上海明圆美术馆正在展出的“致幻 Ⅱ——都市景观与抽象艺术”，首次将城市生活的碎片、多样、复杂与多变的感受转换到各类抽象艺术创作之中，并邀请上海地区二十位焦点艺术家共同参与完成。围绕着“致幻”展览的主题，明圆特别推出人物专访，向读者展示更多关于“上海抽象”的艺术创作观点。
The current exhibition Psychedelic Ⅱ- Urban Landscape and Abstraction, in Shanghai Mingyuan Museum, transforms the fragmented, diverse, complex and changeable feelings of urban life into various abstract art creations, including artworks from 20 artists. Focusing on the theme of this exhibtion, we launched exclusive interviews to show more viewpoints about "Shanghai Abstract".
Zha Guojun's studio
“改革开放让我们接触到了西方艺术，
上海戏剧学院的舞台美术教育的特殊
性培育了我的抽象思维。”_查国钧
"The reform and opening-up
allowed me to contact with
Western art. The education of
STA and Stage Art cultivated
my abstract thinking."_Zha Guojun
上海明圆美术馆（下文简称“M”）：您于83年和和张健君、李山等人策划参加了《八三年段·绘画实验展览》，当时您的创作都是写实风景，怎么会想到尝试抽象绘画？
Mingyuan Museum (hereinafter"M"): You and other artists like Zhang Jianjun and Li Shan curated and participated in the Painting Experiment Exhibition in 1983. At that time, your creations were all realistic landscapes. Why did you think of trying abstract painting?
查国钧（下文简称“查”）：83年那时候改革开放的思想解放运动正在热火朝天地开展起来，对于当时的年轻人来说特别容易接受这种时代的改变。大家热衷于艺术风格、样式的探索。此时我们上戏的李山、张健君、戴恒扬领头策划了83年试验绘画展，在复旦大学工会礼堂举办。展览有个共识，就是力求作品“抽象风格”，因为那时候什么叫现代主义、什么叫当代艺术都搞不清楚，我们还处于初级的幼稚状态。不过张健君、李山他们已经画得蛮抽象，将玻璃、黄砂之类的材料综合在作品中，当时很“前卫”了。
Zha Guojun (hereinafter "Zha"): Young people in the reform and opening period were easy to accept the changes of the times. Everyone was keen to explore artistic styles and forms. At this time, Li Shan, Zhang Jianjun and Dai Hengyang, who were in Shanghai Theatre Academy (STA), led the Painting Experiment Exhibition in 1983. The exhibition strived for the "abstract style" of works. At that time, we even didn't know what modernism or contemporary art meant, but Zhang Jianjun and Li Shan had been already very "avant-garde". They integrated materials such as glass and gravel into their works.
上海的早期抽象主要代表人物大多都出现在上海戏剧学院，为什么呢？当时“上戏”是唯一完整艺术学科的高等重点学府，集中了上海乃至全国特别活跃、喜欢探索和勇于探索的教师和同学，并出现一大批这个时代独有的领军人物。再加上学科和专业特性，有别于当时以主题绘画创作的“美术学院”。我们舞台美术是以“为戏服务”的专业，特别讲究风格的多样化和形式美。“名、样、古”的戏剧作品决定了多种多样的突出风格，决定了舞台美术的形式研究的多样性的必然性质。
Why did most representatives of early abstract art in Shanghai appear in the STA? because STA was the only key institution of higher education with complete art disciplines at that time. It gathered teachers and students who liked to explore in the whole country. In addition, the discipline characteristics were different from those art schools who focused on themed paintings. Stage Art is a major "serving for the drama", emphasizing on the diversification of styles and beauty of forms.
另外，舞美教学又有它的特殊性，它的绘画教学也有别于一般美术院校的教育，例如它的风景画教育有一种“景外联系”的要求，这是一种场景和人物相互间联系和影响的“一种设计”。也就是说舞台美术设计的场景，除了直观的布景图像，还要加上人物行动的参与，它的“景”除了布景设计以外还要思考景外形象的意境联想揭示。例如设计“智取威虎山”“打虎上山”，杨子荣从雪山出来，表演骏马飞腾而出，人物一出场，灯光、颜色、在树林里、一片朝阳转变出现使人物万道光芒，这种景外情绪的烘托和形象描写，就是一种抽象艺术的意境“情绪思考”，戏剧中称之“潜台词”。
The Stage Art has the requirement of "scene connection outside", which is an independent design of the connection and influence between time, space and characters. Therefore, apart from the setting design, we must also consider the artistic conception reminder of the image outside the scene. For example, in the drama The Taking of Tiger Mountain, Yang Zirong came out of the snowy mountain and performed a galloping horse. Lights, colors, woods and a rising sun set off the character. This kind of contrast and description of emotions outside the scene is a kind of abstract art thinking.
