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高尔夫风景 | 张少侠油画作品展
GOLF LANDSCAPES | Oil Paintings Collection by Hudson.Z
艺术家:张少侠
出品人 :李小山
学术主持 :刘伟冬
策展人 :林书传
支持单位 :海南南国控股集团有限公司
展览时间 :2023.11.8—11.27
展览地点:南京艺术学院美术馆4号展厅
Artist : Zhang Shaoxia
Producer : Li Xiaoshan
Academic Supervision : Liu Weidong
Curator : Lin Shuchuan
Duration :2023.11.8—11.27
Venue : Hall 4 of AMNUA
我 与 张 少 侠
刘伟冬
南京艺术学院艺术史教授
我和少侠君是同门,都曾师从刘汝醴先生学习欧洲美术史。但他是学兄,也是我学业上的领路人。
我和少侠君相识在南京师范学院(现在的南京师范大学)的校园里,当时他是南京艺术学院美术系的研究生,而我正在师大的外文系学习。因为专业学习的需要,少侠君在我们的班级上旁听精读、泛读和听说课。20世纪80年代,硕士研究生似一种学术水准的标杆,如同真正的天之骄子,所以从一开始我对他就充满了崇敬之情。我在上大学前,曾在南通的一家工厂工作过三年,是地道的“工人阶级”出身,看上去要比从学校到学校的同学老成一些。事实上,在年龄上的确要大上三到四岁。我在上小学、中学时曾跟随美术老师学过画画,社会上也拜过师,作品也在群艺馆展出过,有一些美术方面的知识,这些所谓的优势让我有了一点点走近少侠君的资本和信心。现在记不清楚我们第一次谈话的内容是什么了,依稀记得的是,有时候他会问我一些英语学习中的问题,我也会请教他自己在美术阅读中的一些困惑。比如现在人人都在谈论的毕加索,但当时我对这位现代派画家的理解还停留在白痴水平上。他的解释虽然没有解开我心中的块垒,但已经让我明白了美术创作与美术历史的另一种景象和另一种可能,这种启发对我来说具有开智的意义。一来二去,我们成为了好朋友,我还跟他到南京艺术学院玩过好几次,在食堂里吃过可口的大排。也通过他认识了其他的一些老师,像董欣宾、江宏伟、丁方等,我似乎又闻到了艺术原野上的迷人气息。世事难料,人生就更难料。有谁会想到,当时我感到如此陌生的一所学校,后来我竟在这里学习工作了40多年,而且还从普通老师走上了校长的岗位。现在我也常想,当年如果我没有遇到少侠君,我的人生境遇将会是另一番景象,师大外文系的黄龙教授就曾希望我考他翻译学的研究生,但我非常喜欢自己现在的选择和现在的状态。
![高尔夫风景 :张少侠油画作品展 | AMNUA展讯 崇真艺客](https://trueart-content.oss-cn-shanghai.aliyuncs.com/20231105/182521080_640.jpg#)
美国新泽西州银湖高尔夫俱乐部/Silver Lake Golf Ciub
120*65cm
雨露麻油画/Oil on Canvas
2022.4
![高尔夫风景 :张少侠油画作品展 | AMNUA展讯 崇真艺客](https://trueart-content.oss-cn-shanghai.aliyuncs.com/20231105/182522002_640.jpg#)
威尔士纽波特凯尔特庄园球场/Celtic Manor
120*60cm
雨露麻油画/Oil on Canvas
2021.1
![高尔夫风景 :张少侠油画作品展 | AMNUA展讯 崇真艺客](https://trueart-content.oss-cn-shanghai.aliyuncs.com/20231105/182522912_640.jpg#)
![高尔夫风景 :张少侠油画作品展 | AMNUA展讯 崇真艺客](https://trueart-content.oss-cn-shanghai.aliyuncs.com/20231105/182523314_640.jpg#)
![高尔夫风景 :张少侠油画作品展 | AMNUA展讯 崇真艺客](https://trueart-content.oss-cn-shanghai.aliyuncs.com/20231105/182523674_640.jpg#)
![高尔夫风景 :张少侠油画作品展 | AMNUA展讯 崇真艺客](https://trueart-content.oss-cn-shanghai.aliyuncs.com/20231105/182524049_640.jpg#)
![高尔夫风景 :张少侠油画作品展 | AMNUA展讯 崇真艺客](https://trueart-content.oss-cn-shanghai.aliyuncs.com/20231105/182524470_640.jpg#)
美国灰熊牧场高尔夫俱乐部/Grizzly Ranch Golf Club
120*80cm
雨露麻油画/Oil on Canvas
2022.4
![高尔夫风景 :张少侠油画作品展 | AMNUA展讯 崇真艺客](https://trueart-content.oss-cn-shanghai.aliyuncs.com/20231105/182525345_640.jpg#)
美国新泽西州松树谷高尔夫俱乐部/Pine Valley Golf Club
120*65cm
雨露麻油画/Oil on Canvas
2021.5
![高尔夫风景 :张少侠油画作品展 | AMNUA展讯 崇真艺客](https://trueart-content.oss-cn-shanghai.aliyuncs.com/20231105/182526236_640.jpg#)
![高尔夫风景 :张少侠油画作品展 | AMNUA展讯 崇真艺客](https://trueart-content.oss-cn-shanghai.aliyuncs.com/20231105/182527300_640.jpg#)
Hudson.Z and I
Liu Weidong
President of Nanjing University of the Arts
Hudson.Z and I are fellow disciples who both studied European art history under Mr. Liu Ruli. However, he is my senior schoolmate and has been a guiding light in my academic journey.
