AM实验空间第五回 ”一堂古为今用的实验课”丨AMNUA现场 - 南京艺术学院美术馆

AM实验空间计划：旨在针对青年艺术家与艺术院校教师及在校学生艺术家，以实验性与展示性为基础，创造并搭建一个青年艺术家与美术馆观众之间的平台，借助美术馆的展示、教育与推广功能，助力艺术家的作品与观众之间形成良性的沟通互动，从而获得交流反馈，使得美术馆、艺术家与观众三方在此实验性的平台能够相互受益，共同教育成长。

听琴

张乃军教授油画作品观摩展

Girl Interrupted at Music

Oil Paintings Exhibition of Professor Zhang Naijun

展出时间：2019年6月18日—2019年6月30日

Exhibition Period: 2019.06.18—2019.06.30

展出地点：南京艺术学院美术馆零展厅

Exhibition Venue: AMNUA 0 Hall

开幕时间：2019年6月18日 10:00

Opening Time: 2019.06.18 10:00

AM实验空间第五回

”一堂古为今用的实验课”

南京艺术学院美术馆很荣幸地呈现《听琴——张乃军教授古典油画观摩展》

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
2019
25.3 x 25.3 cm
10 x 10 inches
油底亚麻布面油彩和蛋彩
oil and tempera on linen

在现今看来，传统的西方古典油画技法无异于一场复杂的多学科交叉实验，基于人文主义与历史、现实、宗教等方面的绘画题材研究；基于生物学以及解剖学基础之上的素描造型研究、基于材料学之上的画布基底材料配置与绘画用调色油及矿物质颜料混合的绘画材料研究；基于视觉与光学原理的视觉构成及色彩多层透明罩染等绘画方法的研究；一系列的复杂、综合的学科交叉使得传统的西方古典绘画在中国一直蒙着一层神秘的面纱。张乃军教授自上世纪80年末代赴西方求学，一直致力于古典油画技法的研究。通过查阅大量专业书籍、寻访观摩大师原作以及参考海外博物馆、美术馆系统对于古典绘画大师作品的修复记录与材料切片分析报告，经过多年反复的实验与绘画实践，逐步的摸索出了对于古典油画的绘制及材料配置方法，并指正了诸多前人在此领域研究上的谬误，开发了一套科学可行的古典油画教学体系。

一楼 Women at Work
2016
35.5 x 35.4 cm
12 x 12 inches
油底亚麻布面油彩
oil on linen

作为艺术家，张乃军先生在绘画创作中秉承了自文艺复兴以来古典绘画大师的核心价值观——人文主义精神。此次展览，张乃军先生带来了他近几年创作九件风俗画样式的作品。创作思路源于张先生几年前一次国内旅行的所见所感，作品中体现了对人类的个性关怀，注重强调维护人类的人性尊严，提倡宽容的世俗文化，反对暴力与歧视，主张自由平等和自我价值。同时，在传统的中国文化及中式生活环境的备影响下，作品中又带有地域性的中国当下社会的叙事风格及个体诉求。

楼 Women Holding a Wiper
2019
40.5 x 35.5 cm
16 x 14 inches
油底亚麻布面油彩和蛋彩
oil and tempera on linen

在展览筹阶段的交流中，张先生讲述了一段关于师从伦勃朗的荷兰著名画家杰瑞特.德奥(Gerrit Dou)的轶事“画家每天清晨在固定的时间从自己家出发，抵达他位于河边的画室，推开临河的窗户，静静的等待画室中的飞尘缓缓落下，在洁净的空间中安静的开始他一天的绘画工作直至日落，如此循环往复，而画家每天绘制完成的也许仅仅是一小块精致的画面。”由此也可以从侧面体现出古典绘画是一项极其要求自律以及耐心的绘画艺术。而这些要求对于时下的艺术家、艺术表现形式以及艺术高校的教学体系来说，并未过时，亦值得互鉴。

黄南肉铺 Butcher’s Shop
2019
27.9 x 35.6 cm
14 x 11 inches
油底亚麻布面油彩和蛋彩
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。

2019年正值达芬奇逝世五百周年，即以此次展览同时纪念达芬奇先生。

南京艺术学院美术馆展览部主任

曲俊

西市 Intruder
2012
61.2 x 91.6 cm
24 x 36 inches
油底亚麻布面油彩
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.

展览现场

Exhibition site

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.

展览现场

Exhibition site

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.

展览现场

Exhibition site

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.

展览现场

Exhibition site

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.

展览现场

Exhibition site

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

Qu Jun

艺术家自述

我的风俗画样式的作品描绘带有叙事性的中国生活场景。以对日常生活的敏锐观察，捕捉转瞬即逝的生活片断。通过对动作表情的细致周到的描绘，表现人们的种种社会常态。这种叙事的风格源于十七世纪荷兰的风俗绘画。其对偶遇，闯入，以及打断的场景进行了大量细节的描绘，背后往往带有对性的隐喻。我的作品无意制造这种对性的暗示，而是设法传达人们在日常生活中所面对的精神和物质上的诉求与体验，意指个体中的社会困境。

——张乃军

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.

—Naijun Zhang

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

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.