高爾夫風景 | 張少俠油畫作品展

GOLF LANDSCAPES | Oil Paintings Collection by Hudson.Z

藝術家：張少俠

出品人：李小山

學術主持：劉偉冬

策展人：林書傳

支持單位：海南南國控股集團有限公司

展覽時間：2023.11.8—11.27

展覽地點：南京藝術學院美術館4號展廳

Artist : Zhang Shaoxia

Producer : Li Xiaoshan

Academic Supervision : Liu Weidong

Curator : Lin Shuchuan

Duration ：2023.11.8—11.27

Venue : Hall 4 of AMNUA

我 與 張 少 俠

劉偉冬

南京藝術學院藝術史教授

我和少俠君是同門，都曾師從劉汝醴先生學習歐洲美術史。但他是學兄，也是我學業上的領路人。

我和少俠君相識在南京師范學院（現在的南京師范大學）的校園里，當時他是南京藝術學院美術系的研究生，而我正在師大的外文系學習。因為專業學習的需要，少俠君在我們的班級上旁聽精讀、泛讀和聽說課。20世紀80年代，碩士研究生似一種學術水準的標桿，如同真正的天之驕子，所以從一開始我對他就充滿了崇敬之情。我在上大學前，曾在南通的一家工廠工作過三年，是地道的“工人階級”出身，看上去要比從學校到學校的同學老成一些。事實上，在年齡上的確要大上三到四歲。我在上小學、中學時曾跟隨美術老師學過畫畫，社會上也拜過師，作品也在群藝館展出過，有一些美術方面的知識，這些所謂的優勢讓我有了一點點走近少俠君的資本和信心。

現在記不清楚我們第一次談話的內容是什么了，依稀記得的是，有時候他會問我一些英語學習中的問題，我也會請教他自己在美術閱讀中的一些困惑。比如現在人人都在談論的畢加索，但當時我對這位現代派畫家的理解還停留在白癡水平上。他的解釋雖然沒有解開我心中的塊壘，但已經讓我明白了美術創作與美術歷史的另一種景象和另一種可能，這種啟發對我來說具有開智的意義。一來二去，我們成為了好朋友，我還跟他到南京藝術學院玩過好幾次，在食堂里吃過可口的大排。

也通過他認識了其他的一些老師，像董欣賓、江宏偉、丁方等，我似乎又聞到了藝術原野上的迷人氣息。世事難料，人生就更難料。有誰會想到，當時我感到如此陌生的一所學校，后來我竟在這里學習工作了40多年，而且還從普通老師走上了校長的崗位。現在我也常想，當年如果我沒有遇到少俠君，我的人生境遇將會是另一番景象，師大外文系的黃龍教授就曾希望我考他翻譯學的研究生，但我非常喜歡自己現在的選擇和現在的狀態。

美國新澤西州銀湖高爾夫俱樂部/Silver Lake Golf Ciub

120*65cm

雨露麻油畫/Oil on Canvas

1982年，少俠君順利通過了碩士論文答辯，畢業后留校任教。他是一個做事極度認真的人，在我們班上旁聽課時，風雨無阻，幾乎沒有缺席過，而班上的同學和我還會經常的翹課。他在三年的讀研其間，完成了百萬余字的歐洲美術史讀書筆記，后來作為教材整理出來，足足有6大本。當時，因為長期缺少對外交流，這方面的資料非常稀缺，國內對歐洲美術史幾乎沒有完整的文字介紹，而少俠君的這套百科全書式的歐洲美術史，不僅大大提升了南京藝術學院的教材建設水平，也填補了國內的許多空白，這套教材后來正式出版后受到了廣泛好評。

再后來我在少俠君引導下，報考了南藝歐洲美術史方向研究的研究生，復習時用的就是他著書的這套教材，不敢說全部背下，但重要的章節也是如數家珍了。這種對教材建設的重視，一方面是少俠君個人有這方面的意識，加上他的刻苦努力。另一方面，也是南藝的大環境使然，那些年，像張道一、吳山、林樹中等老先生都一直默默耕耘在教學的第一線，從未放棄在這方面的努力。在改革開放的初期，南藝就已經有了相對完整的各專業油印版的系列教材，為學校后來長足發展奠定了堅實的基礎，也為中國高等藝術教育做出了自己的貢獻。

