内容提要
　　“水墨时代”
—— 2010上海新水墨艺术大展前言

　　对于文化底蕴深厚的虹口区来说，如何传承经典，承接当代，展现当代文化的深度和活力是所有的虹口人，特别是历届政府必须得思考的问题。1999年依托建构虹口区“雅文化圈”的大胆设想，从构思到最后实施完成，“多伦路文化名人街”历经十载建成，成为沪上弘扬经典海派文化，塑造当代海派和虹口文化的重要举措。同时，在规划、筹建“多伦路文化名人街”的过程中，经过考察和调研，作为虹口区“雅文化圈”的重要构成部分，1995年建立了以传承经典艺术文化为主旨的朱屺瞻艺术馆；2003年又在已经完成的“多伦路文化名人街”的主题架构上，于多伦路27号改建完成了以关注、推介中国当代艺术为宗旨的多伦现代美术馆，两馆建立的时间前后相距也将近十年。两个“10年”见证了虹口人和虹口区政府以及规划者们的决心和信心，也见证了虹口文化和海派文化在当代社会的传承和演绎。因此，朱屺瞻艺术馆和多伦现代美术馆的建立是在这个过程当中非常有探索意义的尝试。

　　两家美术馆从建立伊始，就各自展现当初建设规划者的初衷：朱屺瞻艺术馆关注传统文化，引进了许多经典的展览和文化交流项目，如与潘天寿纪念馆合作的《海上十二家画展》，与常熟博物馆合作的《古代扇面展》，与日本、韩国合作的《第十一届兰亭笔会》等；多伦现代美术馆则不断地推出关注中国当代实验和前沿艺术的展览及项目，短短一两年内就在中国当代艺术界内赢得了较高的专业关注度。

　　2005年在朱屺瞻艺术馆发起成立了“上海新水墨基地”，并与多伦现代美术馆联合举办了首届展览，这个展览项目也同样作为“雅文化圈”初衷的体现，旨在将传统和当代的文化特征通过中国极具魅力的“水墨”话题融合在一起，凝聚上海周边、甚至海内外的优秀艺术家、策展人，来打造一个国际性的艺术平台。从2005年第一届展览开始，该项目连续举办了4届展览、以及相关的学术研讨会，不断推进了“上海新水墨基地”学术品牌的建立，面向海内外推广了“水墨”和“东方艺术”的课题。

　　2010年是世博年，展览从海派经典艺术出发，把传统海派和当代水墨一并展示，突出地彰显了本届展览的探索性，也从根本上表现出“海派文化”的多样性、包容性。所谓：海纳百川，有容乃大，海派的精神和气度在今年藉着世博会的机遇得以向世界展现，历时一年多筹备的这次展览，在各方面都比往届的思考更为深入，旨在向世界展现中国的传统和当代文化，让各国的客人看到作为一个东方大国文化和艺术的生命力。

　　五届新水墨展览的历程，凸显了两家美术馆的探索之路，也符合我们筹建“多伦路文化名人街”、打造虹口区“雅文化圈”的初衷，类似这样的展览项目我们今后会不断做下去，而且视野会更宽更广；两家美术馆，对于中国传统和当代文化的建设，也会不断探索，不断深入，完成自己的使命。

　　上海多伦现代美术馆馆长: 张永林

　　“The Era of Ink Painting”

—2010 Shanghai New Ink Art Exhibition Foreword

　　For Hongkou District that boasts rich cultural heritage, how to inherit the traditions and incorporate the contemporary trends to display the depth and vitality of contemporary art is a question all people of Hongkou District, especially the question that all previous governments should think about. Based on the bold scheme of building“Elegant Decent Culture Circle”in Hongkou District, Cultural Celebrities Street on Duolun Road was finally completed in 1999, ten years that from initial conception to final implementation, marked an important move of Shanghai to carry forward the classic culture of Shanghai school and shaped the contemporary culture of Shanghai and Hongkou. Meanwhile, in the course of planning and preparing for the construction of“Cultural Celebrities Street on Duolun Road”, after careful investigation and research, Zhu Qizhan Art Museum was established in 1995, with aim to inherit classic art and culture, and be an essential part of“Elegant Culture Circle”of Hongkou District. And then in 2004, Duolun Museum of Modern Art was erected at No. 27, Duolun Road on the basis of the completed thematic structure of Cultural Celebrities Street on Duolun Road, with a view to focus on and introduce contemporary Chinese art. The inaugural time of the two museums was about ten years apart. Two “ten years” witnessed the determination and confidence of the people and government of Hongkou as well as the planners, and also witnessed the inheritance and derivation of Hongkou and Shanghai culture in the modern society.

