Way to
顾 跃 北京颂雅风
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Read Classics
阅读经典的方式
The
阅读经典的方式
黄笃（著名艺术评论家、策展人） 2013 年 11 月 2 日
顾：之前我的绘画关注于社会转型期间都市文化的变革的角度，以“重影” 美学观和“虚拟现实”的绘画技巧来阐释自己的作品与社会学、艺术史之间的关 联。您曾评价“从卡啦 ok、酒吧这个微观的角度来审视这个社会，具有一种社 会批判意识，区别于当下绘画流行卡通、大脸风格的绘画。当然，可以在画面上 探索拓展场面的空间和表达人物的多样性作努力，这也符合当下人的生活状态。 艺术史上一个阶段需要一种很严肃的东西和批判意识，绘画不仅内容需要变化， 语言上也要存在唯一性或个性，个性通过绘画语言的方式体现出来，这就是你区 别其他人很重要的要求，艺术家重要的是要确立自己个人的语言。 而我最新的创作思想则经历一种“范式转换”，追寻在“重绘善本”的古意 中探寻“经典美”——重建历史与美的韵味之意义。 黄：你为什么会把视线转到“重绘善本”呢？ 顾：传统中国文化的文学、戏剧，堪为瑰宝，后人无数次阐释、解读，衍生 出各奇各式的版本，为后世的营造“法式”，以及叙述意蕴情境的图像世界。 中国传统古善本的研究一直是我关注点，而国家博物馆的工作背景和文物环 境对我产生了潜移默化的影响，对古代善本的二次创作或者说图像的改造成为我 一种内心情感的诉求。在我眼中古善本不仅仅是一次写生过程，是图像如何将当 代油画材料进行合理的一次“挪用”、转换和重读经典的精神巡礼，是我对《西 厢记》、 《牡丹亭》、 《红楼梦》等系列古善本再创作，更是对传统国画中“摹”、 “仿” 问题的思考与延展。重绘善本具有以下几个特点；首先是面向宫廷绘画对于西方 文化（油画材料）的中国式图像符号“挪用”和“嫁接”的大胆尝试；其次是针 对古代绘画中不乏有诸多“仿”、“摹”、“临”等词汇和相关艺术理论进行反思； 再者是引申出一种碎片式美学当代性和波普式美学当代性实践。 其实质是向古代文化的致敬，即我们如何学习经典，如何将经典转换成当代 性语言，当代的呈现方式以及当代的公共的感觉出来。 黄：你在画这一对象时是完全根据它进行描摹，还是对其有所修改，或介入 其它的方法去画呢？ 顾：在空间上、 观念上均有新的要求， 做一了些尝试性的 “修改” ， 有以前绘画 “重 影”或“重屏”的感觉处理，在整个空间上也会有一些想法和变化。 黄：我大概明白了你的意思。 2
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顾：在当代语言中，或者说在借鉴经典的过程中，我们怎么样才能做的有意义。
画的影响，除此之外，也有来自于意大利之外的影响，如他画的静物罐子和瓶子， 受到宋代花鸟化和南宋牧溪禅宗画的影响。尤其是牧溪画的《六柿图》对莫兰迪
黄：可以说，怎么去理解艺术的秩序是一个很有意思的话题。在 20 世纪 80
影响较大，我们可以体会到牧溪的六个柿子随机的摆设，每一个柿子上不同的笔
年代，美国曾有一个艺术史大会，大会研讨的主题就是与经典相关。参加会议的
墨、虚实、阴阳、粗细间的灵活运用，作品呈现出“随处皆真”的境界。牧溪的
艺术史教授从不同视角分析了涉及艺术史研究的几个概念问题： “经典” （classic），
禅画将生命解脱看作最高存在内涵。禅者随时皆处于生命的转化及变与不变之间，
“经典的”（classical），“古典主义”（classicism），“古典化”（classicizing）。
时时与处处皆能展现生命的样态，而笔迹与墨迹只是悟者的机锋应对。莫兰迪反
我想，这些概念在艺术史谱系上反映出图像风格之间的关系以及图像的话语和秩
复揣摩、理解和分析对象（宋画与牧溪的六柿图）的过程，也是一种解读与悟性
序。任何一个时期，都存在某种经典，或者说某种模本，其中蕴涵了支配性的视
的过程，最终把个人的绘画提升到一种形而上的语言，即非常个性化的新境界——
觉话语，以及产生影响的某种审美秩序。当然，经典伴随着历史积淀，被逐渐提
纯粹、简洁、质朴和自然。所以，禅宗画对莫兰迪的影响，不仅体现在形式上的
倡为某种主义。即使今天的主义如此众多，甚至怎样的反艺术或非艺术，它们都
绝对精神，而且还反映在思绪上的联想与冥想。类似的例子如约翰·凯奇（John
是无法脱离艺术发展的谱系。现在通过你的画，让我看到一个当代人如何去解读
Cage 1912-1992）的作品《4 分 33 秒》也或多或少受日本禅宗影响，将之引入
经典。
到当时前卫艺术的行为与音乐创作之中。20 世纪 40 年代，凯奇在黑山学院听了
我想，你刚也谈到了艺术的当代语言问题，它当然也涉及到模仿和拼凑甚至
日本人铃木大拙（Suzuki Teitaro Daisetz）讲授日本禅宗，深受感动。他开始把
“篡改”，它恰恰是后现代主义特别强调的观念或方法之一。在后现代主义中，
禅宗思想运用在作曲新实验中，把音乐想象成“无目的的游戏”，认为一切都要
模仿和拼凑的英文是 pastiche 一词，有拼贴之意。我想，既然有这样含义，这
顺其自然，无须刻意从混沌和偶然中寻找出什么秩序，由此创造了“偶然音乐”。
其中无不蕴涵着时间和空间的移位，比如说你在对经典进行解读的过程中，对图
当然，从莫兰迪的例子中，让我们理解当代艺术与经典或传统到底是什么样的关
像画面的表现也有一个错位。所以，依你所表现的一个经典图像为例，它已不是
系，以及如何转化经典或传统的能量，不是仅仅简单地选取某个符号，而是要建
原有意义上的《西厢记》了！但这个图像本身也其中隐含了它的意义。另一方面，
立起与精神内在性的关系，这才是能否触及本质的核心。 所以，现又回到你的绘画，你的绘画还是把握住一种视觉语言，强调内容与
你的画中也隐含着一种窥视的感觉，而这种窥视的私密性又被视觉表现的公开化。
形式、色彩与构图、生活和社会、传统和当代之间的关系以及和谐性，这是绘画
不可否认，这种习俗在明清时的文学中都有描述，包括《金瓶梅》和《肉蒲团》 等都表现了这一时期的社会文化征候。我们今天并不能仅仅把它看成一种情色，
的基本原则。从另一社会层面来看，你的绘画就像是一面镜子，折射出我们对历
事实上这种所谓的情色背后暗示了社会发展的转变和市民文化的崛起，即封建社
史的一些思考：画面除了给我们传递的愉悦的形式感之外，还有某种社会性的信
会向世俗社会的蜕变。这让我们思考今天的社会现实。那么你在绘画中对经典的
息。这些图像信息也暗喻了社会现实与生活方式——画面渗透着某种窥视，既窥
解读，某种程度上也折射了今天社会变化的征候。具体说，通过具体的画面，既
视着描绘形象的内容也窥探着我们自身的心理。这正是绘画难以言表的地方，因
去认知古代社会生活，又反思当今社会。当然，你的画面处理很有意思，画面色
为绘画往往想用语言去解释的时候，文字解释在某种意义上又约束绘画。因此，
彩处理非常稳定，且较和谐，因为这类画处理不好会变得很俗。你对经典意义的
绘画的意义就是绘画自身。
把握还是恰当的——既有一种视觉和谐性，也有一种图像背后的秩序分析。这正
众所周知，绘画实际上是开放的视觉方式，每个人看画时都会有不同的
确证了今日艺术之特点。其实，在后现代主义中，模仿某种经典在某种意义上又
经验和感受，而语言不同于绘画，它相对而言有具体指向性的功能。绘画当然也
重新赋予它新的意义，比如你在自己的绘画中修改了人物、空间及环境的关系，
有指向，但绘画并不是用单纯语言能描述的，绘画的独特性在于其具有语言难以
并赋予了其许多主观性的东西，而这种主观性就是对某种情景或内容在形式和语
描述的东西，这就是绘画的魅力所在。
言上一种新的解读，从而彰显了艺术语言的当代性。 事实上，传统与当代并不构成矛盾，传统艺术中美学能源可借鉴的多多。 如何去把握传统绘画中的空间意识，以及与之相关的纯粹美学境界，这有许多值 得我们学习的地方。像明末清初的画家的弘仁（1610-1664 年）就是一个例子， 他的绘画笔法清刚简逸，意趣高洁俊雅。其画风以简洁的空间和单纯的形式表现 出了那种萧瑟感和宁静感，凝缩了其个性化的绘画美学。实际上值得从这一绘画 中学习如何吸收那种简约语言。今天，倘若把眼光投射到韩国当代艺术家李禹焕 （LEE UFAN）的绘画，也能感受到他的画对简洁空间的追求。当然，他的艺术 也深受日本禅宗之影响。正如我们看到的，他在画面上用排笔式的方式刷出几笔， 留下大量空白，这完全是东方式的空间美学。这才是中国古代艺术经典美学之精 髓。当然，这种现象也在西方艺术家身上得以反映，在意大利艺术史上，乔治·莫 兰迪（Morandi 1890-1964）的绘画深受意大利 20 世纪初未来主义和形而上绘
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仿雍正美女图 1 135cmX70cm 布面油画 2014 年 6
仿雍正美女图 2 135cmX70cm 布面油画 2014 年 7
The Way to Read Classics
Chamber that embodies combination of the materials of western oil painting with the character of freehand Chinese silk painting and transcends the narrative
HUANG Du Ph.D ( Famous of Art Critic and Curator)
painting in the traditional sense. The repainted rare books carry the following
November 2, 2013
characteristics: First, they represent bold attempts to“appropriate”and “graft” the Chinese image symbols from imperial paintings into western culture (oil painting materials); second, they manifest reflections upon such vocabulary
GU: As a painter, I used to focus on the reform of urban culture in the
as“mimic”,“copy”, and“imitate” about ancient painting and related art
context of social transformation since I tried to illustrate the relations between my
theories; moreover, they shed light on contemporary fragmentary aesthetics and
works and sociology and art history with the aesthetic notion of “ghost image”
pop aesthetics practice.