威爾士紐波特凱爾特莊園球場/Celtic Manor

120*60cm

雨露麻油畫/Oil on Canvas

少俠兄在教學的同時，一直筆耕不輟，先后又完成了《歐洲工藝美術史綱》《亞洲工藝美術史》和《非洲、美洲工藝美術史》的撰寫，這三部著作出版后，引起工藝美術學界的巨大反響，也奠定了少俠君在這一領域的學術地位。著名學者張道一先生和奚靜之先生對之都有高度評價，認為它們是不可多得的開山之作，意義重大，這三本書也成了許多重要藝術院校研究生和本科生的必備之書。接著，少俠君又有重磅成果推出，他與李小山合作撰寫的《中國現代繪畫史》轟動一時。這部著作，直面當下，切中時弊，對許多現當代藝術家進行了客觀的批評和評價，這種膽略和見識無不震驚四座，可謂是一部驚世之作，在美術界掀起了巨大的波瀾，也引起了廣泛的討論和爭鳴，按現在的話語來說絕對是一個現象級的事件。

少俠君不僅學術成果豐碩，著作立身，同時也是一位深受學生愛戴的老師，他主講的“歐洲美術史”是當時學校的金牌課程，很少會有學生翹課，甚至有不少其他系科的學生也來蹭課。多少年以后，南藝的畢業生在聚會的時候，還會有人學著他上課時的南京話腔調“鬼才戈雅……”，對他的豐富知識和深刻的見解佩服得五體投地，可見他對學生們的影響是多么的深刻和持久。

美國灰熊牧場高爾夫俱樂部/Grizzly Ranch Golf Club

120*80cm

雨露麻油畫/Oil on Canvas

南京藝術學院經過百余年的發展，如今已經成為全國藝術院校在學科建設方面的翹楚，躋身于第一方陣。少俠君雖然在上個世紀的80年代末就離開了南藝，但他對學校的學科建設是做出過重要貢獻的。這件事情，包括一些細節如果我不去講，就不再會有人知道，隨著時間的推移也就會從我們的記憶中漸漸地隱去。少俠君當時不僅是南藝最年輕的藝術史副教授，同時還兼任著教務處科研科的科長。1985年，教育部開始了第二批藝術類博士點的申報工作。在當時，這項工作對許多學校來說顯得既陌生又富有挑戰，學校領導層的意見似乎也不完全統一。

但少俠君以他非凡的學術遠見堅定地認為學校一定要參與申報，他還專門去尚在猶豫中的劉汝醴先生家里做工作，希望他能牽頭扛鼎，以他在全國的學術影響力，力爭使學校申報成功。少俠君還指派我連夜趕到上海，把劉汝醴先生在上海美術出版社出版的《古埃及藝術》的樣書取回來，作為申報的支撐材料。當然，我們最終是如愿以償了。但就是這關鍵的一步，就使南藝的學科建設少走了多少彎路。后來，我在給兄弟院校的同仁們介紹南藝學科建設經驗的時候，曾經這樣說過：我們無非是比別人醒得早一點。其實，在這里，醒得最早的人應該是少俠君，至少是其中之一吧。

美國新澤西州松樹谷高爾夫俱樂部/Pine Valley Golf Club

120*65cm

雨露麻油畫/Oil on Canvas

少俠君離開南藝后去了海南島，在海南大學負責藝術學院的籌建工作。三年之后，又離開校園，泅水于商海。再之后，他是世界各地的跑，周旋于巨商巨賈之間，我們聯系不多，消息還是有的，知道他在商界做得很成功。但以我對他的了解，他是身在商海，或是說心在商海卻魂系藝術，藝術的基因早已溶解在了他的血液之中，無法擺脫。

1997年，他主編出版了20卷本的《世界繪畫珍藏大系》，同樣也獲得了巨大的成功。在我看來，這套書的學術價值是一個方面，更重要的是少俠君的一種心理自證和安慰，他需要一種學術的歸宿感，或許這才是這套書出版的真正動力。

2018年，少俠君重拾畫筆，以他去過的世界各地的高爾夫球場為對象，創作了五六百幅油畫作品。同樣地，在我看來，他的這些作品與其說是鐘情于風景，倒不如說是鐘情于回憶，鐘情于藝術，忠實于內?心。

Hudson.Z and I

Liu Weidong

Hudson.Z and I are fellow disciples who both studied European art history under Mr. Liu Ruli. However, he is my senior schoolmate and has been a guiding light in my academic ?journey.

