亚洲评论 | 张远帆：“生逢其时”
生逢其时
张远帆
来自日本的小林敬生，和中国本土的陈琦，都是在海内外颇具影响力、有着鲜明个性特色的杰出版画家，自不待言。
小林矢志投身艺术，是日本进入高速发展阶段后未久的1963年。是年，陈琦出生，按齿序，两人间有将近20岁的间隔。陈琦开始专业学习的上世纪80年代初，又恰好是中国开启改革开放模式后不久。所以，20年这数字，约么也恰好是两个国家国运鼎盛时期的先后间距。
在历经了蒙昧和闭锁之后，骤然开启的思想空间和信息窗口，让新鲜和活泼的空气扑面而来，也为青春的躁动合上社会进步的节拍，提供了绝好的时机。于是，有一些生命就得以开始其茁壮的成长历程，比如小林敬生和陈琦。
小林敬生 Keisei Kobayashi
残存的房间-No.6 B1 The Charmber-No.6 B1 41x42cm
木口木刻版画 Wood Engraving 1978
小林敬生 Keisei Kobayashi
苏醒时刻-群舞 99·3A Transferred Soul-Gunbu 99·3A 109.2x125.5cm
木口木刻版画 Wood Engraving 1999
小林敬生 Keisei Kobayashi
日复升-绿色之星·08A Sunrises Again-Illusional Planet·08A 116.5x81cm
木口木刻版画 Wood Engraving 2008
小林的作品，从关注社会现实的波澜激荡，揭示生存环境的变异，逐渐将重心放在对未来的乐观设想的描绘，眼神由犀利转为慈祥，画面情态也由激越转为祥和，展现的是对地球众“生”和睦共栖的希冀。陈琦的作品，则由从对身旁器物和周遭景物的凝视，逐渐演进到对抽象图形与文化情怀的结合体的不倦探求，视线由表入里，要素由繁入简，画面情境则渐趋深邃幽玄而试图探及“生”之要义。
小林擅用源自欧陆的木口木刻为技术和表现的手段，一以贯之，倏忽半个世纪。陈琦则始终钟情于本土原产的木版水印，不离不弃，迄今也逾三十年。长久地沉浸于研习和发掘，不仅使两人在制作技术上都踞于各自门类的顶端，更使各自对“生”的切切挂怀，找到了栖身与彰显的恰当载体；也令古老的技艺因此而得到新颖的演进生机，成就了“携技术共生”的传说。陈琦素以“在技术的基础上演进生长”为座右，小林则说：“艺术家用手来思考”。诚如是。
陈琦 Chen Qi
唐纹青花碗之二 Tang Pattern Blue and White Porcelain Bowl 24x35cm
水印版画 Woodblock Print 1989
陈琦 Chen Qi
扇之二 Fan No.2 36x50.5cm
水印版画 Woodblock Print 1992
陈琦 Chen Qi
天人之际 Heaven and Men260x140cm
水印版画 Woodblock Print 2019
两人的生长路径，与当地当时的潮流走势多有龃龉，途中也不无质疑的声音入耳。端赖二人的矢志不移，也好在身处多元化的时代，才得以在众生纷纭中，安静地辟出独属个人的生命语境，同时也以自己的生长响应时代。正如小林所言，抽离了时代因素，将无从谈论其作品。时代造人，复又因人而生动丰满，又岂非时代之幸。
本来，生难择世，当事人说了不算。能得时势之利而步步践行到达理想境地的旅程，却又是非有清晰理念和执着笃行者而不能企及的。陈琦曾说：“我们生在这个伟大的时代就应该把手上自己的事情做好，才不辜负这个时代，才不辜负自己短短几十年的生命”。所谓“生逢其时”者，此之谓也。
华夏与扶桑，隔海相望，虽近犹远。千年来恩怨交织，重复上演着熟悉和陌生；在文化上则互哺不息，历代先贤的履踪交迭，留下一部长长的交流史。近年来中日版画交流再趋活跃，双方都希望借此调整各自的关注视角，重启交流互利的新历史生长。本展当此回暖时节举办，可谓得时流移变之利，也当是一段“生逢其时”的佳话。
2019年3月 于杭州
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关于策展人