and the painting skill of “virtual reality”. You once said “From a microscopic
It is in essence a tribute to ancient Chinese culture. To put it in another way,
perspective GU Yue looks into society through the karaoke and pubs, which
it is about how we draw on classics, recreate them in the contemporary language
indicates he is a social critic. In this sense, his works distinguish themselves from
and express them in contemporary means to evoke repercussions.
the quite popular “cartoon” and “big face” styles of painting. Surely one can HUANG: When you do the repainting, do you imitate the original copy,
endeavor to create a greater spatial impression and depict characters in diverse
somehow modify it or use any other means?
ways, which conforms to the lifestyle of people today. But, to stand out in any stage of art history entails seriousness of purpose and a critical view on the part of the artist, since painting not only involves fresh contents but also uniqueness
GU: Actually I have new requirements with regard to both space and
or individuality of language. Individuality speaks for itself via the painting language,
concept. I have made tentative changes by using skills in painting the ghost
i.e., your painting language must be distinctive. So it is essential for the artist to
image or a secondary screen. I have my own ideas in remaking the holistic space.
develop his own language. ” HUANG: I basically get the point.
Anyway, my latest artistic creation has experienced a paradigm change in that I attempt to explore the Chinese classic beauty by repainting rare books and
GU: In handling the contemporary language, or in referring to classics, how
thus reestablishing the significance of history and aesthetic flavor.
can we make our efforts more meaningful? HUANG: How come you shift your attention onto repainting rare books? HUANG: It can be said that how to understand the order of art is an GU: The traditional Chinese literary works represented by operas are gems
interesting topic. In 1980s, a conference on art history, with the theme related
indeed, which have been illustrated and interpreted in endless versions. With the
to classics, was held in the United States. The art history professors present at
passage of time, diverse handwritten copies and original rare books constitute
the conference analyzed the concepts on art history, namely, classic, classical,
the vase sea of authentic rare books, which presents an image world narrating
classicism and classicizing from different angles. In my view, these concepts in
relevant circumstances & sentiments and offering paradigms for follow-up
the family tree of art history reflect the relationships among image styles and the
creations.
language and order of images. In each period of time, there is a classic, or a
My research interest has been in the Chinese rare books. My affiliation with
paradigm which holds the dominant visual language and an influential aesthetic
the National Museum of China that houses a sizable number of precious cultural
order. Of course, with the evolution of history, the classic has come to be
relics exerts substantial influence upon me. Actually repainting or remaking scenes
promoted to be a certain ism. Though there are a multitude of isms today and no
from rare books has been my long-cherished aspiration. In my eyes, reproduction
matter how anti- or non-art they are, they are an integral part of the family tree of
of scenes from rare books is more than painting since it involves appropriate
the evolving art. Via your painting I see how a contemporary reads classics.
appropriation and transformation of contemporary oil painting materials and a
You just touched on contemporary language of art, which also involves
spiritual patrol of rereading classics. My recreations of the series of the ancient
imitation, patchwork and even tampering, and which is just one of the notions or
rare books including Romance of Western Chamber, The Peony Pavilion and A
methods advocated by post-modernism. In post-modernism, the English word
Dream of Red Mansions are more of reflections on and extensions of the imitation
for imitation and patchwork is pastiche, which means collage. Given this point,
of traditional Chinese paintings. I name my works New Romance of Western
it definitely contains temporal and spatial shift. For example, when you interpret
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a classic, you depiction of a picture is also dislocated. Take your representative
are placed in random. Flexible employment of different hues and lines broken or
recreation for example: It is no longer the Romance of Western Chamber in the
unbroken, yin or yang, and thin or thick brings out a feel that the persimmons are
original sense! But the new painting holds significance in its own right. On the other
real in every sense. Mu Xi’s Zen painting regards relinquishing the world as the
hand, your painting implies a sense of peeping, and the secrecy of peeping is made
supreme state of living. The Zen practitioners always face up to transformation,
open by the visual language. It is beyond doubt that such a custom is recorded
imperturbable at change or non-change of life; they demonstrate their living status
in Ming and Qing literature, including The Plum in the Golden Vase and Zen and
as it is anywhere anytime. The painting and caption are the enlightened painter’s
Sex, which illustrates the social and cultural customs of the time. Today, we can’t
apt response to life at the moment.
simply dismiss them as erotic since they indicate social transformation and the
Morandi’s repeated endeavor in pondering, understanding and analyzing
rise of city dweller culture, i.e., transformation from the feudal to secular society. It
the targets (Song painting and the six-persimmon painting by Mu Xi) is a process
triggers us to reflect on the social reality today. So your interpretation of classics
of interpreting and construing, which ultimately uplifts his individualistic painting
in painting to some extent reflects the trend of current social changes. Specifically,
to a metaphysical language, a very individualistic new realm, pure, concise, plain
you lead us to learn about ancient social life and reflect on contemporary society
and natural.
via concrete images. And your painting is quite amusing, showing a stable hand
Therefore, Zen painting’s influence upon Morandi not only shows in
in applying harmonious colors. If not properly treated, such painting would be very
absolute spirit, but also in association and meditation. Likewise, the work
gaudy. Your command of classics’ significance is appropriate – manifesting a
4 Minutes 33 Seconds by John Cage (1912-1992) is more or less influenced by
visual harmony and an analysis of the order behind the images. It accords with
Japanese Zen that introduced it into the avant-garde behavior and music creation
the art today. In fact, in post-modernism, imitation of a classic in a sense injects
of the time.
new meaning into it. For example, you have modified the relationships between
In 1940s, Cage was deeply moved by the lecture on Zen by Suzuki Teitaro
characters, space and environment in your painting and add quite some subjective
Daisetz at Black Mountain College. Thereafter he began to apply Zen thoughts
elements which are exactly new interpretations of a scene or content and thus
in his new experiments of composing. He took music as an aimless game
accentuate the contemporary features of the art language.
and created fortuitous music with the thought that it is wise to let everything
In fact, tradition is not in contradiction to contemporaneity. Aesthetics can
take its course and there is no need to seek a so-called order from the chaos
draw a lot on traditional art. The spatial sense as reflected in traditional painting
and coincidences. Sure, from Morandi’s case, we can understand how
and the pure aesthetic realms related to it offer so much for us to learn from.
on earth contemporary art relates to classic or tradition, and how to convert
Take the painter Hongren of late Ming and early Qing Dynasties (1610-1664) for
classical or traditional energy. It is more than a simple selection of a symbol, but
example: His painting in vigorous and concise strokes manifests loftiness of mind
establishment of relationship with intrinsic spirit. That is the core of the matter.
