路德维希.维特根斯坦(LudwigWittgenstein)在《文化与价值》(Culture andValue)一书中讲述到：“的确，一把钥匙可能只是永久地静静地躺在锁匠当初遗弃它的地方，却从来没有被用于打开当初锁匠为他锻造的那把锁。”据史料记载，油画正式传入中国的时间为明朝万历年间，罗明坚（Michael Ruggieri, S. J.）到中国以后宣传西方文化，也将传统的西方古典油画作品与技法带入了中国，后经利玛窦（Matteo Ricci）、乔瓦尼（Cola Nicola Giovenni）、马国贤（Matteo Ripa）、郎世宁（Giuseppe Castiglione）等西方传教士与画师的推广，直至二十世纪初，刘海粟先生等老一辈艺术家从欧洲留学归来，带回了西方油画技法并逐步建立油画教学体系。
红衣女工 Women Holding a Rag
25.3 x 25.3 cm
10 x 10 inches
oil and tempera on linen
一楼 Women at Work
35.5 x 35.4 cm
12 x 12 inches
oil on linen
楼 Women Holding a Wiper
40.5 x 35.5 cm
16 x 14 inches
oil and tempera on linen
黄南肉铺 Butcher’s Shop
27.9 x 35.6 cm
14 x 11 inches
oil and tempera on linen
500多年前，人类历史上的伟大艺术家，里奥纳多.达芬奇(Leonardo di ser Piero da Vinci)在绘画领域就已取得了巨大的成就。除去其在绘画领域的伟大成就，其众多作品也一直影响着后世。而在中国，这种历史则更为久远，从农耕时代起的绘画传统，以手口相传、师徒向授的形式传承至今。把历史先贤留给我们的在艺术与人文领域的探索与实践精神传承下去，一直是当代艺术的核心诉求，也是南京艺术学院教学的核心诉求之一。正如挪威艺术家韦比约恩·桑德(Vebjoern Sand)在挪威金角湾大桥（由达芬奇设计手稿推敲完成）落成后说过：“5个世纪前，人们认为这座桥不可能建起来，但我们把它建起来了。我们成功地证明了达芬奇设计该桥的原理是可行的。“——这也变相证明了时代与传承，观念与技法，功能与美学的相互关系。
61.2 x 91.6 cm
24 x 36 inches
oil on linen
AM Experiment Space No. 5
An Experiment Lesson of the Past Servingthe Present
AMNUA is honored to present "Enjoyingthe Qin: a Study Exhibition of Classical Paintings by Professor ZhangNaijun".
Ludwig Wittgenstein wrote in his book Culture and Value that "Indeed, akey may simply be quietly lying where the locksmith had abandoned it and has neverbeen used to open the lock that the locksmith built for it". According tohistorical records, oil painting was officially introduced to China in theWanli Period of the Ming Dynasty. Michael Ruggieri S. J. promoted the Westernculture when he arrived in China. He also brought the techniques of traditionalWestern classical oil painting to China, followed by Western missionaries andpainters such as Matteo Ricci, Cola Nicola Giovenni, Matteo Ripa and GiuseppeCastiglione. In the beginning of the 20th century, Liu Haisu and other older generationsof Chinese artists returned from study in Europe and brought back Western oilpainting techniques and gradually established the oil painting education systemin China.
In today's view, traditional Westernclassical oil painting is tantamount to a complex multidisciplinary cross-overexperiment. It is a research of painting thematic based on humanism, history,reality and religion. It is a research of sketch and shaping based on biologyand anatomy. It is a research of painting materials based on material science,configuration of canvas, painting oil and mineral pigments. It is a research basedon visual and optical principles and painting methods such as composition and multi-layertransparent varnishing of colors. Such a series of complex and integrated interdisciplinaryresearches has formed a mysterious veil for traditional Western classicalpainting in China. Professor Zhang Naijun went to study in the West in the late1980s and has been dedicated to classical oil painting techniques. He consulteda large number of professional books, searched and studied the original masterpieces,and referred to the repair and restoration records and material sectionanalysis reports of classical masterpieces from many overseas museums and artgalleries. After years of continuous experimentation and painting practice, hegradually found the methods of classical oil painting and the configuration ofthe materials. He corrected many of the mistakes of previous researchers inthis field and developed a scientific and feasible system of classical oil paintingeducation.
As an artist, Mr. Zhang Naijun hasinherited the core values of the masters of classical painting since theRenaissance in the creation of paintings - the spirit of humanism. In thisexhibition, Mr. Zhang Naijun presents nine works of genre painting style fromhis art production in recent years. The themes of these works stem from Mr.Zhang’s perceptions during a travel he made a few years ago in China. These worksreflect the artist's individual concern for the mankind. They emphasize the defenseof human dignity, promote a tolerant secular culture, oppose violence anddiscrimination, and advocate values of freedom, equality and self-realization.At the same time, under the influence of traditional Chinese culture andChinese living environment, the works also acquire a localized narrative styleand individual appeal which echoes the current Chinese society.
In a talk during the conception of the exhibition,Mr. Zhang mentioned an anecdote about the famous Dutch painter Gerrit Dou, studentof Rembrandt. He said, “the painter left his home every morning at the samehour and came to his studio on the riverside. He would push open the window to theriver, quietly waiting for the flying dust in the studio to settle down slowly.And then he quietly started his day of painting in the clean space until sunset.He repeated this process many a day and every day he might have justaccomplished a small and fine area on the canvas." Such a description is atestimony that classical painting is also a type of painting art that requiresgreat self-discipline and patience. These requirements are not outdated andworthy of recognition for artists, artistic expressions and the education ofart colleges nowadays.
More than 500 years ago, Leonardo di serPiero da Vinci, a great artist in the history of mankind, made greatachievements in the field of painting. Apart from the great achievements in thedevelopment of painting techniques, his works have always influenced future generations.In China, such inheritance of history is even longer. Painting traditions fromthe farming era have been passed down hand to hand, mouth to mouth from mastersto students of the next generations. It is always the core pursuit ofcontemporary art to carry on the spirit of exploration and practice in art andhumanities from our ancestors. It is also one of the core pursuit of Nanjing Universityof Arts in its teaching practice. Just like the Norwegian artist Vebjoern Sandsaid after the completion of the Norwegian Golden Horn Bridge (based on thedesign of Da Vinci), it was considered impossible to build this bridge fivecenturies ago. But now here it is. We have successfully proved that theprinciples of bridge designing from da Vinci is feasible. This is in anothersense also a proof of the interrelationship between times and inheritance, conceptsand techniques, function and aesthetics.
2019 is the 500th anniversary of the deathof Leonardo da Vinci. This exhibition is also dedicated to the master.
Art Museum of Nanjing University of the Arts Director of Exhibition Department
My recent work depicts narrative scenes of Chinese daily life in a genre painting style. In attempting toobserve everyday life in a conscientious way, I render ordinary moments of life with freshness and spontaneity. The ambivalence of human relationships nuances psychological interactions. The nature of narrative in my work owes to 17th Century Dutch Genre Painting in which encounters, intruders, and interruptions between the sexes are often portrayed in great details that carry sexual allusions. Instead of working toward to sexual overtone, I intend to suggest in my work the spiritual and physical experiences of men and women in the course of their daily life and depict individuals in the midst of social dilemma.
听琴 Girl Interrupted at Her Music
41 x 45.9 cm
18 x 16 inches
oil and tempera on linen
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.