所以我们舞台设计课程教学中常有一种“小品教育”，如老师组织学生在草地上讨论问题、或在某写生地写生，老师突然会让学生离开现场，然后引导学生来回答离开现场后场景发生了什么？学生在场景中发现了什么？有什么联想？这种“小品教育”是非常独特的抽象思维意境操作，是抽象意境素质有效的培植和训练。所以一段时间社会上会出现“色彩好、意境深”的“上戏风景”绘画风格的美称。
Our stage design course often had a "sketch education". For example, the teacher suddenly asked the students to leave the scene, and then guided the students to answer what happened in the scene after leaving? What did the students find in the scene? What is the association? "Sketch education" is an effective training for abstract thinking. Therefore, for a period, there was the reputation of "good color; deep artistic conception" for STA painting style.
“随着时代的发展，越来越多人对抽象
艺术在学理、在东西方文化互相影响
渗透上有了共识；在哲学、认识方法
上是十分相同的，存在互补。”
M：85年您去了美国，那时抽象绘画在美国的发展已是尾声，您当时为什么还要学习这种艺术形式？您的抽象作品受到哪些艺术家、艺术观念的影响？
When you went to the US in 1985, the development of abstract painting was nearing completion. Why did you still learn this art form at that time? Which artists and concepts influenced you?
查：在国内的时候，我的写实绘画已经获得很大成功和赞扬，我当时已经出过两本水粉画册，很多报纸、杂志介绍过。可以说在写意绘画，特别是风景画上有独特的风格，所以很多熟悉我的朋友对我到了美国后风格完全转为抽象非常疑虑和不解。从美术史来看，西方50年代末抽象艺术已接近尾声，而且80、90年代的绘画潮流看抽象艺术已经过时，但在国内我们的83年“实验画展”一出现还遭到了批判。85年我去了美国后，认真地学习和研究了大量的西方现代主义流派，特别是抽象艺术。从而我把东西方的文化做对比、分析和研究，一直考虑抽象艺术到底能否在中国存活？抽象旗帜能打多久？东方抽象主义能否有鲜明的资质独立于当代艺术之中？通过三十多年的坚持，我认为感动我的还是抽象艺术。
Zha: When I was in China, my realistic paintings had received a lot of praise. Many friends who were familiar with me were very puzzled that my style completely changed to abstract after I arrived in US. From art history, abstract art in the West in the late 1950s was nearing completion, while in China, our "83 Experimental Painting Exhibition" was criticized as soon as it appeared. After I went to the US, I studied a large number of Western modernist schools, especially abstract art. I researched the contrast between Eastern and Western cultures, and had been thinking about whether abstract art can survive in China. Can Eastern abstractism have aqualification independent of contemporary art?
随着时代的发展，越来越多人对抽象艺术在学理、在东西方文化互相影响渗透上有了共识；在哲学、认识方法上是十分认同的，存在互补。
With the development of times, more and more people have a consensus on abstract art in terms of theory and the mutual influence of Eastern and Western cultures.
中国画论中“似与不似之间”、“大象无形”都是我们两千年艺术总结的精华。中国的书法、篆刻、漆器、石刻、青铜中蕴含着大量的抽象艺术元素和学养。艺术的发展，将“以传统的继承、现代学习”而产生当下。抽象艺术在中国的当代艺术中会拥有强有力的生命力，是我一直坚信的。所以到美国后还是全力继续对抽象艺术进行探索研究。其实艺术样式的“过时”、潮流发展的变化是美术史发展的论述。对艺术家而言，个人风格的发展主要取决于个人的爱好和学识趋向。
"Between the like and the unlike" and "invisible magnificence" in the Chinese painting theory are the essence of our two thousand years' art. There are many abstract art elements in Chinese calligraphy, seal cutting, lacquerware, stone carvings, and bronze. I always believe that abstract art would have strong vitality in Chinese contemporary art. Therefore, after arriving in US, I still studied abstract art. "Outdated" of artistic styles and the changes in trends is the narrative of art history. For artists, the personal style mainly depends on personal hobbies and academic trends.
查国钧《混沌世界 2020 N04》综合材料
ZHA GUOJUN, Mistic World Series 2020 N04, Mixed media
140×70cm 2020
多媒体时代的到来，影像、装置、行为在这光怪陆离的大千世界发展或坚守将永远是人类进步的不断选择。
With the advent of the multimedia age, the development or persistence of images, installations and behaviors in this bizarre world will always be a constant choice for human progress.