and refined taste. The simple space and the pure form convey a bleak feel and
So, let’s go back to your painting. Your painting effectively employs a
a sense of tranquility, condensing the painter’s individualistic interpretation of
visual language, emphasizing the relationship and especially harmony between
painting aesthetics. Actually it is worthy to learn the concise language from the
content and form, color and composition, life and society, and tradition and
painting. Today, if you eye the paintings by LEE UFAN, a contemporary painter
contemporaneity, which is the essential principle of painting. To speak from the
of ROK, you can feel the concise space in his painting. Of course, his art bears
perspective of society, your painting is like a mirror, reflecting our thoughts on
imprint of Japanese Zen. As we see, he just brushes out a few strokes with the
history. In a form pleasing to the eyes, the painting conveys information about
pen-row, leaving a large blank, which presents purely oriental space aesthetics.
society. These paintings are indeed metaphors about social reality and lifestyle,
That is the very essence of the classic aesthetics in Chinese ancient art. Of
impress one with a sense of peeping. They peep into the vivid scenes depicted
course, such phenomena are also found among western artists. For example,
and into our own mentality. That is the point hard to be captured by painting since
in Italian art history, George Morandi’s (1890-1964) painting bears a lot of
caption constrains painting to some extent even though the painter wishes to
influences from Futurism and Metaphysical Painting in early 20th century in
somehow illustrate the work. Therefore, painting has significance in its own right.
addition to those from beyond Italy, as reflected in the fact his painting of still jars
As is known to all, painting in fact is an open visual vehicle. Each viewer
and bottles carries influences from the drawings of flowers and birds in Song
tends to have different experience and impression with a painting. But language
Dynasty and Mu Xi Zen painting of the Southern Song Dynasty.
differs from painting since it is targeted at a certain object. Painting is of course
In particular, the Six-persimmon Picture by Mu Xi exerts great influence upon Morandi. We can see Mu Xi creates an impression that the six persimmons
also directed, but beyond words, as the uniqueness of painting lies in its quality 10
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beyond description. That is the charm of painting.
仿雍正美女图 3 135cmX70cm 布面油画 2014 年 12
仿雍正美女图 4 135cmX70cm 布面油画 2014 年 13
关于“重绘善本” / 秦俭 教授 在已有的图像或形象中发现与当下的现实进行对话的元素，这已经成为今日 视觉艺术创作的一个普遍现象。任何一种图像和绘画样式都可能成为艺术家对其 进行解读的对象，而解读的结果往往使观者看到了“残片”或“碎片”式的再现。 其创作过程与在考古中对文物残片的发现和解读颇为相似。 画家顾跃的近期绘画作品“重绘善本”系列与上述创作方式似乎相反。他把 原来由中国传统的工笔彩绘技巧塑造在纸本上的形象再用画布和油画颜料复制下 来。对他而言，在另一种材料情境中更为深入地体会和理解这些作品的意境比对 其进行刻意的碎片式的解读更有意义。 然而，我们不难想象：这些作品无论放在现在的哪一个空间里，他们都立即 成为时间与空间的“碎片”，与我们当下的生活现实既产生鲜明的冲突，又形成 密切的联系。
On Retelling the Love Story / Professor Qin Jian It has been a common phenomenon in visual arts that elements in the existing pictures or images are explored to find the connection with the present reality. Any kind of images or painting styles is likely to become the potential target for artists to interpret, the results of which tend to be the “fragment” or the fragmental recurrence. This art-producing process is quite similar to the exploration and interpretation of cultural relics in archaeology. With the active involvement of the painter, however, the recent painting series Retelling the Love Story contradict the approach mentioned above. The artist Gu Yue uses canvas and oil paints to reduplicate images built up on paper by traditional Chinese elaborate and realistic painting skills. From the painter’s viewpoint, it is more meaningful to understand these works by exposing people to another material instead of deliberately interpreting the fragments of the image. Nevertheless, it is not hard to imagine: wherever these works are located, they immediately turn into “fragments” in the specific time and space; they share a wide divergence yet a close connection with our ongoing life.
仿雍正美女图 5 135cmX70cm 布面油画 2014 年 14
2013 年“重绘善本”个展现场
梦幻红楼 情断西厢 / 黄扉（知名策展人）
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就在此时，我们转过皂壁，看到一些男女
我们就在一日之内游历了众多古国：
个个都是百里挑一的尤物；
朝秦暮楚、郑南齐北
我们知道他们每天都做的事情：
大部分都街面整洁，锦衣的人三五过市；
以青盐漱口，互理云鬓
他们在其间休养生息
早课之后就追思昨夜梦中的心事。
倾心于自己的身体和容貌，不分美丑或强弱？
此时他们拟定了过冬的日程
我们想起自己，也许比他们远为劳苦：
半掩院门，在房中联句做诗
读书万卷，行路也疲惫不堪
每一句都呕尽心血，却貌似嬉戏
却至今不成气候，不可使世事改观易色。
一旦题于帕上就不忍卒读，满面梨花
可他们对这些不屑旁察
打湿了脸上的香料和颜色
自顾保持礼仪，种种胆大或细心的事
袭人之香绵绵不绝。
全都在光天化日之下：到处栽花插柳
而一些写字的手一直在袖中打颤
一国薰风细如吹笛。
即使袖了手炉，又用五脏去煨暖腹中的冷酒
我们真想就此停驻，让后半生困顿
也依旧阴寒不出。
热爱这些酒楼和粮店 以及出入其中的几条性命与米袋；
而我们在这片刻的寂静中
我们将与历代君王交好
更加清楚地看见他们的心田
之后就退为不第文士，或贩夫走卒
早被他们身世中的泪水和药汁所浇培；
与一些锦口绣心的美人缔结婚姻或友谊
我们也许会怜惜其中的某一个
——她们出众的美貌虽然千人一面
看她成天为风气所伤、以葬花自况
却也各自生动，瑕不掩瑜
脾气如闺房，日渐小巧和紧凑。
就像她们小而又小的祖国，简单、明丽。
对此我们顾眷多时，一身念记
但我们终将离去，啊，风吹桐花 让我们掩卷又掩面！
全都无处着力——呵，事情会如此完结？
那河面上飘来的歌声：“杨柳依依”“雨雪霏霏”……
你会空自叹息
这些还不足以 造就我们难以舍弃的心意。
对自己和别人都爱莫能助，
我们重又在山中度日，日落西山
看他们熄灯闭户，暗中感动不已？
北来的风中，我们打着黄麻的结子
让我们回到房中
胸前挂着的草环里至今还香气犹存！
对这些不可挽回的人物不复言语……
我爱，我们为何要让须发为心气吹动 想念我们一度荣华的帝都？ 西望长安，是一排辟邪的粉墙 向南是洛阳，一园富贵的牡丹正当丽色雍容。
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悠然见南山 120X60cm 扇形，布面油画 2013 年
书中颜如玉 120cmX60cm 扇形，布面油画 2013 年
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乱花渐欲迷人眼 120cmX60cm 扇形，布面油画 2013 年
梦里不知身是客 120cmX60cm 扇形，布面油画 2013 年
Red Mansions and Western Chamber / Huang Fei ( Famous of Art Curator )
I
II
Just at this moment, we turn around, and see young men and women
We’ve travelled a lot of ancient states within one day
They are all very dashing and beautiful
Qin Kingdom in the morning and Chu in the evening, Zheng in the south and Qi in
We know what they do everyday
the north
Wash their mouths with salt and groom each other
Most of the streets look clean and tidy; people dressed in costly clothing go
After the morning class they dwell on what they dreamed of last night
through the street in threes or fives;
At this moment they have a ready plan on how to pass the winter
They live there
With the courtyard door ajar, they compose poems behind the door
Indulge in self-admiration for their appearance, whether beautiful or ugly, strong or
They try their best to write out each and every verse, but superficially they seem
weak?
to play a round.
We think of ourselves, probably far more toilsome than they are
One hardly bears to read the lines inscribed on the handkerchief, or she would
Having read profusely, we feel fatigue on the way
burst into tears,
But with little accomplishment so far, we can’t change the look of the world
melting the rouge and color
But they disdain to take notice of all these
Inviting fragrance wafts in air.
