听琴：张乃军教授油画作品观摩展丨AMNUA展讯
前言
刘伟冬
南京艺术学院院长
张乃军教授于上个世纪80年代末毕业于南京艺术学院美术系，曾师从苏天赐和沈行工先生，专修油画。后来又去美国留学，在西佛吉尼亚大学艺术学院研修古典油画，获专业硕士学位并留校任教至今，现为该校艺术学院绘画专业的终身教授。
我曾有幸两次访问过西佛吉尼亚大学，前后相隔有二十余年。两次访问都在那儿见到了张乃军，只不过是他的身份有了变化，第一次他还是研究生，第二次他已经是教授了。摩根镇是西佛吉尼亚大学的所在地，张乃军教授在那座不到五万人的大学城里一呆就是二十多年，从未挪地儿，这让我颇为惊讶。我的确在美国遇到不少满天飞并自称是虎步西洋的艺术大师。这种坚守在很大程度上也说明了张乃军的心性与性格，他的身上有着一股子钻劲和韧性，是一位做事认真并能够守望的人，这也与他长期以来一直潜心于西方古典油画技法的研究形成了一种天然的默契，正所谓正确的人在正确的时间和地点选择了正确的事业。通过二十多年的努力，在对古典油画的理解以及技术的表现上，张乃军教授已经达到了很高的水平，很少有人在这方面能出其左右。
听琴 Girl Interrupted at Her Music
2018
41 x 45.9 cm
18 x 16 inches
油底亚麻布面油彩和蛋彩
oil and tempera on linen
何谓古典油画，我们恐怕对之存在不少误读。我以为古典油画，可有广义和狭义之分。在广义的维度上，许多流行、时尚的方法经受了时间的洗礼而变得古典了，艺术史上像哈尔斯、牟利罗、伦勃朗等的作品都是很好的例证。而在狭义的维度上，古典油画更聚焦于方法，它的图式、塑形和着色有着特有的规矩，它是一种技术、程序或仪式，历来为学院主义所推崇和坚持，它从17至19世纪趋于完善，代表人物有普桑、大维特、安格尔等。在我看来，所谓古典油画，有点像现代奥运项目中的马术，它跟赛马不一样，后者只要一味儿的快跑就行，而马术虽然也有时间上的要求，但它更注重程序、步骤、花式甚至姿态，在这一点上它与古典油画可谓殊途同归。19世纪末印象主义绘画大行其道，古典油画似乎变得式微，但在西方的艺术世界里它却从未缺席，而且一直被完美地坚守着，就像张乃军教授现在所努力的那样。
听琴（局部） Girl Interrupted at Her Music（Work of local）
2018
41 x 45.9 cm
18 x 16 inches
油底亚麻布面油彩和蛋彩
oil and tempera on linen
从现代史上来看，我们对西方艺术的接触和学习大致可归纳为这样三个重要时间节点，一是上个世纪的三、四十年代，许多画家赴欧美、甚至日本学习并学成回国，开启了中国现代艺术和现代艺术教育的先河；一是五、六十年代苏联模式的学习和推广，为新中国艺术教育的发展奠定了坚实的基础。再就是改革开放后的八、九十年代，中国向世界打开了大门，各种西方艺术思潮汹涌而至。时至今日，中国的艺术也成为世界舞台的一部分。但这样三次大规模的接触和学习，成就了许多时代的弄潮儿，也吸收、积累了许多有益的经验，探索出我们自身发展的道路。但有一点必须指出的是真正意义上的西方古典绘画，尤其是在技术层面上，却失落在了我们的视线之外，我们没有认真地接续这样的传统，虽然我们或多或少也看到了古典的光芒，但它们终究被现代艺术的澎湃洪流所淹没。靳尚宜先生曾经在很多场合多次这样表述过：我画了六十余年的油画，到耄耋之年才算是摸出了一些门道。一方面这是靳先生谦卑的品德使然，另一方面，以我的理解也是对古典油画传统的博大精深而言的。当然，我们不是一味地赶潮流，一味地抽象和表现。我们也积累了自己的写实传统，拥有了自己的古典，而且成就非凡。我们跨上了赛马，而且一马当先，但我们还是不能参加马术的比赛。所以，我们还有知识和技术需要学习。对于创新我们必须鼓励，对于传统也要充分地尊重，在这方面切不可妄自菲薄，也不可妄自尊大。我也曾经听人这样说过：西方的写实油画不行啦，看写实油画要到我们这里来。对此，我只能说：那真是电线杆上插鸡毛，好大的掸（胆）子。
放心水果 Safe Fruits
2012
61.3 x 50.9 cm
24 x 20 inches
油底亚麻布面油彩
oil on linen
张乃军教授这一次回母校教学，举办古典油画训练班，同时带来了他的九幅作品，用他的话来说都是一些叙事性的风俗画。油画风俗画最早起源于17世纪的荷兰，它以特定的场景、人物以及他们之间的关系为表现对象，常常含有某种隐喻，哪怕是一个器物或一朵花卉。比如，读信的女人和墙上画作的内容往往会有某种勾连，它会暗示女主人所读的信究竟是一封求爱信还是绝交信。张乃军教授则把他的人物、场景以及他们的关系移至了国内，而这些场景和人物都是我们所熟悉的，故事仿佛就发生在我们的身边，甚至我们也在情节之中。至于他给他们建构了什么样的一种关系画家是知道的，而我们只能是仁者见仁智者见智了。
A Foreword
Liu Weidong
President of Nanjing University of the Arts
Professor Zhang Naijun graduated from theFine Arts Department of the former Nanjing Academy of theArts in the late 1980s. He studied under Mr. Su Tianci and Mr. Shen Xinggong,specializing in oil painting. He then went to study classical oil painting atthe School of Art at West Virginia University in the United States. Hegraduated with a Master's degree and has been teaching at the University untiltoday. He is now a tenured professor of painting at the School of Art.