Our paths first crossed on the grounds of Nanjing Normal College (now Nanjing Normal University). At that time, he was a graduate student in the Department of Fine Arts at Nanjing Arts Institute (now Nanjing University of the Arts), while I was immersed in foreign languages studies at the college. Shaoxia, with scholarly diligence, attended our intensive reading, extensive reading, and oral English classes, which were essential for his studies. In those days, postgraduate students were considered academic elites and true prodigies, and I couldn’t help but admire him from the very beginning. Before college, I worked for three years in a Nantong factory, a true-blue member of the working class. I appeared more seasoned compared to classmates who had just graduated from high school, being three to four years their senior. Prior to college, I had dabbled in painting under the tutelage of an art teacher. My works even graced the walls of the public art center. Armed with some art knowledge, I carried a slight advantage and confidence when striking up conversations with him. I can’t recall the details of our initial exchange, but there were times when he sought my input on English learning, while I, in turn, sought his wisdom to unravel puzzles in art reading. Consider, for instance, our discussions on Picasso. Nowadays, everyone can chat about Picasso with ease, but back then, my comprehension of this modernist painter was at an entry-level. While Shaoxia’s explanations didn’t entirely unveil the mystery in my mind, they did enlighten me to alternative perspectives and possibilities in art creation and art history, igniting a spark that held profound significance. Slowly but surely, we became fast friends. I journeyed with him to Nanjing Arts Institute on multiple occasions, savoring delectable cafeteria meals and exploring the captivating world of art. Through him, I made the acquaintance of esteemed educators such as Dong Xinbin, Jiang Hongwei, and Ding Fang. It was as if I had breathed in the enchanting air of the art realm once more. Life is unpredictable, its course even more so. Who could have foreseen that the very institute that felt so alien to me would become my home for over four decades, and that I would ascend from a humble teacher to the post of school principal? Often, I muse over how different my life would have been had I not crossed paths with Shaoxia. Professor Huang Long, from the Department of Foreign Languages at Nanjing Normal College, had once encouraged me to pursue graduate studies in translation with him. However, I am genuinely content with my choices and my present circumstances.
In 1982, Shaoxia successfully defended his master's thesis and remained at the university as a teacher. He was remarkably diligent; while auditing our classes, he attended nearly every session without exception, unlike many of our classmates, including myself, who occasionally skipped classes. Over the course of his three-year postgraduate studies, he compiled over a million words of notes on European art history. These notes were later consolidated into six extensive volumes and served as valuable teaching materials. During that era, due to limited long-term external exchange, information in this field was exceedingly scarce, and there was virtually no comprehensive textual introduction to European art history available in China. Shaoxia’s encyclopedic approach to European art history not only significantly enhanced the quality of teaching materials at Nanjing Arts Institute but also bridged numerous gaps in China’s knowledge landscape. This collection of teaching materials garnered widespread acclaim upon its official publication. Subsequently, under his guidance, I pursued postgraduate studies in European art history at Nanjing Arts Institute. I utilized this compilation for review, and while I can’t assert that I memorized its entirety, I certainly retained the critical chapters. The focus on teaching materials resulted from Shaoxia’s personal dedication and hard work, but it also reflected the broader environment at Nanjing Arts Institute. During those years, senior teachers like Zhang Daoyi, Wu Shan, Lin Shuzhong, and others had been working quietly on the front lines of teaching for a long time, and they never gave up their efforts in this regard. In the early years of China’s reform and opening up, Nanjing Arts Institute had a relatively complete series of departmental textbooks for various majors, laying a sturdy foundation for the institution’s subsequent rapid growth and contributing significantly to the advancement of higher art education in China.