They follow their own way when doing things audaciously or carefully
Some writing hands are still trembling in the sleeves
All in the broad daylight: planting flowers and willows everywhere
The viscera make the cold wine warm
The charming breeze seems to play the flute
But the damp coldness lingers
How I wish I could stay here and let my latter half of life take care of itself I love these wine houses and grain stores
In the moment of silence
As well as the creatures there coming in and out and rice sacks
We read their minds even more clearly
We’ll get on well with generation upon generation of emperors
We have long been familiar with tears they shed and herb concoctions they take
Then reduced to be nameless men of letters or laborers
We may take pity one of them
To marry or strike up friendship with superbly talented women
Seeing her feel sorry for the change of weather and sentimentally bury flowers
The ravishing beauties though impress one almost the same
Often stuck in tantrums, she looks even more petite with the passage of time
But each is charming in her special way; shortcomings would never conceal their
We have known about this for long, always bear it in mind
charm
But we can do nothing- o, why things come to such an end?
Just like their very small homeland, simple but splendid
You might sigh, but in vein
But at long last we have to go, o, with wind rustling the flowers, let’s close the
You can do nothing about yourself and others alike
book and cover the face
Seeing them switch off the light and close the door, do you feel moved?
From the river wafts the song “Willows swaying gently”, “rain and snow falling
Let’s go back to our room
heavily”
Say nothing more about the people who will never be back
This can hardly express our reluctance to leave We spend the day again in the mountains, while the sun is setting westward. In the north wind, we are making jute knots The grass ring hung on my chest still smells fragrant My love, why should we let ourselves swayed by our mind, and think of the capital which once was so prosperous? 20
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Looking west to Changan is a row of pinkish walls to dispel evils. Looking south to Luoyang, a gardenful of peony is blooming.
画屏展 100cmX100cm 布面油画 2013 年
繁弦潺 100cmX100cm 布面油画 2013 年
闲凝伫 100cmX100cm 布面油画 2013 年
风微暖 100cmX100cm 布面油画 2013 年
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明清以降《西厢记》图像的流变 ——顾跃善本新解 / 苏生文（中国国家博物馆研究员）
《西厢记》故事源于唐朝诗人元稹的一篇传奇《会真记》。宋金时期董解元 将它改编为《西厢记诸宫调》。元代剧作家王实甫又以“董西厢”为蓝本，改编 成杂剧，这就是我们今天所熟知《西厢记》。《西厢记》自问世以来，以其离奇 曲折的情节、生动细腻的人物性格、优美华丽的曲辞唱腔以及反对礼教、提倡婚 姻自由的主题思想，对后世产生了深远的影响。明清以降，大约有超过百计的各 种版本《西厢记》传世，并向日本、朝鲜等周边国家传播，还译成英、法、德、 俄等西方文字。 醉颜红 110cmX90cm 布面油画 2013 年
在明清时代，各个刊刻坊间为了增加阅读者的兴趣和理解，诱发读者的购读， 纷纷在《西厢记》的文本中插入图画，以图文并茂的形式吸引读者。传世的《西厢记》 文本大部分都有插图，可以说是“无书无图”“唱与图和”。今发现的最早的插 画是元末明初刊刻的《新编校正西厢记》（残页）。明代至少有 33 种不同的《西
等情节中不用正面的手法来描写人物表情和刻画人物心理，而是通过屏风镜子、 水中的倒影和月光照射下的影子来塑造，含蓄曲折，耐人寻味，体现了刊者“一 切世出世法，曰真曰幻”的主题思想。尤其让人惊异的是，图中甚至运用了类似 于西洋“透视”的画法（张生在水中的倒影）。该插图还表现了优雅的环境，艳
花为媒 110cmX90cm 布面油画 2013 年
厢记》版本有插图的实例，其中比较著名的有弘治北京岳氏刻本《新刊大字魁本 全相参增奇妙注释西厢记》、万历建安乔山堂刘龙田刻本《重刊元本题评音释西 厢记》、万历建安忠正堂熊龙峰刻本《重锲出像音释西厢评林大全》、万历金陵
丽的服饰，精美的家居，可以说又是包罗万象的百科全书。 名画家与名刻手的联袂出手，使得明代中后期的《西厢记》插图争奇斗艳、 异彩纷呈。《西厢记》的刊刻几乎集中了当时画界和刻工精英。有的插图的原作
继志斋陈邦泰刻本《重校北西厢记》、万历起凤馆刻本《元本出相北西厢记》、
者可能就是名画家，从刊本的题署上看，陈居中、唐寅、仇英、钱谷、董其昌、
万历徽州玩虎轩刊刻本《北西厢记》、万历武林容与堂刻本《李卓吾先生批评北
蓝瑛、陈洪绶等都是《西厢记》插图的原画作者。但有的可能是伪托。后人比较
西厢记》、万历武林香雪居刻本《校注古本西厢记》、万历徐渭评本《西厢记》、
确定的是陈洪绶（老莲）为《张深之正北西厢秘本》所画的插图。画家对文本下
天启吴兴凌氏朱墨本《西厢五本》、明崇祯闵氏彩色套印本《六幻西厢》、明崇
了一番功夫，曲尽文意，并借鉴民间的人物造型，创作出了一系列为后人所效法
祯《张深之正北西厢记秘本》等。这些插画与刊本一起流传，图文结合，以图助
的“样式”：双眉眉角微微下垂，樱桃小口，娇羞模样的“美人样”（莺莺）；
文，保证了文化程度不高的读者的无障碍阅读，客观上为《西厢记》故事的流传
乐容、佻达、风流、身如弓、双袖垂的“少年样”（张生）；威容、眉锁皱、挺
起到了重要的推动作用。插图作者在设计图像背景、人物形象时殚精竭虑，并最
胸脯的“武士样”（白马将军）；贴心、调皮、天真烂漫、稚趣十足的“丫鬟样”
终总结出了一套行之有效的设计法则，从而为后代的版画设计提供了参考，也为
（红娘），充分展现了画家在人物绘画方面的功力。画家善于用简化环境来突出
其他工艺美术门类，如漆雕、竹雕、陶瓷装饰提供了范本。
人物，同时又善于借用环境来呼应人物的心理。画中屏风所呈现出的四季景观， 无论是孤鸟独栖、雪中芭蕉，还是两鸟对语、双蝶飞舞，都极具写意并各赋寓意，
明代中后期是《西厢记》插图成就最大的时期，不仅数量众多，而且流派纷呈，
暗示着人物的命运和情节的演变。
风格各异，可说是无书无图，无图不精。根据刻书的地点又可分为建阳派、金陵派、 徽派（或叫新安派）、武林派等流派。建阳派风格劲健粗豪，古朴简率，画面中
正因为有文人画家的参与，明代中后期《西厢记》插图的艺术性得到了很大
的人物形象突出，背景刻划相对简单；金陵派细腻典雅，人物着意于背景的描绘
的提高。这一时期《西厢记》插图在构图上多采用远景式，不再局限于一时一地
和气氛的渲染，线条鲜明，刻划粗细相兼，布局疏朗，画面清楚明爽，突出表现
的场景，而是更多地用大环境来烘托剧情。有的俨然是一幅山水小品，人物反而
人物的情感、塑造人物的性格；徽派（新安派）布景缛丽繁富，装饰意味浓，擅
成了点景的道具。甚至不出现人物，而只是借助景物道具来传递曲中之意。人物
长以背景衬托情节、刻画人物，刀法圆活，生动流利，情景交融；武林派注意情
刻画较注意心理活动，逐步摆脱了公式化的造型模式。笔法上也多采用逸笔，自
境的描绘，景物渲染和场景表现精炼传神，人物神态细腻。其中最值得一提的是
由洒脱，超凡脱俗。并借鉴了文人绘画的题跋形式。文人画的意味极浓。更重要
崇祯年间闵齐伋（寓五 ) 所创的 21 幅彩色套印版画。该版画立意新奇，构思巧妙，
的是，由于文人画家的参与，《西厢记》插图的写意性得到了强化，图像与文本
品味高雅，刻印精细，是《西厢记》版画中的极品。绘图者结合对《西厢记》文
之间的关系日渐松弛，从原先的亦步亦趋、若即若离，变得渐行渐远，走向独立。
本的理解，大胆想像，揉入了大量的象征手法，如用鱼、雁象征张生和莺莺之间
实际上，《西厢记》的许多插图以及摆脱文本的束缚，成为具有独立的审美意义
的传书；用走马灯来展示白马将军追逐叛将孙飞虎的场面 ; 在“窥柬”“逾垣”
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与欣赏价值的版画作品。即使没有名画家的参与，但由于很多刻工本来就能画能
刻，其艺术水平也不逊于名画家所作。换一句话说，明代中后期的许多《西厢记》 插图，本身就是艺术性很强的木刻版画。 清代以后，由于清廷将包括《西厢记》在内的戏曲、小说视作“诲淫”作品
春风得意马蹄急 110cmX90cm 布面油画 2013 年
喜上眉 110X90cm 布面油画 2013 年
终难偶 110cmX90cm 布面油画 2013 年
解语花 110cmX90cm 布面油画 2013 年
而加以查禁，《西厢记》的刊刻受到了强烈的冲击。后来虽然有所放松，但清版 《西厢记》插图大都拙劣草率、缺乏创造性，有的简直令人不忍卒读。鸦片战争 以后，随着石印、照相制版等近代西方印刷技术的传入，中国传统的版画艺术受 到了极大的冲击，《西厢记》的插图水平更是每况愈下，直到走向消亡。 除了版画插图之外，《西厢记》自诞生以来，同时也是瓷器、漆器、竹木器、
国演义》和《水浒传》一样，其文本和图像都揉入了历代文人墨客太多的意象。 其间所蕴藏的大量的潜在意识，又为后人提供了适于驰骋的疆场。 顾跃博士根据原藏美国波士顿美术馆、后为无锡秦氏所得的 12 幅宫廷绘画 《燕寝怡情图册》里的《西厢记》图像，用当代油画材料，融合中国写意绢画的 特质，用后现代的表现方法，挖掘原作所隐藏的意境，经过一番合理的“挪用”、 转换和重读，“重绘善本”，重新解构原作中的时序和空间，表达其感觉、知觉、 表象和情感之间的联系，调动观者的联想力和想象力。他的创作不仅表现文本，
砖石等载体的重要绘画题材。明清瓷器上出现了大量《西厢记》故事场景，比较
而且修正文本，从而能动地消弭了《西厢记》文本与现代艺术之间的间隙，达到
常见的有《拷红》《佛殿奇逢》《僧房假寓》《斋坛闹会》《白马解围》《莺莺
艺、文和谐的标准。
听琴》《妆台窥简》《琴心写怀》《乘夜逾墙》《长亭送别》《堂前巧辩》《草
“光景常新”，顾跃博士正是利用自己所擅长的表现形式，采用碎片式的记
桥惊梦》《夫人停婚》《衣锦还乡》等。有的是成组成套的。《西厢记》的图像
录方式，精心设计细节，运用多维的符号系统为观众勾勒出一个从外在到内核均
还出现在一些外销瓷上，从而使该故事为外国人所知。这些瓷器上的《西厢记》
与现实世界相接近的镜像，力图从一系列闪光、断裂和独语的碎片中折射出一个
图像多以明刊本《西厢记》插图为蓝本，笔触流畅，技法娴熟，构图生动，令人
完整的世界，从而造成独特的视觉冲击。并借此为观者提供明清两代的服饰、家
