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

前言

李小山

南京藝術學院美術館藝術總監

1985年，我正讀研究生。張少俠是南藝的年輕教師，在學校頗有呼風喚雨的勁頭。對我而言，他亦師亦友，給予過我不少幫助。那時，我寫了一篇批評中國畫的文章，在美術界鬧出了些許動靜。他提議，不如趁熱打鐵撰寫一本《中國現代繪畫史》。我欣然接受。因為他已經出版了歐洲、亞洲、非洲工藝美術史方面的書籍，又有西方美術發展史的著作，眾望所歸成為南藝最年輕的副教授。與他合作，當然是求之不得的事。那段時光，我倆近乎形影不離，既有學術上的探究和交流，也有見解上的碰撞和提高——可以說，寫作的辛苦不及合作快樂之萬一。1987年，他告別南藝，到海南以求更多的發展。自此，他在人生閱歷上又增加了許多精彩的記載。記得他曾問我：聰明和能干是不是一回事？我依據我的經驗回答：完全是兩回事，聰明人不一定能干，能干的人也許并不聰明。

張少俠是聰明和能干兼而有之的人。他以一個美術史家、大學教授、海南大學藝術學院院長的身份進入商海，打拼多年，建樹頗豐。現在，他回過頭來，全力以赴畫畫，幾年之內，竟有數百件作品的積累，著實令人咋舌——我得補充一句，畫畫對于他，自幼至今從未中斷，而立志成為畫家，在畫畫上大放異彩，則是他近幾年的宏愿。我倆平時通電話，他不是在畫室，就是去畫室的路上。我在想，日復一日，月復一月，年復一年，幾乎每天面對畫布近10個小時，這樣的韌勁，世上幾人所能？其實，并不奇怪。早年他寫書的時候，我已見識過，他是何等的勤奮：沒日沒夜，連續作戰。按他自己的說法，做事要有做事的樣子，要么不做，要做就得百分之百的投入。

張少俠主要治西方美術史，他對西方美術史上事件、人物、案例等如數家珍。他畫油畫，與他的學術興趣相關。正如他年少時開始畫“西畫”，或多或少影響到他治西方美術史的學術興趣一樣。這里，我得指出，許多人喜歡引用的貢布里希關于“沒有藝術，只有藝術家”的論斷，從而強調藝術家個體創作的絕對性，我卻是始終存疑的。藝術作為概念來說，是一個環環相扣的系統。不同時代的藝術家，只是延綿不絕的藝術系統里的某個角色——或許星光燦爛，或許微不足道。換句話說，藝術無論作為概念，還是作為實踐，是先于個體而存在的。至于“人人都是藝術家”這樣的藝術烏托邦，雖然鼓舞人心，但缺乏現實支撐。張少俠素來不是激進的人，他腳踏實地，堅決做自己能做的，不做自己想做的。能做和想做，一字之差，相距何止萬里？譬如，他在選擇題材時，他遵循庫爾貝“不畫沒見過的東西”這一法則。在選擇畫法時，又有如此堅守“傳統”。依他的喜好，傳統的、寫實的方法已不在他的視野之內。然而，依他不急不躁、張弛有度的行事習慣，必須一步一步走得穩當而有效。

對于“繪畫已死”的問題，我倆觀點一致——無論從外部對繪畫的期待，以及繪畫內部的種種可能性，“繪畫已死”是個偽命題。或者說，只是一些人故作驚人之語的偏見。200年前，雪萊為回擊那些質疑詩是否有存在價值的言論，寫下《為詩一辯》的名篇。200年過去，詩的現狀如何，大家有目共睹。張少俠時常在歐美多國泡博物館、美術館。他非常清晰地了解藝術的過往和現狀。作為傳統視覺表達方式的繪畫，不可避免地生出各種層次的臃腫和老化，猶如一個個矩陣，橫堵在眼前——偉大的遺產亦是沉重的負擔。許多藝術家普遍把當代藝術看做是“先進生產力”，他們奮力前行，采用各種方法和手段，將藝術粉碎、重組和翻新。他們成功了，歷史的功勞簿上有他們重重一筆。但是，作為歷史傳承的一個部分，繪畫終將如波德萊爾所說的，一半在變，一半永恒。