　　The founding of Zhu Qizhan Art Museum and Duolun Museum of Modern Art was two significant attempts made in this course. Since the day they came into being, the two museums have put into practice the original intention of the planners: Zhu Qizhan Art Museum has given its attention to traditional culture and introduced many classic exhibitions and cultural exchange programs, for example, Exhibition of Paintings by Twelve Shanghai Artists in cooperation with Pan Tianshou Memorial, Exhibition of Ancient Fan Leaves in cooperation with Changshu Museum, The 11th Orchid Pavilion Pen Assembly with Japan and South Korea; while Duolun Museum of Modern Art kept its focus on exhibitions and programs of contemporary experimental and avant-garde art of China, and won high recognition from the contemporary art circle of China in just a couple of years.

　　In 2005, Zhu Qizhan Art Museum proposed to set up Shanghai New Ink Painting Base and held the first exhibition with Duolun Museum of Modern Art. Also as a reflection of the original intention of“Elegant Culture Circle”, this exhibition program is intended to blend traditional and contemporary cultural attributes by means of the intriguing topic of “ink art” of China, and to bring together excellent artists and exhibition planners around Shanghai and even abroad to create an international art platform. Since the first exhibition in 2005, four exhibitions have been held, along with related academic seminars, had kept enhancing the brand of Shanghai New Ink Painting Base and spreading the topics on “Ink Art” and “Oriental Art” extensively at home and abroad.

　　The year of 2010 is a World Expo year. From the perspective of classic art of Shanghai school, this year’s exhibition shows traditional Shanghai school and contemporary ink art under the same roof, that is to highlight its explorative nature, and also to give full expression to the diversity and inclusiveness of Shanghai school of culture. As the saying goes, the sea can hold the water from thousands of rivers, it's big because of its capacity. The spirit and demeanor of Shanghai will be shown to the whole world on the occasion of this World Expo. More than one year of preparation has enabled more thorough consideration in terms of all aspects of the exhibition. It intended to show the world the traditional and contemporary culture of China and let the foreign guests see the vitality of the culture and art of a developing country.

　　The track record of five New Ink Art Exhibitions gives prominence to the exploration course of the two museums and accords with our original intention in constructing“Cultural Celebrities Street on Duolun Road”and creating“Elegant Culture Circle”of Hongkou District. We will not only keep working on exhibition programs of the same kind, but also try to widen our horizons. The two museums will persist in exploring and deepening the construction of traditional and contemporary culture of China and fulfill their mission.

　　Curator of Duolun MOMA: Zhang Yonglin

《溯源•水墨 现代海派水墨经典》前言

　　现代海派水墨是链接近代中国画与当代水墨画史的上下文中不可或缺的重要一环。现代海派水墨经典展，呈现的主要是20世纪下半叶活跃在上海的一批海派老艺术家的经典之作。

　　与前期的海派艺术家相比，这批艺术家除继续发扬海派绘画开放、多元、敢开风气先的优良传统外，他们的作品明显地带有特定历史时期的时代印记。作者大多为上海中国画院画师，同历史上的海派艺术家群体一样，冲破地域界限，涵盖了江、浙等其他地区的海派艺术家。这些画家的艺术生命与国家和民族的兴衰变革紧紧交织，早年历经内忧外患，后来又经历从民国跨入共和国的重大历史转折，如果说崛起于十九世纪的海派绘画的发生发展与当时上海高度发达的商品经济密不可分的话，新中国建立后上层建筑和经济基础都发生了翻天覆地的变化，不但商品经济进入了计划经济时代，绘画艺术品市场也随之消失。

　　社会形态的剧变，必然带来文化观念的革新。50年代初，开展了中国画“推陈出新”的大讨论。民族虚无主义的论调曾充斥一时，北京和上海两个画院的设立，为推进民族文化的保护产生了重要的战略作用。上海中国画院汇集了一批海派艺术精英，成为中国画坛的半壁江山。它的性质与体制虽然与封建社会的画院迥异，但作为贯彻党的文艺方针，将文艺作为建设新中国的有力宣传工具无疑是责无旁贷的。