赏心悦目。晚清以降，《西厢记》图像还出现在广告画、火花、扑克牌、月份牌、
具、陈设、建筑、园林、习俗等文化资料，引领观者的赏玩兴趣，陶冶情操。
杂志封面、邮票、彩票、壁画、钱币（花钱）、年画、连环画、戏剧影视的海报 招贴画乃至卡通画等载体上。比较著名的如程十发绘的《西厢记》戏曲图像，画 面清新简洁，品味高雅，风格俊秀，颇具新意。王叔晖创作的《西厢记》连环画 是中国现代连环画的优秀代表，画家对这一古典题材进行了个性化的处理，色彩 大胆夸张，线条流畅隽永，人物形象突破传统的表现手法的局限，洋溢着浓郁的 时代气息。王叔晖设计的《西厢记》邮票（《惊艳》《听琴》《佳期》《长亭》）、 刘硕仁设计的《西厢记》小型张获得一致好评。此外，重新演绎的戏剧、影视剧 里的《西厢记》人物形象和布景也常有新意。新的创作者在试图突破传统表述上 的文化困惑和伦理障碍，在重新诠释和强调当下语境中的历史价值和道德伦理上， 都下了很多的功夫。 了解文学史的人都知道，《西厢记》从最早的源头《会真记》开始，经过了 历朝历代文人的无数次阐释、解读和加工，逐渐丰满了起来。我们今天所熟悉的 王实甫《西厢记》的故事情节与《会真记》等早期作品本来就有着天壤之别，可
以说是“看山不是山，看水不是水”。一部成熟的《西厢记》，如同成熟的《三
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Evolution of Images about Romance of the Western Chamber Since the Ming and Qing Dynasties: A New Approach to Gu Yue’s Works / Su Shengwen ( Research Fellow of National Museum of China )
Romance of Western Chamber originates from a legend Huizhen Ji by Yuan Zhen, a poet of the Tang Dynasty. During the Song and Jin Dynasties, Dong Jieyuan adapted it into Xixiang Ji Zhu Gong Diao. Then, Wang Shifu, a famous playwright of the Yuan Dynaty, adapted into a variety play on the basis of Dong’s version. That is Romance of Western Chamber we know today. Ever since its birth, the work with its amusing plot, vividly portrayed characters, beautiful verses
莫凭栏 110cmX90cm 布面油画 2013 年
and the theme of opposing feudalism and advocating freedom of marriage exerts profound influence upon the following generations of people. Since the Ming and Qing Dynasties, as many as over a hundred editions of Romance of Western
Chamber culminated, as reflected in the sizable number and diverse styles of the illustrations. It can be said that no books went without pictures and that each and every picture was presentable. Depending on the locality of creation, they came in Jianyang style, Jinling style, Hui style (Xin’an style) and Wulin
Chamber have come out, and found their way abroad to Japan and Democratic
秋水寒 110cmX90cm 布面油画 2013 年
People’s Republic of Korea among other countries, in English, French, German and Russian.
style. Jianyang style featuring vigorous and rough strokes, simple but concise, highlights figures, with the background dealt with in a simple way. The classical Jinling style characterizes meticulous treatment of details, portraying figures
During Ming and Qing Dynasties, the sculpting dealers put illustrations
in such a way to highlight the background and the atmosphere; the lines thin
in the books, so as to amuse readers with pictures & words, make the books
or thick are distinctive and properly aligned, giving one a clear and refreshing
easier to read and understand, and thereby increase their sales. Most of the
impression by effectively bringing out the character’s emotions and personality.
current editions of Romance of Western Chamber carry illustrations. It can be
Hui style (Xin’an style) characteristic with ornate background is good at setting
said without exaggeration that “there were no books without illustrations” and
off the plot with the background by portraying figures with flexible sculpting
“verses and pictures complement each other”. The earliest illustrated book
techniques and mixing feelings and settings; Wulin style puts a premium on
passed down today is Newly Edited Romance of Western Chamber (disjunctive
portrayal of the scene, with the figures’ looks vividly depicted. Most notably, the
pages) dated to late Yuan and early Ming Dynasty. In the Ming Dynasty, there
21 pieces of color block painting by Min Qiji (Yuwu) during Chongzhen era of the
were at least 33 editions of illustrated Romance of Western Chamber, including
Ming Dynasty feature original design, good taste and exquisite sculpting. It is the
the famous ones: A Beijing Native Yue’s Sculpted Version in the Hongzhi’s
best among it kind. The creator, on the basis of his interpretation of Romance of
Reign, the Sculpted Versions by Liu Longtian, Xiong Longfeng and Chen Bangtai,
Western Chamber, gave free rein to his imagination and used a lot of symbols
and those from Qifeng Guan, Wanhu Xuan, Wulin Rongyutang, Wulin Xiangxueju
for indirect conveyance of meaning, like using the fish and the goose to refer to
and Xu Wei’s Commentary on Romance of Western Chamber during Wanli’s
love letters between Zhang Sheng and Yingying, and the lantern with a circle of
Reign, Wu Xingling’s version during Tianqi era, in addition to those versions
revolving horse patterns to refer to the scene of General Baima chasing the traitor
dated to Chongzhen era of the Ming Dynasty. The illustrations helped readers
Sun Feihu; in the plots of “Peek at the letter” and “Overstep the mound”,
including those with low literacy enjoy the book with ease. Objectively, this
instead of directly depicting the figures’ facial expressions and frame of mind,
promoted the circulation of the story in Romance of Western Chamber. The
the creator used the screen mirror, reflection in water and shadow in moon-
creators of the illustrations racked their brains in designing the background image
lit night to express the intended meaning, indirect and worth contemplation. It
and characters before working out an effective design rule, which inspires later
reflects the theme that “realities and illusions are always mixed”. It is amazing
graphic designs and provides examples for other categories of art, like lacquer or
that something bordering on the western “perspective” painting technique
bamboo sculpture and porcelain decor. In middle and late Ming Dynasty, illustration creation for Romance of Western
(like Zhang Sheng’s reflection in water) was employed in creating these works. 28
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These illustrations show the elegant environment, bright-colored costumes and
exquisite furniture; they represent an all-inclusive encyclopedia.