张远帆，1952年出生于浙江杭州，1982年毕业于浙江美术学院（现中国美术学院）版画系，同年公派赴日本留学，1985年毕业于日本东京艺术大学美术学部硕士课程并获硕士学位，同年起任教于中国美术学院。现任中国国家画院版画院研究员，中国美术学院教授，上海美术学院特聘教授，日本版画学会会员，日本版画协会国际名誉会员。
重要策展：“容量与张力 - 2017上海国际版画展”（上海，2017）、“阅人 - 2014上海国际版画展”（上海，2014）、“原点的维度 - 2012上海国际版画展”（上海，2012）、“2012云南国际版画展”（昆明，2012）、“鲁迅的面容 - 中国新兴木刻运动80周年暨鲁迅诞辰130周年纪念特展”（杭州，2011）、“观城 - 2010上海国际版画展”（上海，2010）、“2009中国观澜国际版画展”（深圳，2009）。
公共收藏：大英博物馆（英国）、阿什莫林艺术与考古博物馆（英国）、悉尼大学博物馆（澳大利亚）、千叶县立美术馆（日本）、麦粒美术馆（韩国）、欧洲木版画基金会（英国）、香港科技大学图书馆（香港）、中国美术馆（北京）、上海美术馆（上海）、广东美术馆（广州）、浙江美术馆（杭州）、江苏美术馆（南京）、天津美术馆（天津）、宁波美术馆（宁波）、深圳美术馆（深圳）、深圳画院（深圳）、山东美术馆（济南）、黑龙江美术馆（哈尔滨）、青岛美术馆（青岛）、贵阳美术馆（贵阳）、湖北美术学院美术馆（武汉）、浙江西湖美术馆（杭州）、浙江华茂美术馆（宁波）。
关于艺术家
小林敬生，1944年出生于日本岛根县，1997年起，任日本多摩美术大学名誉教授，现为日本版画协会副会长。
公共收藏：大英博物馆（英国）、皇家艺术学院（英国）、华盛顿国会图书馆（美国）、华盛顿州立大学（美国）、阿尔伯塔大学（加拿大）、新南威尔士州美术馆（澳大利亚）、新西兰博物馆（新西兰）、卢布尔雅那国际艺术中心（斯洛文尼亚）、蒂科汀日本艺术博物馆（以色列）、格拉纳迪塔斯博物馆（墨西哥）、迭戈 ? 里维拉壁画博物馆（墨西哥）、瓜纳华托大学（墨西哥）、光州美术馆（韩国）、朝鲜大学（韩国）、国际法律经营大学（韩国）、浙江美术馆（杭州）、中国美术学院美术馆（杭州）、何香凝美术馆（深圳）、台北市立美术馆（台北）、台北艺术大学关渡美术馆（台北）、台湾师范大学美术馆（台北）；日本收藏机构：东京国立近代美术馆、多摩美术大学美术馆、大阪府立现代美术馆、京都精华大学图书馆、神奈川县立近代美术馆、横滨美术馆、山梨县立美术馆、茨城县立近代美术馆、爱知县立美术馆、冈崎市立美术馆、新泻市立美术馆、富山县立近代美术馆、北海道立旭川美术馆、北海道立带广美术馆、士别博物馆、岩手县万铁五郎纪念美术馆、石川县立美术馆、栃木县立美术馆、埼玉县立近代美术馆、町田市立国际版画美术馆、青梅市立美术馆、黑部市立美术馆、须坂版画美术馆、佐久市立近代美术馆、上山田文化会馆、和歌山县立近代美术馆、岛根县立美术馆、广岛县立美术馆、东广岛市立美术馆、下关市立美术馆、德岛县立近代美术馆、高知县立美术馆、井野町纸博物馆、香美市立美术馆、宫崎县立美术馆、佐喜真美术馆。
所获奖项：“日本秋季授勋紫绶奖章，2006”、“首届中国北京国际版画双年展铜奖，2003”、“第二届日本高知国际版画三年展大奖，1993”、“第四届、第五届日本和歌山版画双年展收藏奖，1990、1991”、“第一届日本高知国际版画三年展佳作奖，1990”、“日本大阪三年展·版画主办方特别奖，1990”、“第十九届日本美术展布里吉斯通美术馆奖”、“第三届日本和歌山版画双年展优秀奖，1989”、“日动版画大奖优秀奖，1979、1981”、“第二届韩国首尔空间国际版画双年展大奖，1982”、“第二届日本版画大奖展优秀奖，1978”。
陈琦，1963年生于南京，1987年毕业于南京艺术学院美术系，获学士学位；2006年毕业于南京艺术学院美术系，获博士学位；中央美术学院研究生院常务副院长，教授，博士生导师。中国美术馆展览评审委员会委员，中国美术家协会版画艺术委员会委员，中国国家画院版画院秘书长，中国人民大学特聘教授。其作品连续获得第七、八、九届全国美展铜奖及优秀奖，第十三届版画展金奖及第五届北京国际美术双年展优秀作品奖。