I had the privilege of visiting WestVirginia University twice. The two visits are over 20 years from another. Andin both visits I met Zhang Naijun. In my first visit he was a graduate student.In the second one he had become a professor. Professor Zhang Naijun has been livingin Morgantown, the seat of West Virginia University, a university town of lessthan 50,000 people, for more than 20 years and never moved. This is a bit of a surpriseto me. I did encounter a lot of "masters of art" who claim to bewell-received in the West and seem to be visible on every occasion. To a largeextent, the persistence Zhang Naijun shows to his life is a manifest of hisdispositions. He is a man of much strength and resilience. He is serious and persistentwith what he does. Such characters are natural match to his dedication to thestudy of classical Western oil painting techniques. We may call this the rightperson has chosen the right career at the right time and place. Thanks to over twodecades of hard work, Professor Zhang Naijun has reached a very high level inthe understanding and technical expression of classical oil painting. Fewpeople are better than him in this respect.
乐器店 Man Playing Yangqin
2017
25.5 x 25.4 cm
10 x 10 inches
聚脂纤维布面油彩
oil on polyester
What is classical oil painting? I am afraidthat this term is much misread. In my opinion, classical oil painting can beunderstood in broad and narrow senses. In the broad sense, classical is the popularand fashionable that have stood the test of time such as Hals, Murillo andRembrandt. In the narrow sense, classical oil painting is more focused onmethods. Its pattern, shaping and coloring follow specific doctrines. It is aset of techniques, procedures or rituals that are always advocated and followedby academicism. It was perfected between the 17th and the 19th centuries,represented by Poussin, David and Ingres. I sometime compare classical oilpainting to the equestrian in the modern Olympics. It is different from thehorse racing which pursues speed only. Although the equestrian is also timed,it is more about procedures, steps, styles and even posture, which is similarto classical oil painting. At the end of the 19th century, impressionism becamepopular and classical oil paintings seemed to be going out of date. But it hasnever been absent in the Western art world and has been perfectly carried on,just as Professor Zhang Naijun is doing now.