Into the Qing Dynasty, the operas and novels including Romance of Western
The master painters together with master sculptors delivered remarkable
Chamber were banned as lecherous works, which dealt a heavy blow to the
illustrations for Romance of Western Chamber in the middle and late Ming
sculpting and publishing of Romance of Western Chamber. Though the banning
Dynasty. The sculptures about Romance of Western Chamber were done by then
relaxed afterwards, the illustrations for Romance of Western Chamber were
elites of painters and sculptors. Some of the creators of the illustrations were
mostly cursorily done, lacking in innovation and even unacceptable. After the
famous painters in their own right. As revealed by the inscriptions, Chen Juzhong,
Opium War, the import of lithography and photography among other western
Tang Yin, Qiu Ying, Qian Gu, Dong Qichang and Chen Hongshou were all original
printing techniques exerted huge negative impact upon the traditional Chinese
painters of illustrations in Romance of Western Chamber. But in some cases,
woodblock paintings. The illustrations for Romance of Western Chamber went
names of the owners rather than real creators of the pictures were inscribed.
from bad to worse, and finally none.
Today the people can basically ascertain that Chen Hongshou (Lao Lian) was the
Aside from woodblock illustrations, Romance of Western Chamber is an
creator of illustrations for Zhang Shenzhi Zhengbei Western Chamber Rare Book.
important subject for porcelain, lacquer, bamboo, wood, brick and stone wares.
The painter, based on his observation of people’s demeanor, created images
A lot of scenes from this classic appear in the porcelain ware of the Ming and
modeled after by later generations, like Yingying, a typical beauty whose eyes
Qing Dynasties, like Interrogate Hongniang, Encounter at the Buddhist Temple,
droop a little, with a cherry-like little mouth, coy and shy; the youth Zhang Sheng,
Drop in at the Monk’s Apartment, General Baima Breaks the Predicament,
the General Baima and the maid Hong Niang all with their individualistic traits fully
Yingying Listening to Zither, Peep into the Bamboo Slibs, Vent One’s Emotions,
brought out. The images speak eloquently for the painter’s accomplishment
Overstep the Mound at Night, Say Goodbye at the Pavilion, Defend at the Court,
in figure painting. The artist is good at highlighting the characters’ traits by
Dream Broken at the Thaw Bridge, Madame Eats Her Words and Return Home
simplifying the environment and meanwhile using the environment to express
in Glory. Some of the works are in groups or sets. Some images about Romance
what is one the mind of the characters. The seasonal scenery as reflected on the
of Western Chamber are also found in the porcelain ware for export, from
screens, whether the lonely bird perched in the tree, bananas in snow, the pair
which foreigners come to know about the romantic story. Based on illustrations
of twittering birds, or the pair of fluttering butterflies, are all loaded with symbolic
of the Ming Dynasty version, the pictures on the porcelain ware feature fluent
meaning, implying the characters’ fate and the development of the plot.
strokes and outstanding painting skills and vivid composition, which are really
The very engagement of the literati painters greatly enhanced the artistic
pleasant to the eyes. Since late Qing Dynasty, related pictures are also found in
charm of the illustrations for Romance of Western Chamber. In this period,
advertisement paintings, pokers, magazine covers, color tickets, frescos, coins,
the composition of the illustrations mostly adopted the distant-view mode
new year paintings, promotional posters for operas and films, cartoons and so
rather than got confined to a certain spot in time and space, and the macro
on. Among them the opera pictures on Romance of Western Chamber by Cheng
environment was used to indicate the progressive plot. Some illustrations seem
Shifa look refreshing, concise, elegant and innovative. The comic strips on this
to be landscape paintings with figures appearing like ornaments, and some even
subject by Wang Shuhui are among the best works of its kind as the artist gave
go without figures, but using landscapes only to convey intended meaning. The
an individualistic touch to the work by using colors in a bold and extravagant way
figure painting attaches great importance to displaying the mental world of the
and employing strokes in a fluent and elegant way. The characters show a lot of
characters, gradually getting away from the formula style. The strokes are casual,
the time’s features. The stamps designed by Wang Suhui (Intimidating Beauty,
free and unrestrained, with inscriptions characteristic of the literati painters’
Listening to the Zither, Good Time, Pavilion) and the namesake miniature sheet
works added. So the illustrations emit intense flavor of literati’s creations. More
designed by Liu Shuoren have won unanimous favorable comments. In addition,
importantly, the literati painters made the illustrations speak for themselves rather
the characters’ images and settings reproduced in the operas and TV programs
than via words, as reflected in the fact the pictures and texts become more
are also creative. The new generation of creators, by breaking cultural and ethical
and more detached and even separate. In fact, many illustrations in Romance
obstacles in traditional expression, endeavor to reinterpret and accentuate the
of Western Chamber, free from confinement of the texts, become independent block printing of their own aesthetic meaning and value. Even some of the works are not out of masters’ hands, the sculptor’ works are comparable to those by masters as they are capable of both painting and sculpting. In other words, many
significance and ethics of the work in current circumstances. 无事度芳菲 100cmX100cm 布面油画 2013 年
花阴寂寂秋 100cmX100cm 布面油画 2013 年
illustrations of Romance of Western Chamber done in the middle and late Ming Dynasty are in themselves woodblock paintings of great artistic value.
The people who have some knowledge about literature history know that Romance of Western Chamber originated from Huizhenji. After numerous explanations, illustrations and interpretations, it began to flesh out. The stories in Wang Shifu’s namesake book familiar to us today were way different from
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those in Huizhenji. They are really not comparable. A mature Romance of
Western Chamber just like the mature Romance of Three Kingdoms and Heroes of the Marshes, finds the texts and illustrations have incorporated too much of the literati’s imagination and association. They convey a lot of the creators’ subconscious information that allows room of imagination for the following generations of people. Based on the images on Romance of Western Chamber from Yanqinyiqing Painting Album consisting of 12 Chinese imperial paintings originally collected by the Museum of Fine Arts in Boston and then by a Qin-surnamed collector, Dr. Gu Yue integrates contemporary oil painting with traditional Chinese silk painting, uses post-modern means to dig into the artistic conception conveyed by the original, reconstructs the temporal and special sequence in the original by appropriately appropriating, rereading and repainting the rare book to express the interconnections between feel, understanding, appearance and emotion and stimulate the viewers’ imagination. His works not only vivify texts, but also refine texts such that he effectively bridges the gap between the text of Romance of Western Chamber and modern art, achieving harmony between art and text. “Giving a new look to everyday life” is the very way Dr. Gu Yue is good at to depict the world. He records in fragments of flashes, fissures and soliloquy, designs delicate details and uses multi-dimensional symbols to make imagery that comes very close to the real world inside out, creating unusual visual impact. Moreover, his works shed light on information about the clothing, furniture, display, architecture, gardening and customs of the Ming and Qing Dynasties, which will fuel the viewers’ interest in these regards and give edification.
落红满地胭脂冷 100cmX100cm 布面油画 2013 年 纸光明玉板 , 字香喷麝兰 120cmX100cm 布面油画 2013 年 32
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老顾的画
Gu Yue’s Paintings
/ 于洋（美术评论家、中央美术学院副教授、国家主题性美术创作研究中心副主任）
/ Yu Yang ( Art Critic, Associate Professor of Central Academy of Fine Arts and Deputy Director of National Thematic Art Creation Research Center )
和老顾相识有十年了。 老顾的画也如其人，天真而理想主义，审慎中有自由。 I’ve been acquainted with Gu Yue for a good ten years.
在清华大学美术学院博士求学期间，顾跃师从著名画家杜大恺先生，在人格
The painting style is the man, native and ideal, prudent and inclined to
与艺术修养方面得到先生多方面的影响与滋养。博士毕业后，他先后在首都博物
freedom.