　　尽管这批从旧社会过来的老艺术家原先在社会上已有相当的知名度与艺术地位，现在则面临着种种前所未有的新挑战。首先是文化艺术审美取向的质变，更有到笔墨语境的重构，国画不再是文人雅士远离尘世孤芳自赏的工具。新国画必须有新内容、新形式。他们怀着“对新制度的憧憬而产生的热情”①面向生活，深入工矿农村，他们努力寻找着传统图式的突破口。涌现出一批反映建设风貌的新山水、人物画中工农兵形象在反映现实生活的风俗画中成为了主角。花鸟画亦从传统的象征喻意中，寻找新的立意，拓展了不少前人未涉足的表现领域，展露新意。
　　
　　尽管在很长的一个历史阶段中，艺术家的艺术个性不再被强调，但他们从未停止过对艺术创新的追求及自身艺术个性的表达。如：林风眠、关良、朱屺瞻、刘海粟、陆俨少、程十发、陈佩秋先生都是具有鲜明的艺术个性。林风眠先生与朱屺瞻先生是“融汇中西”的代表人物。林先生吸收西方的表现主义艺术与中国民间美术演绎成风格鲜明的林式彩墨绘画。“运用西方现代语言而转换的中国人文精神与审美意蕴真正体现了20世纪中国画家的审美创造”，②朱屺瞻先生耋年变法以西画的色彩观念融入中国传统的金石书法笔意“从金石重彩大写意的角度将‘海派’中西融合推到一个新高度”③关良先生从油画转向国画，以擅写戏曲人物见长，笔墨稚拙，造型天真烂漫，以独特的艺术风格令人瞩目。刘海粟笔墨雄健恣肆，1970年代泼彩变法，晚年泼彩黄山，形成瑰丽雄奇的个人风貌。陆俨少的云、水、黑、白、动、静，山石勾斫，密树点厾，构成独具个性的图象符号。程十发先生山水、人物、花鸟全能，工写俱佳，更以其独特造型与娴熟的技巧独领风骚，有“程家样”之称。陈佩秋先生传统功力深厚，早岁花鸟已显大家风范，晚年更以绵长的创造力实现自我超越，山水出入宋元，参以西画色彩观念，别出新意。

　　可以说这里的每一位艺术家都有着各自的风貌与成就。他们经历过民族虚无主义的挤压、文化大革命的洗礼以及西方现代主义洪流的冲击，但他们始终怀着对民族文化精神的自尊与自信，不畏孤寂与艰辛，耕耘、探索、创造，为后人留下了丰硕的成果。薪火相传，生生不息，在现代海派绘画史上留下璀璨的篇章。

　　随着祖国改革开发的深化和市场经济体制的逐步建立，新一代水墨艺术家在全球化语境下又将在中国画语言的现代性探索中掀开新的一页。


　　① 陈履生：“时代的使命——20世纪50年代的中国画景观”。
②、③ 尚辉：“新中国画院50年——北京画院、上海中国画院对民族传统艺术的凸显与创造”。

　　Foreword of the Exhibition of Classic Modern Shanghai Ink Paintings
Modern Shanghai ink art is an indispensable part linking modern Chinese painting history and contemporary ink painting history. The Exhibition of Classic Modern Shanghai Ink Paintings mainly presents the classic works by old artists of Shanghai School who were activists in Shanghai in the second half of the 20th century.

　　Compared to earlier Shanghai School artists, not only did this group of artists continue to carry on the open, diverse, and innovative traditions of Shanghai School of paintings, but their works were also imprinted with the mark of the special historical stage. Most of these artists were painters from Shanghai Chinese Painting Academy like the Shanghai School artists in the history, they were Shanghai School artists from Zhejiang Province and Jiangsu Province. Their artistic life has been closely linked to the rise and fall and reform of the counry and nation, experienced external invasion, internal war, and the important historical transition from the Republic of China to the People’s Republic of China. If we say that the emergence and development of Shanghai School paintings, which rose in the 19th century, was closely related to the then highly advanced commodity economy in Shanghai A fter the establishment of the People’s Republic of China, both superstructure and economic foundation underwent tremendous changes, the commodity economy had entered into the era of planned economy, the market of painting arts disappeared as well.