重要个展：“陈琦格致：一个展示和理解的实验”（德基美术馆，南京，2018）、“印痕与复数 - 陈琦个展” （亚洲艺术中心，北京，2018）、“陈琦的时间：1983-2016”（半岛美术馆，上海，2016）、“时间简谱 - 陈琦艺术作品展”（中国国家博物馆，北京，2013）、“陈琦木刻”（杜伦大学东方博物馆，杜伦，英国，2008）、“陈琦水印版画第一回展”（中国美术馆，北京，1993）。
重要群展：“生逢其时 - 小林敬生 & 陈琦作品展”（亚洲艺术中心，北京，2019）、第四届苏州·金鸡湖双年展“自 - 沧浪亭”当代艺术邀请展”（金鸡湖美术馆，苏州，2018）、“我在 - 2017中国版画艺术工作室联盟作品展”（广东美术馆，广州，2017）、“2017上海国际版画展”（上海中华艺术宫，上海，2017）、“沈勤、陈琦：零度”（亚洲艺术中心，台北，2016）、“中国当代版画名家文献展”（中国版画博物馆，深圳，2016）、“沈勤&陈琦作品展”（亚洲艺术中心，北京，2015）、“后印刷 - 第一届CAA国际版画双年展”（中国美术学院美术馆，杭州，2015）、“第十二届全国美术作品展”（中国美术馆，北京，2014）、“我在 - 中国版画艺术工作室联盟展”（江苏省美术馆，南京，2013）、“水·印·象 - 第十一届『姑苏之秋』当代水印版画邀请展”（苏州美术馆，苏州，2012）、“观城 - 国际版画邀请展”（上海美术馆，上海，2011）、“传统的复活 - 中国当代艺术展”（法兰克福当代艺术馆，法兰克福，2009）、“神奈川国际版画艺术节－日本当代版画和战后50年世界脚步”（横滨美术馆，横滨，1995）。
公共收藏：大英博物馆（英国）、维多利亚阿尔伯特博物馆（英国）、阿什莫林艺术与考古博物馆（英国）、苏富比艺术学院（英国）、欧洲木版画基金会（英国）、纽约公立图书馆（美国）、福冈美术馆（日本）、维也纳青年美术馆（奥地利）、中国美术馆（北京）、上海美术馆（上海）、广东美术馆（广州）、浙江美术馆（杭州）、江苏省美术馆（南京）、苏州博物馆（苏州）、深圳美术馆（深圳）、关山月美术馆（深圳）、青岛美术馆（青岛）、德基美术馆（南京）。
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Right Place Right Time
Zhang Yuanfan
Keisei Kobayashi from Japan and Chen Qi from China are both undoubtedly outstanding printmakers with substantial influence and distinct styles.
Kobayashi's art career began in 1963 soon after Japan was catapulted into an age of rapid growth; Chen Qi was born this year, thus, between the two lies a 20-year gap. As Chen Qi began his studies in the early 80's, the timing coincided with the beginning years of China's economic reform. 20 years is about the same range of time that had passed between the two countries' economic peaks as well.
Following times of stagnation and exclusion, liberated thoughts and welcomed information have suddenly allowed for fresh insights and proved to be an excellent timing for the youth to catch up on the society's progress. Some souls could thus begin to grow and blossom, such as Keisei Kobayashi and Chen Qi.