馆和中国国家博物馆担任策展工作，在理论创作、艺术管理与创作实践之间，规
While pursuing doctoral study at the Academy of Art & Design, Tsinghua
划与搭构起自身的艺术创作与思考体系。展览事务之余，他在油画创作上勤于探
University, Gu Yue followed the prestigious artist Du Dakai, from whom he learned
索，近年来油画作品多次参加国内外当代艺术展，被国外机构和私人收藏。 老顾近期的一系列创作不同以往，他的兴趣与激情由题材上原来的喧嚣都
a lot in both temperament and art pursuit. Upon his fulfillment of doctoral study,
市，转向了静谧却富奇情的园林人物。由他以往关注的都市人物“重影图像”所
he successively worked as a curator with the Capital Museum and the National
试图表现的那种“不确定的、暧昧的、调侃的和混杂着某种象征意味的现代颓废”，
Museum of China. While engaging in theory development, art management
转向对于古代文人闲适、奢靡而华贵的生活细节的跨越时空的窥视。如果说之前
and original creation, he plans and builds his own system for art creation and
他对都市生活视野中的卡拉 OK、酒吧和拥挤的人群等场景的描绘，是对于西方
contemplation. Aside from managing exhibitions, he assiduously does oil
文化冲击之下中国都市人群众生相的描绘，那么这批致力于以当代图像表现方式
painting. In recent years, his oil paintings have entered into many contemporary
“重绘善本”的尝试，则更为关注传统与当代的古今之维。光色之间，见笔触，
art exhibitions at home and abroad, and gone into collections of international
见胆力，更见性情。
organizations and private owners. Gu’s recent serial creations differ from his previous works. His interest and
他的这些画，使我想到了常玉，那个老顾在一长段时间内曾经深深痴迷并探
passion have shifted from the boisterous urban scenes to the quiet but romantic
入其艺术世界的传奇画家。
figures in the garden. He used to focus on blurred images of the city dwellers
老顾与常玉之缘，是从博士学习与研究期间开始的。那时他选择了对于这 位 20 世纪早期中国旅法油画家的个案研究，入滋入味地对于这个曾经默默无闻、
to depict modern decadents who seem uncertain, ambiguous, ridiculous but
湮灭在历史中的世界级绘画大家进行深入的探究。在他博士毕业后出版的《世界
representative of something; now he transcends the bounds of time and space
名画家全集 - 常玉》《先锋·颓废——常玉与中国美术现代性研究的另类视角》
to look into the details of ancient literati’s leisurely and luxurious life. If we say he
等著作中，都可以完整地、还原性地看到这位大家的心路历程，及其一生追求精
used to paint Chinese city dwellers under the huge impact of western culture via
神自由、艺术上坚持我行我素的人格。那时的常玉在巴黎一边艰难地维持着生计，
the scenes of people enjoying Karaoke or hanging out in the pub, and the scenes
一边坚持不懈的继续从事绘画创作，以致他在蒙巴纳斯的家中被煤气熏死的时候，
simply packed with people. This batch of works committed to reproducing
仍然是一贫如洗。这种艺术家气质的悲壮与苦情，渗透在他独具特色的人体与静
images from ancient rare books by the contemporary means highlight the fusion
物创作中，那些奔放激越的跳动色彩，那些孤独与坚定的线条。
of tradition and modernity. The lights, shadows and hues in the works speak for the creator’s artistic accomplishment and temperament.
老顾正是在常玉的风格中，找到了自己想要的那种味道。尤其在其近期的园
His paintings remind me of Sanyu, a legendary artist Gu has been infatuated
林闺趣系列作品“重绘善本”中，他以当代都市之眼，观照古典园林里的私密情
by and thus trying to explore his realm of art.
趣与生韵。画面上的男女，也在轻松欢愉间，或多或少带有着常玉笔下人物的“不 可向人语，独自暗神伤”的自怜情态；连同那些闺阁园景，也在清整跳脱的色调
Gu came to study Sanyu when he was working towards his PhD degree. He
中，隐隐暗示着“残月伴秋寒，冷冷清清”的凄凉感。在这一系列作品中，老顾
made a case study of the French Chinese oil painter in early 1900s, showing deep
试图把画面中的人物画得“松”一些，以油画的笔触和手法，再现中国传统人物
interest in his research on the world-class artist who once remained in oblivion.
造型的洗练与色彩的生拙，从而将西方油画材料与中国传统绢本绘画的特质奇妙
Upon fulfillment of his doctoral study, Gu Yue published World Famous Painter:
相融，既超越传统意义上的叙事绘本，也在愈趋放松挥洒的笔致间，以另一种风
Sanyu and Vanguard and Decadent: A Different Perspective on the Modernity of
格暗合传统文人绘画的神髓。期待着正在秘本图像中游走的老顾，还会有新视角
Chinese Art, which give a well-rounded view into the psychological journey of the
与新风格的作品。
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master artist Sanyu who persisted in pursuing spiritual freedom and art creation in
his own way. At that time, while earning a hard living in Paris, Sanyu tenaciously went on with painting. Till the time when he was poisoned dead by coal gas at home in Montparnasse, he remained in utter destitution. Such painful existence of a heroic artist is manifested in Sanyu’s distinctive figure and still life paintings, in the loud and passionate colors, and in the lonely but firm lines. In Sanyu’s style Gu has spotted the elements he admires. Especially in his recently repainted images from rare books about couples wooing and cooing in the garden or in the boudoir, he took a contemporary urban resident’s approach to those scenes. The men and women in the paintings, apparently lighthearted, more or less show traces of inner sorrow which they would never confide to others, as also found in Sanyu’s works. Even the boudoir and the garden painted in cool and solitude-suggesting hues appear a little bit bleak, reminding one of the chill moon in autumn. In this series of works, Gu tried to handle the figures with freer and fewer strokes; with the techniques and art for oil painting, he made the figures in the traditional Chinese painting look terse and simple in form and color by skillfully taking advantage of the features of western oil painting materials and the traditional Chinese silk painting. As thus, he has surpassed the narrative painting in the traditional sense, while conforming to the essence of the Chinese literati’s painting style in a different way. I’m looking forward to the day when Gu who is indulging in the rare books’ images will produce new-style works from new perspectives. I know that day is forthcoming.