“'以抽象语言述说东方神秘主义的故事'
是我从第一批早期抽象作品至今的艺术
信条，近年来更注重这个名称，更在材
质和表达方法强化东方语汇，向更空灵
和单纯发展”
"'Telling Eastern mysticism stories
in abstract language' is my long-
term artistic creed. In recent years,
I have strengthened my Eastern
vocabulary in terms of materials and
expression methods, that became
more ethereal and simple."
M：您之前一直标榜自己的作品是“以抽象语言述说东方神秘主义的故事”，近几年的创作依旧延续这一创作形式和内容吗？比如我们这次的三件（组）参展作品都是去年的新作，是否遇到新的问题？
M: You have been identifying your works as "telling Eastern mysticism stories in abstract language". Did you continue this form in recent years? The three exhibited works are all new works from last year. Are there any new breakthroughs?
查：是的，这是我从第一批早期抽象作品至今的艺术信条，三十多年来我坚守的还是“以抽象语言述说东方神秘主义的故事”，我近几年还延续着《混沌世界》的形式在创作和发展。有评论家说我的作品“很中国化”，而我近年来更注重这个名称，更在材质和表达方法强化东方语汇，向更空灵和单纯发展。我们这代学院派出身的抽象画家大多是写实画家转化来的，有深厚的写实绘画功底，“画得充分”是写实第一要素和思维方式，以操作能力越具体和丰富为己任。所以转向抽象的首要课题就是要“丢弃”，这是一个脱胎换骨的过程，向越来越单纯突破。要画得越少却要到位，这对写实画家来说加倍的艰难。可以不夸张地说，三十年来演变、突破我一直在做，越画越少、越画越空灵，这对于一个已经成型的画家是特别艰难的。
Zha: "Telling Eastern mysticism stories in abstract language" is my long-term artistic creed. In recent years, I have strengthened my Eastern vocabulary in terms of materials and expression methods, that became more ethereal and simpler. It is difficult to draw simple but accurate. Over the past 30 years, I have been making breakthroughs. Being Less but more ethereal is particularly difficult for a ready-made artist.
现在我来分析30年前的早期作品《水乡：1983》和这次展出的《混沌世界2020白玉》：《水乡:1983》是以我家乡写生创作的最早抽象作品。我家乡是昆山，我家后门就是这个样子，小桥、小船、流水的线条、倒影的水印，像是“巴洛克流动主义，线条的流水乐章”，所以我当时受此启发，创作了这批早期的抽象画。
My work Water Village:1983 30 years ago was created based on the landscape of my hometown Kunshan. The back door of my house looked like this, with bridges, boats, lines and reflections of flowing water. It reminds me Baroque's fluidism, so I was inspired and created this abstract painting.
查国钧 《水乡：1983》
ZHA GUOJUN, Water Village 1983
有朋友说如果我一直画这个风格，应该能成为我独特的风格，但我认为还是幼稚了些，这还只是形式上的模拟抽象，少了些民族文化的积淀。所以我后来把山水、汉墙砖、篆刻、漆器、青铜这些中国元素的文明印记进行改造、重组、演变，提炼培植成一种元素的气息，我成为“味道形变”。“只求味”，不求形似，这种形态的研究跟随了我这几十年的历程。这次展出的《混沌世界2020白玉》用一种水墨的质感、黑白的渗透构成“似白玉非白玉”的肌理效果，再用现代拼贴和甲骨文穿插过渡，画面力求单一纯化，尝试体现更纯净、更深沉的东方文明。运用现代设计构成、穿插，白玉纹理、色彩肌理的趣味，达到似玉不似玉的默念精神。
Some friends said if I keep painting this style, it would become my characteristic, but I think the abstract art in the form is still naive, that lacks national culture. So, I later transformed, reorganized and evolved the Chinese imprints such as landscape, Han wall tiles, seal carving, lacquerware and bronze. In the exhibited work Mistic World Series 2020 White Jade, black and white ink texture constitutes an effect of "white jade but not white jade". Then, the modern collage and aclebone were interspersed for transition. The image became simple and pure to embody a deeper Eastern culture.
“我自己是不想告诉人家画的是什么东
西的，就是观众的第一印象和第一思考
脑子里想到的是什么就是什么。”
"I don't want to tell people what
the painting is. The audience's
first impression and first thought
are what it is."
M：这两年因为疫情的影响，大家的生活方式也有所改变，这对您现阶段的创作有影响吗？对于我们这次展览的主题城市生活和抽象艺术，您有什么看法？
M: The pandemic has changed people's lives to some degree. Did it affect your current creation? What do you think of the theme of our exhibition?
