畫，還要懂得油畫的本體語言，了解它的色感、質(zhì)感、觸感?！彼€到鄉(xiāng)間去訪問，了解當?shù)厝说纳?，對油畫有了嶄新的認識。

后來，他被選進列賓美術(shù)學(xué)院院長阿列什尼科夫工作室，直接跟著大師學(xué)習(xí)。

1960年秋，全山石拿著全優(yōu)成績回到母校任教。從此，他一直致力于培養(yǎng)中國新一代青年油畫家，還通過一系列創(chuàng)作實踐、出版策展等工作，探求油畫藝術(shù)的真諦和創(chuàng)新。

為看原作，走遍歐洲博物館

說來沒人相信，20世紀90年代，為完成多年心愿，退休后的全山石背著換洗衣物，還自帶電飯煲，幾乎走遍了歐洲所有博物館和美術(shù)院校。

歐洲是油畫的發(fā)源地。為了了解油畫的來龍去脈，他獨自出發(fā)前往各大博物館考察。

“你們不知道，原作有多么震撼人心?！?雖然常常長途飛行，但只要走進博物館，他的勞累之苦就會被欣喜若狂所替代。

“我小學(xué)三年級就知道文藝復(fù)興有三杰，可是我真正在意大利看到米開朗基羅的《大衛(wèi)》原作，已經(jīng)是白發(fā)蒼蒼了。”回憶起這段經(jīng)歷，全老感嘆相見恨晚。

十多年前，藝術(shù)中心所在的位置還是一片農(nóng)田。現(xiàn)在，藝術(shù)中心兩館相輔相成，老館側(cè)重公益性，新館偏于商業(yè)性，如今新館的經(jīng)營所得都用于老館的建設(shè)。在老館，有五分之三的展廳是常設(shè)展覽，觀眾可以免費欣賞到西方精品油畫原作。一館到雙館，這片圣潔的藝術(shù)殿堂，吸引著眾多油畫專業(yè)人士、藝術(shù)愛好者慕名而來專程打卡，還成為青少年美育基地。

時任中國美術(shù)學(xué)院院長許江前來拜訪，希望全老能夠幫助培養(yǎng)年輕教師。2015年，全老親自主持教學(xué)的第一期油畫高級創(chuàng)研班開班。去年夏天，又開辦了第二期。他依然習(xí)慣幾乎所有事都親力親為，甚至還帶著學(xué)員們?nèi)バ陆w驗生活，通過各種方式繼續(xù)培養(yǎng)新一代油畫人才。文化需要交流，他想作為一座橋梁，讓年輕人知道什么是原原本本的油畫，讓發(fā)源于西方的油畫在東方開花結(jié)果。他還曾帶著學(xué)員們到國外博物館參觀、交流。

幾十年來，全老親自編著了幾十套介紹西方著名油畫家的畫冊系列叢書。

一句忠告，一生探索

在全山石歸國前，一位藝術(shù)家的忠告讓他至今縈繞耳畔。

留學(xué)時，他和同學(xué)曾拜訪前蘇聯(lián)著名畫家薩里揚。薩里揚拉著他的手，語重心長地說：“我只認識你一個中國畫家。中國人能掌握西方繪畫技巧，而我們對東方總覺得陌生。中國有優(yōu)秀的文化遺產(chǎn)，千萬別忘記……”

油畫是西方的舶來品，怎樣才能使這種外來藝術(shù)成為如同己出的藝術(shù)語言？

幾十年來，全老一直在探索油畫的民族精神。他在堅持西方繪畫技法的基礎(chǔ)上，不懈地尋找一種能表現(xiàn)中國人生活、中國人情懷并傳遞出中國精神和中國氣質(zhì)的表達方式。

全老曾20余次深入新疆采風(fēng)。那里有強烈的紫外線、飽滿的色彩、淳樸的人民、豐富的多民族文化，到處都是令他激動的繪畫題材。這正是他所向往的中國油畫寶庫，他常常在那里一待就是幾個月。

“油畫是世界人民的共同遺產(chǎn)，需要百花齊放。我們既需要進行曲，也需要小夜曲和搖籃曲；既需要梅蘭竹菊，也需要漫野山花。”全老特別推崇馬玉如、高友林兩位教授，認為他們把中國元素融入到了油畫當中。

現(xiàn)在，到了周末，全老還是喜歡畫畫，一天可以畫四五個小時，這還是跟家人爭取來的時間。

“年紀大了，人家說要靜養(yǎng)，我就主張要‘動養(yǎng)：眼動、手動、腳動、腦動。”他一直保持著良好的作息習(xí)慣，前幾年還一直堅持游泳?！澳昙o大了，他們不讓我游了。”全老似乎很不服氣。

因今年底又要推出一個大展，全老再次忙碌了起來，腳步快到年輕人都追不上。只見他滿頭銀發(fā)，卻倔強而又自信。

（感謝戚建衛(wèi)、王金雙戈對本文的貢獻）

Make the Oil Paint Fly， Never Let the Dreams Die

By Xiao Yanyan

On a clear and cool day in autumn， alongside the Qiantang River of Hangzhou， the Quan Shanshi Art Center was extremely busy. It was the grand opening of the oil painting exhibition of Ma Yuru and Gao Youlin， planned all by Quan himself. Such kind of exhibition is almost held only once in a lifetime， and therefore lots of famous Chinese oil painting masters of all ages showed up. Ma and Gao， senior professors from the China Academy of Art， who have been pursuing national-oriented oil paintings for decades， always kept a low profile and never participated in exhibitions before. It was Quans enthusiasm that moved them to join this time. On that day， Ma Yuru came to the scene with the help of his family members， and Gao Youlin also came wearing a ventilator in a wheelchair.