小林敬生 Keisei Kobayashi
苏醒时刻-树·B Transferred Soul-Tree·B 49.5x32.3cm
木口木刻版画 Wood Engraving 1988
小林敬生 Keisei Kobayashi
苏醒时刻-绿色之星 Transferred Soul-Illusional Planet 112x100cm
木口木刻版画 Wood Engraving 1990
小林敬生 Keisei Kobayashi
白色早晨-群舞·05D At the Dawn-Gunbu·05D 115x259cm
木口木刻版画 Wood Engraving 2005
▲左右滑动浏览完整作品（slide for details）
From concerns in the vicissitudes of social reality to exposing the shifts in our surrounding environment, Kobayashi's work has been gradually leaning toward optimistic depictions of the future; his incisiveness has softened, and his once aggressive imageries have embraced a gentle touch in an effort to convey his wishes for all "beings" (sheng) to live in harmony. Chen Qi's work has progressed into continuous explorations into a hybrid of abstract shapes and cultural sentiments through continuous observations at his surrounding objects and scenes; his perspective pierces deep beneath the surface, his former complex elements are now simplistic, and his imagery seems so enigmatically mystical as it attempts to probe at the significance of "life"(sheng).
Kobayashi is skilled at expressing through the techniques of wood engraving, and he has been dedicated to this particular approach for half a century. On the other hand, Chen Qi never strayed from his native water-based woodblock printmaking technique for over thirty years now. Having completely immersed themselves in studies and experiments, the two have not only reached the top in their respective fields but also discovered the appropriate vehicle in which to carry and accentuate their profound concerns of "life" or "beings" (sheng). Their dedication has also enabled opportunities for ancient forms of artistry to be bettered, and the motto of "unity and growth with artistry" was thus born. Chen Qi's practice is based upon "growing and evolving upon the foundation of techniques", while Kobayashi says, "Artists think with their hands"， and it exactly rings true.
陈琦 Chen Qi
春分 The Spring Equinox 69x93cm
水印版画 Woodblock Print 1993
陈琦 Chen Qi
风景图式 Scenery Schema 72x89cm
水印版画 Woodblock Print 1998
陈琦 Chen Qi
美杜莎 Medusa 200x600cm
水印版画 Woodblock Print 2019
▲左右滑动浏览完整作品（slide for details）
The paths these two have taken might have seemed incongruous with the course of time and spaceas people never shied from voicing their criticisms and doubts. The two's unyielding stance and, luckily, them having been born in an era that accepts different voices allowed for their individual discourse to spring, and frees them to respond to the era from their distinct perspectives. As Kobayashi once said, it would be futile to discuss his work once the factor of time is removed. Times make the man just as men have enriched the times, and is that nota great tale of our times?
Of course, one cannot choose how you were born - it never was up to people's will. Yet the path to greatness is paved for those who are resilient and make the most of the changing times, not for those without a specific objective or tenacity. Chen Qi once said, "Having been born in this magnificent era, we should complete the tasks handed to us so as to not waste the time we are in, and to not squander our lives of limited years." The proverb of Right Place Right Time seems to be exactly so.
The sea that lies between China and Japan seems to keep the two close yet far from one another. For thousands of years, the two countries have been conflicted with feelings of familiarity and alienation; the two share an extensive history that is interwoven with rich cultural exchanges first propelled by our ancestors. As printmaking exchanges between China and Japan grow increasingly active in recent years, both countries wish to read just their perspectives through the opportunity as well as to, again, initiate reciprocity and write a new chapter in history. The exhibition is held just as spring nears, which is made possible by the circumstances of our time - it is a great tale that realizes the truth of the old proverb: Right place, right time.
March, 2019
Written in Hangzhou
（原文刊登于《艺术时尚·典藏》杂志2019年6月号）
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About Curator
Zhang Yuanfan, 1952 Born in Hangzhou, Zhejiang Province, 1982 Graduated from Zhejiang Academy of Fine Arts, Printmaking Department and was sent to study in Japan; 1985 Graduated from the Art Department of Tokyo University of theArts with a master’s degree and started to teach at the China Academy of Art. Currently work as: Researcher of the Engraving Institute of China National Academy of Painting; Professor of China Academy of Fine Arts; Special-term professor of Shanghai Academy of Fine Arts; Member of The Committee of Print Studies in Japan; Honorary member of Japan Print Association.