回到張少俠的繪畫內部，看看他是如何只畫“見過的東西”。是的，他屬于單一題材的畫家。單一到什么程度？他只畫數十年來自己親臨過的、浸泡過無數汗水的高爾夫球場。那是他最熟悉的地方，也是十分熱愛的地方。他幾十幅、幾百幅地描繪世界各地的高爾夫球場，情緒高漲，樂此不疲。畫高爾夫球場與畫風景大不同。天南地北的風景多姿多彩，而各地的高爾夫球場因其功能的要求，差異不大。大衛?霍格尼重畫梵高畫過的風景，由衷感嘆：梵高畫得“真像”。梵高也好，霍格尼也好，風景作為對象，終究是沒有具體限定的。他們能夠灌注大量情感，任意揮灑，自由拼接，所謂“一切景語皆情語”。張少俠著力畫高爾夫球場，正如莫蘭迪盯著瓶瓶罐罐，題材引導了觀念，觀念印證了畫家選擇題材的精準性。幾年前，僅從他發給我的不那么清晰的圖片看，我們之間關于他畫作的交流或許還是一種客套。當我到他畫室觀看那么多的原作——驀然發覺，他畫畫不單單是一時的興趣。他有了新的目標。他要登高。他要創造他這個年齡段的奇跡。莫蘭迪的瓶瓶罐罐是現代繪畫拼圖中不可或缺的一塊。張少俠決意深耕高爾夫球場，以他的學識、天賦和勤勉，在這上面獨領風騷，在我看來是可以提前預定的。

張少俠面對高爾夫球場這個特殊題材，采用的表現手法是否貼切？是否有更勝一籌的方式？他并不滿意目前這種對他而言過于熟練的畫法。用他的話說，不斷重復以積聚力量，同時也有相當乏味的時候。他常常放下畫筆，自我慎思，也會自我懷疑。我想起一句老生常談：畫什么不重要，怎么畫才重要。實際上，對于創作者，繪畫中所有現成的觀念都是參照，沒有對錯的問題，只有個體如何選擇的問題。毫無疑問，張少俠將遇到許多畫家遇到過的普遍性焦慮——這樣的焦慮可以是瓶頸，可以是轉折。張少俠希望每幅畫都能夠對號入座，在相似中求不似，在不似中見真容，顯然是對技法——構圖、用筆、肌理、色彩等方面的嚴格檢測。對象在不同季節里雖有變化，不過變化是表象性的。地貌構造沒變，作者的角度及方位又是受限制的。所以，求變化無非靠畫面的各種精妙處理。我想說，所謂畫如其人，按在張少俠身上恰如其分。他眼界開闊，起點又高。在他的畫作前，你分明看到畫筆在他手里飛舞，快意十足——那是一種觀賞的愉悅：帥氣、灑脫、嫻熟，外加漂亮。然而，他終究是縝密的人、理智的人。創作的奧秘往往是：理性的守門人越消極怠工，天賦的釋放就越自然奔放。

昆德拉有部作品名稱：《生活在別處》。張少俠理想中的繪畫也在別處。他腳踏實地，步步為營，不做跳躍某個階段而直奔目標的事。若干時間過后，回頭來看——我相信，他每個階段，每個步驟，所作出的抉擇都是誠實而正確的。