During his teaching tenure, Shaoxia remained a prolific writer and successfully authored A Brief History of European Arts and Crafts, A History of Asian Arts and Crafts, and A History of African and American Arts and Crafts. Upon the publication of these three works, they elicited an enthusiastic response from the field of arts and crafts, firmly establishing Shaoxia’s academic reputation in this domain. Renowned scholars Zhang Daoyi and Xi Jingzhi highly praised these works, considering them pioneering and of great significance. These three books also became essential reading materials for many graduate and undergraduate students at prestigious art institutions. Following this, Shaoxia accomplished another remarkable feat by co-authoring A History of Modern Chinese Painting with Li Xiaoshan. This work, addressing the contemporary art landscape with precision and keen insight, provided objective critiques and evaluations of numerous contemporary artists. Its audacity and perspicacity left the art community astounded, transforming it into a groundbreaking masterpiece that ignited significant discourse and debate within the art world. In today’s context, it unquestionably qualifies as a phenome non.
Shaoxia was not only prolific in his academic achievements and writings but also a teacher deeply beloved by his students. His course on European Art History was a flagship program at the time, with very few students ever missing a class. There were even students from other departments who came to audit his classes. Many years later, at reunions of Nanjing Arts Institute graduates, some would mimic his Nanjing-accented teaching style to express their deep admiration for his extensive knowledge and profound insights. This demonstrates how profound and enduring his influence was on his students.
Nanjing University of the Arts, in its century-long history, has witnessed substantial development and now stands as a prominent leader among art institutes in China. Shaoxia’s departure from the institute in the late 1980s should not overshadow his substantial contributions to the institute’s academic progress. Certain details related to these events risk fading from memory as time passes. During that period, Shaoxia not only held the distinction of being the youngest associate professor of art history at the institute but also assumed the role of heading the Research Department within the Academic Affairs Office. In 1985, the Ministry of Education initiated the application process for the second batch of doctoral programs in the field of art. During this period, this task posed unfamiliar challenges to many universities, and it appeared that the institute’s leadership held varying opinions on the matter. However, Shaoxia, with his extraordinary academic foresight, staunchly believed that the institute should actively participate in the application process. He went so far as to personally visit Professor Liu Ruli, who was still deliberating, with the hope of persuading him to take the lead and utilize his nationwide academic influence to ensure the institute’s successful application. Additionally, he tasked me with a late-night trip to Shanghai to retrieve sample copies of Professor Liu Ruli’s book, Art of Ancient Egypt, published by the Shanghai Art Publishing House, to strength our application. Ultimately, we achieved success in our application. However, it was this crucial step that saved NUA's academic development from taking many detours. When I later shared NUA’s experiences in academic development with colleagues from other institutes, I often remarked that we had merely awakened a bit earlier than others. In reality, the person who woke up earliest here should have been Shaoxia, or at the very least, one of the first.
Following his departure from the institute, Shaoxia embarked on a significant journey to Hainan, where he played a pivotal role in establishing the School of Arts at Hainan University. Three years later, he transitioned away from the academic campus and delved into the world of business. During this period, he ventured across the globe, engaging with influential figures in the business sphere. Although our interactions were limited, I received reports of his remarkable success in the business sphere. Yet, based on my familiarity with him, even though he occupied himself in the world of business, his heart remained devoted to the arts. The essence of art had ingrained itself in his very being, becoming an indelible part of his identity.
In 1997, Shaoxia undertook the role of editor and publisher for a 20-volume series titled World Painting Treasures, which garnered significant acclaim. While the scholarly worth of this series is undeniable, its greatest significance, in my opinion, lay in providing him with a sense of belonging and solace within the academic realm. He sought an academic sanctuary, and perhaps this was the true impetus behind bringing this series to fruition.
In 2018, Shaoxia rekindled his passion for painting, producing nearly five to six hundred oil paintings inspired by golf courses across the globe that he had personally visited. To my perception, these works transcend mere nostalgia or scenic representation; they symbolize his unwavering dedication to art and his commitment to staying true to his inner self.
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编辑 | 倪清蓉
审校丨刘婷
二校丨徐轩露
三校丨林书传
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