Selected Curatorial Projects: “Capacity & Tension: Shanghai International Printmaking Exhibition” (Shanghai, 2017), “Reading People: Shanghai International Printmaking Exhibition 2014” (Shanghai, 2014), “The 2nd Yunnan International Print Exhibition” (Kunming, 2012), “Shanghai International Engraving Art Exhibition” (Shanghai, 2012), “The Face of Lu Xun - The 80th Anniversary of the New Woodcut Movement in China and the Exhibition for Lu Xun’s 130th Birthday” (Hangzhou, 2011), “Viewing City: Shanghai International Printmaking Exhibition 2010” (Shanghai, 2010), “The 2nd Guanlan International Print Biennial” (Shenzhen, 2009).
Public Collections: The British Museum, UK / Ashmolean Museum, University of Oxford, UK / The Muban Foundation, UK / The Museum of Sydney University, Australia / Chiba Prefectural Museum of Art, Japan / Maili Art Museum, Korean / The Hong Kong University of Science and Technology Library, Hong Kong / National Art Museum of China, Beijing / Shanghai Art Museum, Shanghai / Guangdong Art Museum, Guangzhou / Zhejiang Art Museum, Hangzhou / Jiangsu Art Museum, Nanjing / Tianjin Art Museum, Tianjin / Shenzhen Fine Art Institute , Shenzhen / Shandong Art Museum, Jinan / Heilongjiang Art Museum, Harbin / Qingdao Art Museum, Qingdao / Guiyang Art Museum, Guiyang / Art Museum of Hubei Institute of Fine Arts, Wuhan / Zhejiang West Lake Art Gallery, Hangzhou / Zhejiang Huamao Art Gallery, Ningbo.
About Artists
Keisei Kobayashi, 1944 Born in Shimane prefecture, Japan; From 1997, he works as Professor of Tama Art University. Currently assumes as the Vice President of Japan Print Association.
Public Collections: British Museum, UK / Royal College of Art, UK / Washington The Library of Congress, USA / Washington State University, USA / University of Alberta, Canada / Art Gallery of New South Wales, Australia / Museum of New Zealand Te Papa Tongarewa, New Zealand / Ljubljana International Art Center, Slovenia / Alhóndiga de Granaditas Museum, Mexico / Museo Mural Dirgo Rivera, Mexico / University of Guanajuato, Mexico / Gwangju Museum of Art, Korea / Chosun University, Korea / Transnational Law and Business University, Korea / Zhejiang Art Museum, Hangzhou / Museum of China Academy of Art, Hangzhou / He Xiangning Art Museum, Shenzhen / Taipei Fine Arts Museum, Taipei / Kuandu Museum of Fine Arts, Taipei / Museum of National Taiwan Normal University, Taipei. Japanese Collection Organizations: The National Museum of Modern Art, Tokyo, Tama Art University Art Museum / Osaka Contemporary Art Center / Library of Kyoto Seika University / The Museum of Modern Art Kamakura & Hayama / Yokohama Museum of Art / Yamanashi Prefectural Museum of Art / The Museum of Modern Art, Ibaraki / Aichi Prefectural Museum of Art / Okazaki City Museum / Niigata City Art Museum of Art / The Museum of Modern Art, Toyama / Hokkaido Asahikawa Museum of Art / Hokkaido Obihiro Museum of Art / Ishikawa Prefectural Museum of Art / Tochigi Prefectural Museum of Fine Art / The Museum of Modern Art, Saitama / Machida City Museum of Graphic Arts / Ome Municipal Museum of Art / Kurobe City Art Museum / Suzaka Hanga Museum Hiratsuka Unichi Hanga Museum / Saku Municipal Museum of Modern Art / The Museum of Modern Art, Wakayama / Shimane Art Museum / Hiroshima Prefectural Art Museum/ Higashihiroshima City Museum / Shimonoseki City Art Museum / The Tokushima Modern Art Museum / KochiArt Museum / Kami City Museum / Miyazaki Prefectural Art Museum / Sakima Art Museum.