乐器店（局部） Man Playing Yangqin（Work of local）
2017
25.5 x 25.4 cm
10 x 10 inches
聚脂纤维布面油彩
oil on polyester
From the perspective of modern history, ourcontact with and study of Western art can be roughly summarized into three importantperiods. First is the 1930s and 1940s, when many painters went to Europe,America and even Japan to study and returned to China. This period is thebeginning of modern art and modern art education in China. And then there was thestudy and advocate of the Soviet Union system in the 1950s and 1960s, whichlaid a solid foundation for the development of art education in the People'sRepublic of China. Then, in the 1980s and 1990s, decades of reform and openingup, when China opened its doors to the world and various Western art trendsflooded in. Today, Chinese art has become part of the art scene of the world.These three periods of large-scale contacts and studies created a lot ofmasters and leading pioneers of art in China. These periods helped Chinese artists to absorband accumulate useful experiences and explore our own paths. However, one thingmust be pointed out, Western classical painting in the true sense, especially thatfrom the technical perspective, has been overlooked. We have not seriously carriedon this tradition. Although its glory has been seen from time to time, in theend it is overwhelmed by the torrent of modern art. Mr. Jin Shangyi said onmany occasions that after painting oil for more than 60 years he had just learnedsomething in his 70s. This may be a kind of modesty of Mr. Jin. On the otherhand it is a footnote of the profoundness of classical oil painting. Of course,we are not only chasing the trends and blindly worship the abstract and expressionists.We have also founded our own realistic tradition and created our own classics, andin an extraordinary way. We have mounted on the horse and ridden off. But we arestill not ready for the equestrian. There are still knowledge and techniques tolearn. We must encourage innovation and respect traditions. In this respect, wemust not be arrogant, nor belittle ourselves. I have heard people saying thatyou could only find good Western realistic oil painting in the East nowadays. Howbrazen is he who says such things!
公章刻制 Girl Calling
2013
45.9 x 39.9 cm
18 x 15 3/4 inches
油底亚麻布面油彩
oil on linen
Professor Zhang Naijun comes home to hisalma mater to give classical oil painting lectures and exhibit nine of his works.He calls these narrative genre paintings. Genre painting on canvas originatedin the Netherlands in the 17th century. It is characterized by specific scenes,characters and their relationships. The subject in the paintings often containssome kind of metaphor, even if it is an object or a flower. For example, a womanreading the letter and the content of a painting on the wall behind her oftenhave some kind of connection, implying what the woman is reading is a letter oflove or a letter of novice. Professor Zhang Naijun moved the characters, scenesand their relationships to the context of his home country. The scenes andcharacters are familiar to us. It seems to be taking place around us every day.We feel like we are in the story. As for what kind of relationships the painterhas woven for them, everybody will have his or her own story in mind.
艺术家介绍
张乃军
现为美国西弗吉尼亚大学终身教授，绘画系及中国绘画项目主任，南京艺术学院客座教授。
1983年考入南京艺术学院美术系油画专业。师从苏天赐， 沈行工等先生，学习期间油画创作入选1987年首届中国油画展。1996年获得美国西弗吉尼亚大学全额奖学金赴美攻读油画，获硕士学位。其间对欧洲古典油画包括十七世纪荷兰油画进行深入研究并尝试中国主题的风俗画样式的油画创作。作品多次入选在纽约，芝加哥，洛杉矶等地举办的国际性的 和国家级的学术及评奖展览。个展包括声望卓著的纽约苏荷区由IVAN KARP主持的OK HARRIS WORKS OF ART画廊。作品及展览评论出版包括美国主要艺术杂志之一的ART PAPERS。近年致力于古典油画肖像的研究与创作。委托定制包括美国联邦巡回和地区法院法官以及州长的官方肖像。肖像作品被美国联邦政府机构收藏并永久陈列。2006年获得终身教职。
Naijun Zhang received his Master of Fine Arts from West Virginia University and Bachelor of Arts from Nanjing University of the Arts. He has had solo exhibitions at OK Harris Works of Art in New York City and Michael Berger Gallery in Pittsburgh. He has been included in numerous group exhibitions throughout the USA and China, notably at Asia Culture Center in New York City, East Asian Library at Stanford University, and the Shanghai Exhibition Center in Shanghai. His exhibitions have been reviewed in Art Papers magazine. He has been commissioned as Federal Judiciary and Governor portraitist and his work has became permanent collections at The U. S. Federal Courts and State Capitol. Currently Naijun Zhang serves as a Tenured Professor and Chair of Graduate Committees in Painting at West Virginia University and a Guest Professor at Nanjing University of the Arts.
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