Preface

Li Xiaoshan

Director of Art Museum of Nanjing University of the Arts

In 1985, I was a graduate student, and it was during this time that I crossed paths with Hudson.Z, a promising young teacher at our esteemed Nanjing Arts Institute. Zhang had already begun to make waves in our institute with his unwavering dedication to the field. He was not just a mentor to me but also a trusted friend, offering invaluable guidance along my journey. It was during this period that I wrote a critical article on traditional Chinese painting, creating ripples within the art community. Zhang, with his characteristic boldness, proposed the idea of co-authoring a book - A History of Modern Chinese Painting. I readily embraced this proposition. By that time, Zhang had already authored books on the histories of arts and crafts spanning Europe, Asia, and Africa, and had also delved into Western art development. His remarkable accomplishments had led him to become the youngest associate professor at our institute, earning him the respect of his peers. Collaborating with him was an opportunity I could not afford to miss. During that period, we were inseparable, immersed in profound academic explorations, exchanging ideas, and occasionally finding ourselves in heated debates. I can confidently say that the joy of working together far surpassed the toils of the writing process. In 1987, Zhang made the decision to part ways with our institute and venture into new horizons in Hainan. From that point forward, his life’s narrative gained numerous captivating chapters. I recall a conversation we had during that period when he posed a question, “Is intelligence synonymous with capability?” Drawing from my experience, I responded, “They are two distinct qualities. An intelligent person may not necessarily be capable, and a capable person may not necessarily possess exceptional intelligence.”

Zhang embodies a rare blend of intelligence and capability. His journey has led him from the halls of academia, where he held titles such as art historian, professor, and Dean of the School of Arts at Hainan University, to the dynamic world of business. Throughout the years, he has achieved significant milestones. However, he has now returned to his true passion: painting. In just a few short years, he has created hundreds of artworks, a remarkable achievement that leaves one in awe. It’s worth noting that Zhang has never abandoned his love for painting, which he has nurtured since a young age. His current aspiration is to excel as a painter, a goal he wholeheartedly pursues. Our frequent telephone conversations have revealed that, when he’s not in his studio, he’s on his way there. I often wonder how one can face a canvas for nearly ten hours a day, day after day, month after month, year after year - such tenacity is truly remarkable. Yet, it doesn’t come as a surprise. In the early years when he was writing books, I had already witnessed his incredible diligence - working day and night. According to his own words, when you do something, you should do it properly. Either you don’t do it, or you give it your one hundred ?percent.

Zhang expertise lies in Western art history, and he possesses an in-depth knowledge of events, figures, and cases in Western art history. His interest in oil painting is closely connected to his academic pursuits. Starting to paint in a Western style at a young age, it was natural for his academic interests to gravitate towards Western art history. Here, I must emphasize that many are fond of quoting Gustave Courbet’s assertion that “it is not possible to have schools for painting; there are only painters,” underscoring the importance of individual creativity in art. However, I have always harbored reservations about this notion. Art, as a concept, is an intricately interconnected system. Artists from different eras are like components within this continuous system, each playing their role - some shining brightly, while others may remain less conspicuous. In other words, art exists independently of individual artists, both as a concept and as a practice. Regarding the utopian idea that “everyone is an artist,” while inspiring, it lacks a solid foundation in reality. Zhang has never been one to embrace radicalism; he remains grounded and adheres to what he can do, rather than pursuing lofty ideals. The distinction between “being able to do something” and “wanting to do something” is significant. For example, when selecting subjects for his paintings, he follows Courbet’s principle of not painting anything he hasn’t seen. When it came to choosing his painting style, he remains unwavering in this principle, even though, according to his preference, traditional and realistic methods are no longer within his scope. However, given his patient and measured approach, he had to proceed steadily and effectively, step by ?step.

When it comes to the notion that “painting is dead,” our views are in alignment. Whether we consider external expectations or the manifold possibilities within the realm of painting, the belief that “painting is dead” is but a fallacy. It is merely a provocative statement uttered by some. Two centuries ago, Percy Bysshe Shelley penned a famous essay titled A Defence of Poetry to counter those who questioned the value of poetry. Today, the state of poetry stands as evidence. Zhang often immerses himself in museums and art galleries across Europe and the United States, affording him a clear understanding of art’s past and present. As a traditional form of visual expression, painting inevitably gives rise to various levels of complexity and aging, much like matrices blocking the path - a great heritage that is also a heavy burden. Many artists view contemporary art as “advanced productive forces” and tirelessly strive to break new ground, using various methods and means to deconstruct, reassemble, and innovate. Their successes are well-documented, and their contributions are lauded in history. Nevertheless, painting, as part of our historical heritage, remains, as Charles Baudelaire aptly stated, “half changing and half eternal.”