Awards: “Received a Purple Ribbon Medal, 2006”, “Won Bronze Prize at International Print Biennale of Beijing, 2003” , “Won the Grand-Prize at the 2st Kochi International Triennial Exhibition of Print, 1993”, “Won the Organizer's Special Prize at the Osaka Triennale, 1991”, “Won the Purchase Prize at the 4rd Wakayama Print Biennale, 1991”, “Won the Fine Work Prize at the 1st Kochi International Triennial Exhibition of Print, 1990”, “Won the Superior Work Prize at the 16th Japan-France Contemporary Art Exhibition, 1990”, “Won the Superior Work Prize at the 3rd Wakayama Print Biennale, 1989”, “Won Bridgestone Museum of Art Prize at the 19th Contemporary, 1989”, “Won Grand-Prize at the 2nd Seoul International Miniature Print Biennale, 1982”, “Won the 2st place of prize-nomination at the 12th Print Grand-Prize Exhibition, 1981”, “Won the 1st place of prize-nomination at the 10th Print Grand-Prize Exhibition, 1979”, “Superior Prize at the 2nd Japan Contemporary Print Grand-Prize Exhibition, 1978”.
Chen Qi was born in Nanjing in 1963. He graduated from the Fine Arts Department of Nanjing Arts Institute in 1987 with a bachelor's degree. He graduated from the Fine Arts Department of Nanjing Arts Institute in 2006 with a doctorate degree. Now he is the Vice-Director of School of Graduate Studies at Central Academy of Fine Arts. He is a member of the Exhibition Advisory Committee at National Art Museum of China, member of Prints Art Committee of China Artists Association, General Secretary of the Printmaking Academy by the National Painting Academy of China, and Visiting Professor of Renmin University of China. Chen Qi’s artworks have won the Bronze Award and Excellence Award continuously at the 7th, 8th, and 9th National Art Exhibition; and won the Golden Award at the 13th National Print Exhibition; and won the Excellence Award at the 5th Beijing International Biennale.
Selected Solo Exhibitions: The Physics of “Chen Qi”: Experimenting With Curation and Comprehension (Deji Art Museum, Nanjing, 2018), Imprint · Plurality - Solo Exhibition of Chen Qi (Asia Art Center, Beijing, 2018), The Time of Chen Qi - 1983-2016 (Shanghai Peninsula Art Museum, Shanghai, 2016), The Notation of Time - Exhibition of Chen Qi’s Art (National Museum of China, Beijing, 2013), Chen Qi Woodcuts (Oriental Museum, Durham University, Durham, UK, 2008), Woodblock Prints by Chen Qi (National Art Museum of China, Beijing, 1993).
Selected Group Exhibitions: Right Place Right Time - Artworks by Keisei Kobayshi and Chen Qi (Asia Art Museum, Beijing, 2019), Shanghai International Printmaking Exhibition 2017 (China Art Museum, Shanghai, 2017), Shen Qin & Chen Qi: Zero Degree (Asia Art Center, Taipei, 2016), Chinese Modern Watermark Print Document Exhibition (China Printmaking Museum, Shenzhen, 2016), Artworks by Shen Qin & Chen Qi (Asia Art Center, Beijing, 2015), Print in the Post-Print - The 1st CAA (China Academy of Art) Printmaking Biennial (CAA Art Museum, Hangzhou, 2015), The Twelfth National Exhibition of Fine Arts (National Art Museum Of China, Beijing, 2014), Being Here - 2013 Prints by the League of Chinese Printmaking Studios (Jiangsu Art Museum, Nanjing, 2013), Water · Print · Impression - International Woodblock Print Invitation Exhibition (Suzhou Art Museum, Suzhou, 2012), View of the City - International Print Invitation Exhibition (Shanghai Art Museum, Shanghai, 2011), Revival of Tradition - Chinese Contemporary Art Exhibition (Museum of Contemporary Art in Frankfurt, Frankfurt, 2009), Kanagawa International Print Festival - The Contemporary Prints of Japan and the World - Steps in Post War - 50 years (Yokohama Museum of Art, Yokohama, 1995).
Public Collections: British Museum, UK / Victoria and Albert Museum, UK / Ashmolean Museum, UK / Sotheby's Institute of Art, UK / The Muban Foundation, UK / New York Public Library, USA / Fukuoka Art Museum, Japan / Museum of Young Art (MOYA), Austria / National Art Museum of China, China / Shanghai Art Museum, China / Guangdong Museum of Art, China / Jiangsu Art Museum, China / Zhejiang Art Museum, China / Guan Shanyue Art Museum, China / Shenzhen Art Museum, China / Qingdao Art Museum, China / Suzhou Art Museum, China / Deji Art Museum, China.
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