　　The drastic changes of social morphology inevitably brought forth the reform of cultural concepts. Early 1950s saw the development of the great discussion of “innovating” Chinese paintings. For some time, national nihilism became rampant. The establishment of Beijing Chinese Painting Academy and Shanghai Chinese Painting Academy had played important strategic roles for the protection and promotion of national culture. Shanghai Chinese Painting Academy gathered a group of Shanghai School artist elites, taking up half of the artists in the country. The nature and system of the academy was completely different from that of the academies in the feudal society; nevertheless, for implementing the Party’s literary and artistic principles, the academy had played the essential and undeniable role of using art as a vigorous propaganda tool for constructing the new China.

　　Despite their existing reputation and artistic position in the society, these artists that have gone through the old society are now facing all types of unprecedented challenges, including the qualitative change of cultural and artistic esthetic orientation and the restructuring of the brush and ink context, wherein Chinese paintings are no longer a tool for isolating narcissism and self-asmiration of scholars. Instead, new Chinese paintings must have new content and new forms. Within such context, these artists, with their “longing and passion for the new system”①， visited industrial mines and the countryside, seeking for the breakthrough point for the traditional paradigm. In their artistic creations, there emerged a group of new landscape paintings reflected the construction in the new China; and farmer, worker, and soldier images became the hero in figure paintings. In addition, flower and birds paintings also had their new indications, apart from their conventional symbolic connotations, and represented new ideas and new frontiers in artistic creation, which had not been explored by predecessors.

　　Although for a pretty long historical period, the artistic individuality of artists was no longer emphasized, but they never ceased their pursuit for artistic innovation and the expression of their artistic individuality. For instance, artists like Lin Fengmian, Guan Lian, Zhu Qizhan, Lu Yanshao, Cheng Shifa, and Chen Peiqiu all had outstanding artistic individuality. Mr. Lin Fengmian and Mr. Zhu Qizhan were representative figures of combining the Western and the Chinese art. Mr. Lin combined the Western expressionist art with the Chinese popular fine arts into his unique style of color ink painting. His practice of “Chinese humanistic spirit and esthetic implication through the use of modern Western language has truly reflected the esthetic creation of Chinese painters in the 20th century”。②In his eighties, Mr. Zhu Qizhan changed his painting style and integrated the color concepts of Western paintings into the traditional Chinese free style calligraphy and painting, bringing the Shanghai School of combining Western and Chinese art to a brand-new level from the perspective of heavy color great freehand style of calligraphy and painting.③Mr. Guan Liang shifted from oil painting to Chinese painting. Good at portraying theatrical figures, he has gained universal recognition with his unique artistic style of childlike and simple brushwork and innocent style. Liu Haisu is famous for his majestic and free brushwork and ink. He adopted the splashing technique in the 1970s and focused on splashing painting of the Yellow Mountain in his old age, establishing the majestic and resplendent personal style. In Lu Yanshao’s paintings, clouds and water, black and white, the dynamic and the static, rockery and mountains, luxurious trees formed unique image icons. Cheng Shifa was good at landscape painting, figure painting, and flower and birds painting, whether fine brushwork or freehand style was excellent; especially he was recognized for the unique style and adept skills in his paintings, well-known as “the Cheng Style”。 Cheng Peiqiu has a deep foundation of traditional techniques and her early flower and bird paintings heralded the style of a master. In her old age, she has made breakthrough achievements with resourceful creativity. Her landscape paintings have the style of the Song Dynasty and the Yuan Dynasty, combined with the color concept of Western paintings, which made her paintings innovative and absorbing.

　　It is well justified to say that each of these artists has their own features and their own accomplishments. Having undergone the squeezing by national nihilism, the baptism by the Cultural Revolution, and the impact by the Western modernism, they still has carried on the dignity and self-confidence of the national cultural spirit, fearlessly and diligently explored and created, left rich fruits for the followers. They have passed on their skills and techniques, leaving a resplendent chapter in the history of modern Shanghai School painting.

　　With the deepening of the reform and opening up in China and the gradual establishment of the market economy, the new generation of ink artists will turn to a new page in their modern exploration of the Chinese painting language within the global context.