Returning to Zhang’s approach to painting, it is essential to consider how he portrays what he has observed. Indeed, he is an artist dedicated to a singular subject. To what extent, you might wonder? He paints only the golf courses he has personally visited and where he has spent countless hours. These are places he knows intimately and cherishes deeply. He has captured the essence of golf courses from around the world, infusing his works with boundless enthusiasm and tireless dedication. Painting golf courses is a markedly different endeavor from painting landscapes. Landscapes from different regions are characterized by their diversity, while the function-driven nature of golf courses worldwide imposes certain limitations, resulting in less pronounced variations. David Hockney once revisited landscapes previously painted by Vincent van Gogh and marveled at how realistic van Gogh’s paintings were. Whether van Gogh or Hockney, landscapes, as a subject, are not confined to specific locations. Artists can infuse them with abundant emotions, allowing for free-form combinations, and expressing the sentiment. Hence, every landscape becomes a language of emotions. Zhang’s focus on golf courses is akin to Giorgio Morandi’s fixation on bottles and jars. The subject informs the concept, and the concept underscores the precision of the artist’s subject selection. Several years ago, based on the somewhat blurry images he sent me, our discussions about his artwork may have seemed somewhat formal. However, when I visited his studio and witnessed the multitude of original works, I suddenly realized that his dedication to painting was more than a passing interest. He had set a new goal for himself. He aspired to excel, even at his age. Morandi’s bottles and jars are an integral part of modern painting. Hudson.Z has resolved to immerse himself in the world of golf courses, and, with his knowledge, talent, and diligence, to shine in this field. In my estimation, this is an objective he is destined to achieve.

Is Zhang’s chosen painting style suitable for the unique subject of golf courses? Are there alternative approaches that might yield superior results? He is not entirely content with his current, highly proficient painting style. In his own words, the repetitive nature of his practice can accumulate strength but also bring periods of considerable tedium. Often, he sets his brush aside for introspection and self-doubt. This brings to mind the age-old adage: it’s not just what you paint those matters; how you paint it is equally important. For creators, all pre-existing concepts in painting serve as references; there is no right or wrong - only the question of how an individual chooses to approach it. Undoubtedly, Zhang faces the common anxiety experienced by many painters. Such anxiety can either act as a bottleneck or a turning point. Zhang hopes that each of his paintings can be distinctive. He strives to find uniqueness amid the similarities and truth amid the differences. This requires a rigorous examination of techniques - composition, brushwork, texture, and color, among others. While the subject may undergo changes with varying seasons, these changes are primarily superficial. The underlying topography remains constant, and the artist’s perspective and orientation are constrained. Therefore, achieving variety relies on the artist’s skill in subtly handling these elements. I must say that Zhang’s approach aligns perfectly with the idea that a painter’s style reflects their personality. He possesses a broad perspective and a solid foundation. When standing before his paintings, one can clearly see the brush dancing effortlessly in his hands, conveying a sense of enjoyment - handsome, carefree, skillful, and, of course, beautiful. However, he is a meticulous and rational individual. The mystery of creation often lies in how the gatekeeper of reason, when idle, allows the release of innate tal?ent to flow naturally.

Milan Kundera once wrote a novel titled Life Is Elsewhere. Zhang’s idealized vision of painting resides in elsewhere as well. He proceeds methodically, step by step, without rushing toward a final destination. Reflecting upon this journey at a later time, I am confident that each stage, each step, and each choice he has made is both honest and ?correct.