Our paths first crossed on the grounds of Nanjing Normal College (now Nanjing Normal University). At that time, he was a graduate student in the Department of Fine Arts at Nanjing Arts Institute (now Nanjing University of the Arts), while I was immersed in foreign languages studies at the college. Shaoxia, with scholarly diligence, attended our intensive reading, extensive reading, and oral English classes, which were essential for his studies. In those days, postgraduate students were considered academic elites and true prodigies, and I couldn’t help but admire him from the very beginning. Before college, I worked for three years in a Nantong factory, a true-blue member of the working class. I appeared more seasoned compared to classmates who had just graduated from high school, being three to four years their senior. Prior to college, I had dabbled in painting under the tutelage of an art teacher. My works even graced the walls of the public art center. Armed with some art knowledge, I carried a slight advantage and confidence when striking up conversations with him. I can’t recall the details of our initial exchange, but there were times when he sought my input on English learning, while I, in turn, sought his wisdom to unravel puzzles in art reading. Consider, for instance, our discussions on Picasso. Nowadays, everyone can chat about Picasso with ease, but back then, my comprehension of this modernist painter was at an entry-level. While Shaoxia’s explanations didn’t entirely unveil the mystery in my mind, they did enlighten me to alternative perspectives and possibilities in art creation and art history, igniting a spark that held profound significance. Slowly but surely, we became fast friends. I journeyed with him to Nanjing Arts Institute on multiple occasions, savoring delectable cafeteria meals and exploring the captivating world of art. Through him, I made the acquaintance of esteemed educators such as Dong Xinbin, Jiang Hongwei, and Ding Fang. It was as if I had breathed in the enchanting air of the art realm once more. Life is unpredictable, its course even more so. Who could have foreseen that the very institute that felt so alien to me would become my home for over four decades, and that I would ascend from a humble teacher to the post of school principal? Often, I muse over how different my life would have been had I not crossed paths with Shaoxia. Professor Huang Long, from the Department of Foreign Languages at Nanjing Normal College, had once encouraged me to pursue graduate studies in translation with him. However, I am genuinely content with my choices and my present circumstances.

In 1982, Shaoxia successfully defended his master's thesis and remained at the university as a teacher. He was remarkably diligent; while auditing our classes, he attended nearly every session without exception, unlike many of our classmates, including myself, who occasionally skipped classes. Over the course of his three-year postgraduate studies, he compiled over a million words of notes on European art history. These notes were later consolidated into six extensive volumes and served as valuable teaching materials. During that era, due to limited long-term external exchange, information in this field was exceedingly scarce, and there was virtually no comprehensive textual introduction to European art history available in China. Shaoxia’s encyclopedic approach to European art history not only significantly enhanced the quality of teaching materials at Nanjing Arts Institute but also bridged numerous gaps in China’s knowledge landscape. This collection of teaching materials garnered widespread acclaim upon its official publication. Subsequently, under his guidance, I pursued postgraduate studies in European art history at Nanjing Arts Institute. I utilized this compilation for review, and while I can’t assert that I memorized its entirety, I certainly retained the critical chapters. The focus on teaching materials resulted from Shaoxia’s personal dedication and hard work, but it also reflected the broader environment at Nanjing Arts Institute. During those years, senior teachers like Zhang Daoyi, Wu Shan, Lin Shuzhong, and others had been working quietly on the front lines of teaching for a long time, and they never gave up their efforts in this regard. In the early years of China’s reform and opening up, Nanjing Arts Institute had a relatively complete series of departmental textbooks for various majors, laying a sturdy foundation for the institution’s subsequent rapid growth and contributing significantly to the advancement of higher art education in China.