　　① Chen Lvsheng: “Mission of the Age-Chinese Paintings in the 1950s”
②、③ Shang Hui: “Fifty Years of Painting Academies in the New China - Presentation and Creation of Traditional National Art in Beijing Chinese Painting Academy and Shanghai Chinese Painting Academy”（文章来源：《水墨时代---2010上海新水墨艺术大展》）

目录
序言
“水墨时代”—— 2010上海新水墨艺术大展前言 张永林 ………………………………………………..………2

“水墨时代”—— 一个新的学术问题 陈九 ……………………………………………...…………………………….4


《溯源•水墨》……………………………………………………………………………….................………………......8策展：朱屺瞻艺术馆学术部
艺术家：张熊、任熊、胡公寿、虚谷、赵之谦、蒲华、钱慧安、任薰、任伯年、吴昌硕、吴友如、倪墨耕、黄宾虹、王一亭、赵子云、赵叔孺、陈师曾、姜丹书、贺天健、朱屺瞻、郑午昌、刘海粟、王个簃、钱瘦铁、潘天寿、张大千、关良、 林风眠、诸乐三、江寒汀、来楚生、戈湘岚、黄幻吾、陆俨少、唐云、谢稚柳、吴青霞、程十发、林曦明、陈佩秋


《当代水墨经典》……………………………………………………………………………………….…......................72
策展：朱屺瞻艺术馆学术部
艺术家：陈家泠、车鹏飞、刘国松、卢辅圣、仇德树、施大畏、杨正新、周韶华、张雷平


《水墨彼岸》……………………………………………………………………………………………..…………………..98
策展人：蒋奇谷
艺术家：柴一茗、蔡小松、何赛邦、李津、梁长胜、武艺


《第三种抽象》……………………………………………………………………………………………..……………...130
策展人：马琳
学术主持：朱青生
艺术家：柯迺柏、井上有一、蓝正辉、尚扬、魏立刚、杨诘苍、张浩、朱青生


《水墨的边缘》………………………………………………………………………………....………………..............168
策展人：王南溟
艺术家：陈光武、徐虹、潘缨、张诠、刘永涛、刘超


版权页 …………………………………………………………………………………..…………………………….………210

注：画册中近现代艺术家按年龄排名，当代部分艺术家按拼音顺序排名
Contents
Preface
“The Era of Ink Painting”—2010 Shanghai New Ink Art Exhibition Foreword： Zhang Yonglin …………………….……3
“The Era of Ink Painting”—A New Academic Topic：Chen Jiu …………………………………………………………………………...5


Trace the Origin•Ink Painting ………………………………………………………………………………………..8
Curator: Academic department of the Zhu Qizhan Art Museum
Artists: Zhang Xiong, Ren Xiong, Hu Gongshou, Xu Gu, Zhao Zhiqian, Pu Hua, Qian Hui-an, Ren Xun, Ren Bonian, Wu Changshuo, Wu Youru, Ni Mogeng, Huang Binhong, Wang Yiting, Zhao Ziyun, Zhao Shuru,Chen Shizeng, Jiang Danshu, He Tianjian, Zhu Qizhan, Zheng Wuchang, Liu Haisu, Wang Geyi, Qian Shoutie, Pan Tianshou, Zhang Daqian, Guan Liang, Lin Fengmian, Jiang Hanting, Lai Chusheng, Ge Xianglan, Huang Huanwu, Lu Yanshao, Tang Yun, Xie Zhiliu, Wu Qingxia, Cheng Shifa, Lin Ximing, Chen Peiqiu


Classic Contemporary Ink Paintings …………………………………………………...…………………….......72
Curator: Academic department of the Zhu Qizhan Art Museum
Artists: Chen Jialing, Che Pengfei, Liu Guosong, Lu Fusheng, Qiu Deshu, Shi Dawei, Yang Zhengxin, Zhou Shaohua, Zhang Leiping


Beyond the Ink and Wash Painting ……………………………………………………..………………….......98
Curator: Jiang Qigu
Artists: Chai Yiming, Cai Xiaosong, He Saibang, Li Jin, Liang Changsheng, Wu Yi


The Third Category of Abstraction ……………………………………………………………..………………130
Curator: Ma Lin
Academic Director: Zhu Qingsheng
Artists: André KNEIB, INOUE Yu-Ichi, Lan Zhenghui, Shang Yang, Wei Ligang, Yang Jiecang, Zhang Hao, Zhu Qingsheng


The Edge of Ink Art ……………………………………………………………………………………………..…......168
Curator: Wang Nanming
Artists: Chen Guangwu, Xu Hong, Pan Ying, Zhang Quan, Liu Yongtao, Liu Chao


Copyright ………………………………………………………………....………………………………………………..210


Note: modern artists in the book are ranked by age, while contemporary artists are ranked by alphabetical order