查：没什么特别的影响，但是有更多时间静下来创作了。
Zha: There is no special effect. I have more time for creation.
对于用抽象艺术传达主题，我觉得对抽象画家来说是很难的。抽象绘画这个东西是用视觉传达的，最好的东西是讲不出来的，要靠感觉。像我们过去画风景、写生，告诉观众这是棵树，是很明确的，告诉观众春天、夏天、月亮、天地都很好办。但是抽象绘画就没有这种传达，没有形象、没有具象；一块颜色、几根线或者是画布上一条裂痕就达到了一种美感，出现了一种趣味、一个功能。
For the use of abstract art to convey a theme, I think it is difficult for abstract painters. Abstract painting is conveyed in visual language, without narrative. I used to paint landscapes and sketches, in which telling the audience that this is a tree is very clear. However, abstract painting has no such way to convey. It has no sharpe or concrete. A color, a few threads or a crack on the canvas achieves a sense of beauty, a taste, or a function.
所以我自己是不想告诉人家画的是什么，但是自己是知道在操作什么的，站在画前的确有思索万千，笔墨、色彩舞动、作者的学养和技巧是可以在作品中显示出来的。虽然有些玄妙但是可以感受到。正如这次展览的主题“城市生活和抽象艺术”，上海是产生抽象艺术的地方，它的风土人情会出现非常独特的“海派”感觉。为什么？因为有抽象艺术—上海抽象。
I don't want to tell people what the painting is, while I know what I was painting. The artist's ideas in the works are mysterious but can be felt. As the theme of this exhibition "Urban life and abstract art", Shanghai is the place that produces abstract art, so its customs give people a feeling of "Shanghai Style".
致幻 Ⅱ——景观与抽象艺术展览现场
Exhibition site of "Psychedelic Ⅱ-- Urban Landscape and Abstraction"
我自己做的随身小油画箱。_查国钧
A small portable oil painting box made by myself. _ Zha Guojun
查国钧，1943 年出生于江苏昆山市，著名抽象绘画艺术家。1967 年毕业于上海戏剧学院；1984—1988 年美国明尼苏达大学访问学者；1988—1989 年为加拿大温尼泊大学艺术学院客座教授；上海美术家协会会员、上海戏剧学院客座教、上海戏剧学院研究生导师。
参展精选
2018 上海抽象画会徐汇大展，宁波美术馆，宁波，中国 \ 2015 混沌世界——自然而然，明园美术馆，上海，中国 \ 2012 静·境，油画雕塑院美术馆，上海，中国 \ 2010 激情穿越意大利，明圆美术馆，上海，中国 \ 2008 拓展与融合，中国美术馆，北京，中国 \ 2007 彩墨天地抽象个人展，精艺轩艺术中心，香港，中国 \ 2005 “混沌世界”彩墨个人展，上海艺博画廊，上海，中国 \ 2004 抽象个人绘画展，Peter Bartlow Gallery, 美国 \ 2003 芝加哥艺术博览会，芝加哥，美国 \ 2002 “混沌世界”中国美术馆个人展，北京，中国 \ 2001 查国钧个人画展，上海美术馆，上海，中国
Selected Exhibitions
2018 Shanghai Abstract Art Exhibition, Ningbo Museum of Art, Ningbo, China \ 2015 Mystic World—Beneath Abstraction, Mingyuan Art Museum, Shanghai, China \ 2012 Stillness, SPSI Art Museum, Shanghai, China \ 2010 Passion through Italy, Mingyuan Art Museum, Shanghai, China \ 2008 Extension and Integration, National Art Museum of China, Beijing, China \ 2007 Colorful Ink World Abstract Solo Exhibition, Art Beatus, Hong Kong, China \ 2005 "Chaotic World" Color Ink Solo Exhibition, Shanghai Yibo Gallery, Shanghai, China \ 2004 Abstract Solo Painting Exhibition, Peter Bartlow Gallery, United States \ 2003 Chicago Art Fair, Chicago, United States \ 2002 "Chaotic World" National Art Museum of China Solo Exhibition , Beijing, China\ 2001 Solo Exhibition of Cha Guojun, Shanghai Art Museum, Shanghai, China
当前展览 Current exhibition
-
本次展览免费，观展需提前预约。 Free entrance. Reservations are required in advance. -
入馆前，请出示随申码并登记来访信息。 Before you enter the exhibition, please show your Shanghai QR Code to register. -
全程佩戴口罩，与其他观众保持1.5米距离。 Please wear face masks, and keep a distance of 1.5m away from others.
更多内容 就在下期
学术合作 | 请留言我们
Academic collaboration please leave us a message