During his teaching tenure, Shaoxia remained a prolific writer and successfully authored A Brief History of European Arts and Crafts, A History of Asian Arts and Crafts, and A History of African and American Arts and Crafts. Upon the publication of these three works, they elicited an enthusiastic response from the field of arts and crafts, firmly establishing Shaoxia’s academic reputation in this domain. Renowned scholars Zhang Daoyi and Xi Jingzhi highly praised these works, considering them pioneering and of great significance. These three books also became essential reading materials for many graduate and undergraduate students at prestigious art institutions. Following this, Shaoxia accomplished another remarkable feat by co-authoring A History of Modern Chinese Painting with Li Xiaoshan. This work, addressing the contemporary art landscape with precision and keen insight, provided objective critiques and evaluations of numerous contemporary artists. Its audacity and perspicacity left the art community astounded, transforming it into a groundbreaking masterpiece that ignited significant discourse and debate within the art world. In today’s context, it unquestionably qualifies as a phenome?non.

Shaoxia was not only prolific in his academic achievements and writings but also a teacher deeply beloved by his students. His course on European Art History was a flagship program at the time, with very few students ever missing a class. There were even students from other departments who came to audit his classes. Many years later, at reunions of Nanjing Arts Institute graduates, some would mimic his Nanjing-accented teaching style to express their deep admiration for his extensive knowledge and profound insights. This demonstrates how profound and enduring his influence was on his students.

Nanjing University of the Arts, in its century-long history, has witnessed substantial development and now stands as a prominent leader among art institutes in China. Shaoxia’s departure from the institute in the late 1980s should not overshadow his substantial contributions to the institute’s academic progress. Certain details related to these events risk fading from memory as time passes. During that period, Shaoxia not only held the distinction of being the youngest associate professor of art history at the institute but also assumed the role of heading the Research Department within the Academic Affairs Office. In 1985, the Ministry of Education initiated the application process for the second batch of doctoral programs in the field of art. During this period, this task posed unfamiliar challenges to many universities, and it appeared that the institute’s leadership held varying opinions on the matter. However, Shaoxia, with his extraordinary academic foresight, staunchly believed that the institute should actively participate in the application process. He went so far as to personally visit Professor Liu Ruli, who was still deliberating, with the hope of persuading him to take the lead and utilize his nationwide academic influence to ensure the institute’s successful application. Additionally, he tasked me with a late-night trip to Shanghai to retrieve sample copies of Professor Liu Ruli’s book, Art of Ancient Egypt, published by the Shanghai Art Publishing House, to strength our application. Ultimately, we achieved success in our application. However, it was this crucial step that saved NUA's academic development from taking many detours. When I later shared NUA’s experiences in academic development with colleagues from other institutes, I often remarked that we had merely awakened a bit earlier than others. In reality, the person who woke up earliest here should have been Shaoxia, or at the very least, one of the ?first.

Following his departure from the institute, Shaoxia embarked on a significant journey to Hainan, where he played a pivotal role in establishing the School of Arts at Hainan University. Three years later, he transitioned away from the academic campus and delved into the world of business. During this period, he ventured across the globe, engaging with influential figures in the business sphere. Although our interactions were limited, I received reports of his remarkable success in the business sphere. Yet, based on my familiarity with him, even though he occupied himself in the world of business, his heart remained devoted to the arts. The essence of art had ingrained itself in his very being, becoming an indelible part of his ?identity.

In 1997, Shaoxia undertook the role of editor and publisher for a 20-volume series titled World Painting Treasures, which garnered significant acclaim. While the scholarly worth of this series is undeniable, its greatest significance, in my opinion, lay in providing him with a sense of belonging and solace within the academic realm. He sought an academic sanctuary, and perhaps this was the true impetus behind bringing this series to ?fruition.

In 2018, Shaoxia rekindled his passion for painting, producing nearly five to six hundred oil paintings inspired by golf courses across the globe that he had personally visited. To my perception, these works transcend mere nostalgia or scenic representation; they symbolize his unwavering dedication to art and his commitment to staying true to his inner self.