Highly anticipated Oil painting exhibitions like this are organized here in Quan Shanshi Art Center once in a while every year， most of which are planned by Quan himself. He said that oil painting art is the pursuit of his life.

Quan， 93， a fashionable artist often in suspenders， takes his art center as his home. He was born in a scholarly family in Ningbo and was admitted to the National Hangzhou Art College （now the China Academy of Art） in 1949. At that time， oil painting was still very new in China and its curriculum was not mature either. It was quite difficult to get access to real oil paintings and people could only circulate pictorials and learn by copying. In 1954， Quan went to the Russian Academy of Arts （then named as Ilya Repin Leningrad Institute for Painting， Sculpture and Architecture）， and it was only then that he finally got to know what oil paintings really were. “With the printing quality at the time in China， the pictorials were more than 9，000 miles worse than the originals，” said Quan.

Even as a teacher in the Art College， he had to start from scratch as a freshman in Russia and to learn Russian as well. He was often confused about his own works which he thought was good enough but his scores were often not as good as his Soviet classmates. In order to find the answer， when there was no class， he went to all kinds of oil painting museums to copy and learn. And he finally realized that oil painting is not simply about drawing on canvas with paints， but more importantly， it is for the artist to truly comprehend its particular language， its color， its texture， and even its touch. So he started to visit the local people in the countryside， which gave him a brand new understanding of oil paintings. Soon， he was selected to study directly under Victor Mikhailovich Oreshnikov in his studio， who was then the rector of the Repin Institute of Arts.

In the autumn of 1960， Quan Shanshi returned to the China Academy of Art with straight As and he has since been committed to cultivating a new generation of young Chinese oil painters and exploring the art of oil painting.

It is hard to believe that in the 1990s， in order to fulfill his long-cherished dream， Quan Shanshi carried a pack of clothes， brought his own rice cooker and traveled all the way to museums and art schools in Europe after his retirement. “You dont understand how shocking the power of the original painting is. I knew about the three masters in the Renaissance when I was in grade three， but when I actually saw Michelangelos David in Italy， my hair was already gray，” Quan recalled.

A decade ago， the location for the Quan Shanshi Art Center was still a farmland. Now， the two galleries of the center complement each other. The old gallery is focused on public-interest projects while the new one is more commercial. Now the operation income of the new gallery is used for the renovation of the old one. Three-fifths of the exhibitions are permanent in the old gallery， and visitors can enjoy the original Western fine oil paintings for free. From one gallery to two galleries， this holy art palace attracts all types of oil painting professionals and art lovers， and it has also become an aesthetic education base for younger generations.

Xu Jiang， the then president of China Academy of Art， came to visit and hoped that Quan could help train young teachers. In 2015， Quan started his first advanced oil painting innovation and research class and ran another， similar class last summer. He also took the students to experience life in person in Xinjiang. Culture needs to be exchanged， and Quan wants to serve as a bridge to help young people understand what true oil paintings really are about， and to make the Western-originated oil paintings bloom and bear fruits in the East. He even took his students to visit foreign museums as well. For decades， Quan has compiled dozens of series of introductory picture albums on famous Western oil painters.

When studying abroad， Quan and his classmates visited Saryan， a well-known Soviet painter， who took Quans hand and expressed his heartfelt concern： “I only know one Chinese painter and that is you. That means Chinese people are able to master Western painting skills， but we Westerners still feel strange and unfamiliar with the East. Please always remember that China has an excellent cultural heritage itself.”

That conversation deeply struck Quan and he couldnt help but wonder how to make this foreign art an artistic language of our own？ For decades， Quan has been exploring the national spirit of oil painting. Based on Western painting techniques， Quan has succeeded in expressing the life and feelings of Chinese people as well as innovating ways of telling the China spirit and the China temperament.

“Oil painting is the common heritage of the world， and any kind of art should be given the chance to bloom. We need not only marches， but also serenades and lullabies. We like plums， orchids， bamboo， chrysanthemums， and we also cherish wild mountain flowers.” The reason why Quan Shanshi praised Professors Ma and Gao is that they have successfully incorporated Chinese elements into their works.

Quans steps of exploring oil paintings never stop. In spite of his age， he can paint as long as four to five hours a day. And there will be another big exhibition later this year in his center as well. His confidence and his pursuit of perfection are exemplary for the young generations and all.