内容提要
Lalan，原名谢景兰，法籍华裔女艺术家。对于中国观众来说，其人和其作品都是陌生的。但是在法国，Lalan是重要的华裔抽象艺术家，她的展览，曾在法国重要的画廊中展出，作品曾被法国文化部作为国家藏品而永久收藏。更为难得的是，Lalan取得成就的并非仅止于抽象绘画的创作，在电子音乐和现代舞蹈的领域中，她也成就非凡。在1970年代，她更将这三者结合起来，在同一个空间内综合展示，打破了不同门类艺术间固有的疆界，显示了非凡的艺术才情和创造力。
Lalan1921年生于中国贵州省，1948年随同前夫赵无极一同赴法，同法国新抽象派的艺术家往来密切，战后巴黎的艺术氛围深深地影响了年轻的Lalan。1957年她开始创作抽象画，早期的创作中带有强烈的自发冲动的痕迹，对中国书法元素的借鉴也非常明显；1970年代的绘画转向了具象题材，明显受到了中国传统山水画的影响，在画面中出现了渺无人烟的山峰等可以明确辨识的物体，有时的边角构图方式使人联想到南宋的马远和夏圭。同时，Lalan受到当时西方思潮的影响，将绘画、舞蹈和音乐三者综合起来展示，称作“综合艺术”，颇受好评；1980年代，Lalan重新开始创作抽象画，但是和早期浓重的风格相比，晚年的抽象画色彩清新跳跃，对线条的把握和运用达到了心手合一的至境，完全形成了自己的风格。
此次展览将展出Lalan女士各个时期的代表作品，既是对一个优秀女艺术家艺术之路的回顾和展示，也是中国观众了解战后巴黎新抽象主义绘画风格的一个良机。
祝展览获得圆满成功！
方增先
上海美术馆 馆长
Foreword
Lalan, initially named Xie Jing-lan, was a Chinese-French female artist. She and her works were unfamiliar to the Chinese, whereas in France, she was an important Chinese abstract artist. Her exhibitions were mounted at many prestigious galleries in France, and her works were added permanently to the state collection of the French Ministry of Culture. Even more extraordinarily, she not only was a master of abstract painting but excelled in the fields of electronic music and modern dance. In the 1970s, she integrated and displayed these three in a single space, broke down the inherent boundaries between different types of art, and showed to the world her miraculous genius in creativity.
Lalan was born in Guizhou Province of China in 1921 and went to France with her ex-husband Zao Wou-ki in 1948. The young lady was profoundly influenced by her close relations with the New Abstractionists and by the artistic milieu in Paris after WWII. In 1957, she began to do abstract paintings. Her early works reveal evident traces of her spontaneous impulse as well as noticeable references to Chinese calligraphy.
In the 1970s, she shifted her focus to concrete themes as a response to the traditional Chinese painting. In the tableau of her works, there appeared such identifiable objects as sequestered peaks. Sometimes her composition of the corner and sides remind one of Ma Yuan and Xia Gui, the landscape titans of the Southern Song Dynasty. Meanwhile, intellectual trends in the West began to exert a powerful effect on Lalan, who displayed an integration of painting, dance, and music. She called this trinity “integrated art,” which has since been widely acclaimed. In the 1980s, Lalan resumed abstract painting. In contrast to her early, rich style, the works of her late years are refreshing and brisk. Her comprehension and usage of lines attained to a consummate state in which hand and mind are one and the same. Enfin, she formed her own style.
This exhibition displays many outstanding works that Lalan created in the different stages of her painterly career. It is meant not only as a review of how a distinguished female artist was made but as an opportunity for Chinese viewers to know more about the New Abstractionist painting of post-war Paris.
It is to be ardently hoped that the exhibition will be an overwhelming success!
Fang Zeng-xian
Director of the Shanghai Art Museum
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