玉生香 110cmX90cm 布面油画 2013 年 宿妆成 110X90cm 布面油画 2013 年 36
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重绘善本 / 顾跃
庸风雅和私密把玩的娱乐性等各种情境中构成了其创作的主要意图。“摹仿”之 技艺流传不是一种意涵平行简单传递的过程，其图像在复杂的承续系统之中，被 不断地接受、认同甚至误读，从而使“仿”作的意义，在不同身份、际遇、地域 的人群之间实现着精神性的传递，使“仿”所附载的复杂旨趣在更广阔的时空中 被不断地传播与衍义，其观念的丰盈和意义的呈现还是在历史关键链条网络中积 淀完成。这一接受情境可以使观者更立体地观察到古代至现代社会生活乃至“文
传统中国文化的文学、戏剧，堪为瑰宝，后人无数次阐释、解读，衍生出各
人世界”的内心镜像。
奇各式的版本，经典性的戏曲、读本和图本，或散落流传于寻常百姓、或赏玩于
这批古善本的“创作”是我的碎片式美学当代性和波普式美学当代性实践。
文人雅士，甚至藏于紫禁深宫；如此各式抄本、秘本真传等等，形成当下浩若烟
一方面古善本的文化价值。其提供了明清两代生活习俗、服饰和家具及文化
海的善本真品，为后世的营造“法式”，以及叙述意蕴情境的图像世界。
的绝佳资料。各种碎片式的图像诸如螭龙造型足部马蹄的牙条牙角、花几紫檀大
中国传统古善本的研究一直是我的关注点，而国家博物馆的工作背景和文物
理石面牙板、变体罗锅帐、三围屏式罗汉床、竹簧围屏、随形树根脚踏、紫檀笔
环境对我产生了潜移默化的影响，对古代善本的二次创作或者说图像的改造成为
筒、斑竹毛笔、竹扇、软屉斑竹凳子、朱漆描金的圆凳、板足案、青铜尊花瓶、
我一种内心情感的诉求。在我眼中古善本不仅仅是一次写生过程，还是图像如何
朱红漆木座、香橼和佛手、斑竹木床和鼓墩、蝴蝶帷幔、如意头、手绘屏风锦缎
将当代油画材料进行合理的一次“挪用”、转换和重读经典的精神巡礼，是我的《西
包边绣喜鹊梅花、溪山行旅的紫檀屏风、石质莲花形底座蜡烛台、铜鎏金烛承台、
厢记》《牡丹亭》《红楼梦》等系列古善本再创作，更是对传统国画中“摹”“仿”
蕃枝莲凤凰图案的垫子、木雕随形如意、菊瓣纹剔红盒子、紫檀束腰花芽腿嵌大
问题的思考与延展。我借由古代善本绘画雍正、乾隆典藏宫廷绘画精品这一素材，
理石面香几、铜香炉、剔红香盒、御赐青花五爪龙纹瓷瓶、南官帽椅、明式衣冠
贴近“帝王级家庭生活”奢靡而华贵的生活细节，进行当代“摹仿”和艺术延伸，
服饰，等等，恰似镜头一样呈现出一幕幕古代视觉图像盛宴，引领观者赏玩与陶
并将其命名为“新西厢”系列，试图将西方油画材料融合中国写意绢画特质，超
冶情操。
越传统意义上的叙事绘本。
对于古善本的描绘，我采用的是一种碎片式记录方式，强调叙述结构的紧凑
重绘善本具有以下几个特点；首先是面向宫廷绘画对于西方文化（油画材料）
性和故事情节性，一切细节经过精心设计，围绕主题展开的，体现人文关怀，构
的中国式图像符号“挪用”和“嫁接”的大胆尝试；其次是针对古代绘画中不乏
建出一种碎片式的美学当代性——即运用多维的符号系统为观者勾勒出一个从外
有诸多“仿”“摹”“临”等词汇和相关艺术理论进行反思；再者是引申出一种
在到内核与现实世界相接近的镜像，“诗意”和“真实”融为一体，造成独特的
碎片式美学当代性和波普式美学当代性实践。
视觉感受，记录“逻辑真实”故事连本——叙事的断片式、格言式、随笔式、抒
宫廷绘画对于古善本的贡献具有现代意义，特殊明清时期融合了西方绘画特
情性、个人化的绘本。历史故事或古善本之所以被书写，不仅仅是为了固定思想
色。中西文化交融已是近三百年的事了，郎世宁是开拓者，深受康熙、雍正、乾
的形状，而将保持那种一瞬间的闪光、断裂和独语的状态。波德里亚说“没有比
隆器重，遵守作画前绘制稿本待皇帝批准后“摹仿”的清宫绘画制度，于宫廷绘
解构更具建设性了，它竭尽全力，让世界重新经过文本的筛选，它反复地思索，
画创造了新的领域，其意义不仅关乎艺术领域，更是超越了政治经济文化乃至宗
注释文本，采用如此多的引号、斜体、括号和词源学，以至于书面上已经没有文
教学科。郎世宁的宫廷画作品融合了中西绘画特性，写实、立体和透视，注重线
本了”。一种断片式的自言自语，沉浸在这种诗意的冥想之中，享受这种一瞬间
条和结构写意性等特点表现，融合中西方绘画技法，自成一体，形成精细逼真的
的智性愉悦，满地的思想碎片，每个碎片折射出的都是一个完整的世界。
效果，传神而有韵味。自此中国的宫廷画家透视感和立体感增强的“中西合璧”
另一方面古善本的“摹仿”而形成的图像，在语言和图示“范式”效应
特色受其影响，从而呈现出不同于历代宫廷绘画的新颖风格。当然，宫廷绘画中
中传播开来，彰显出“世俗化”和“普世”价值，其“摹仿”的社会效应不仅仅
对于现实生活的想象或描写与当下古善本的传阅与图像联想不一样的境遇，正是
限于艺术本身，而且上升到社会生活的各个方面，那是一种波普式美学当代性。
由于这种特异性引发关注的共鸣和惊奇感，也是我研究领域的兴趣。
从语言上来说，近期的古善本《西厢记》和雍正、乾隆藏画的《12 美女》和《燕
重提传统绘画中“摹”“仿”问题。“仿”作的创作者主体对于前人的尊重，
琴怡情图》的借鉴，特别是受荷兰画家杨·凡·艾克的《根特祭坛画》这一最负盛
进而接受其笔墨图示和人文精神、理想情感诉求。画者通过题跋文字、图像造境
名的教堂艺术品的影响。前者是传统宫廷绘画的精品，而后者作为尼德兰民间传
及其隐喻意涵传达自己的观念，观者则可通过品题、评论实现与画家的精神交流。
统细密画的创新，为文艺复兴时期的绘画水平的重要标志。《根特祭坛画》分为
其视觉层面在于关注“仿”的具体技法及其在图像上的二次创造，包括构图延宕、
12 幅，画面的祭坛屏风在管风琴庄严的圣乐声中展开，无论是内容、形式，还
笔墨互参、母题借用等；其精神性具有隐喻与文化符号层面的功用。观者在赏玩
是细节处理，肃穆辉煌而光彩熠熠，典雅的色彩配饰与精神特质成为油画语言方
过程中不仅是对视觉图像精密善本的一次酣畅审美体验，同时还对其精神喻指进
式张扬的利器。西方宗教主题的延宕和古典油画的经典技艺至今依然成为后辈学
行解读、唱和、衍义、追觅和涵咏，“仿”作的形式因而呈现出多样化的形态，
习研究的领域，从艺术价值的文化传播看来，中西文化艺术皆如此，除了教化功
诸如雅集文会、送别、斋阁小憩、相与畅游、酬资等情景。“仿”的意义不仅体 现于画家适情自娱的意蕴传达，作为一种文化物品和象征物品，在人情往还、附
能外，其图像传播的广度和后续传承对于未来的文学艺术、政治经济等产生的影 38
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响难以估计。
对于古善本的借鉴以及其内容上均呈现出这些特点；如清代宫廷绘画善本
Yongzheng and Qianlong eras, I try to capture the luxury living details of the
中描绘出清代上流社会生活承袭了明代装饰及衣饰打扮，表现了清人对明代文化
imperial families, making imitations of them by contemporary means and thus
向往溢于言表，即使是故宫里清代皇帝的行乐图，图中的皇帝也有明代服饰扮相
extending art. I name my work New Romance of Western Chamber, trying
的。这种“摹仿”渗透到各个层面，不限于中国，西方古希腊、罗马、文艺复兴、
to integrate western oil painting with Chinese silk painting and transcend the
19 世纪乃至当下，不断有重读古典和向前辈大师致敬的作品，艺术家甚至从过
narrative painting in the traditional sense.
去的作品中模仿绘制一样的风格，这种“复古运动”是后现代主义挪用手段的一
The repainted pictures from ancient rare books take on the following
个特色。如果说构建出的这一波普式美学当代性随着被艺术家在手法上广泛运
characteristics: First, it is a bold attempt to appropriate and integrate Chinese
用——片断、拼接、挪用等，使作品 的内涵与外延混合为一种平面化的统一——
signals from western culture (oil painting materials) in reproducing Chinese
抽象与具象的冲突、字面意义和深层含义的冲突、一般和特殊的冲突消失，那么
imperial paintings; second, it is a reflection upon diverse terms of “imitation” of
它逾越了艺术与生活的界限的新领域中其大众化的特征将被明显放大，并融入到
ancient painting and related theories on art; moreover, it results in contemporary
生活当中，并且随着和现代一切流行元素一样，离不开波普艺术的传播。其融于
manifestation of fragmented aesthetics and Pop Art aesthetics.
大众生活的通俗文化的创作题材，反应了社会变化，甚至存在着某种窥视者的游
The contributions imperial paintings make to ancient rare books hold
戏性与反讽之味，开创了创作中的客观主义，在后现代语境下，这种快速文化创
significance today. Especially the imperial paintings of the Ming and Qing
造、传播和接受深度和广度都具备波普式美学当代性。
Dynasties carry characteristics of western art. Chinese and western art came to be blended about 300 years ago, for which Giuseppe Castiglione was the
纵观几百年文化交流传播的历史，中西文化的借鉴和“摹仿”是相互交融的，
pioneer. He was highly appreciated by the Qing emperors in succession, Kangxi,
有时甚至不分东西南北，你我彼此，何况艺术？
Yongzheng and Qianlong. He observed the imperial painting rule in the Qing 2013 年 9 月
Dynasty that he made a draft painting which was sent to the emperor for review and approval before he imitated the draft. As a result, the imperial painting
Images from Rare Books Repainted / Gu Yue
opened up a new sphere in that it not only represented an artistic attempt, but also transcended such subjects as politics, economics, culture and religion. The imperial paintings by Castiglione blend the techniques of both Chinese and western painting, lifelike, three-dimensional and perspective, vivid and charming.
The traditional Chinese literature and drama are true classical gems, which
After that, the other Chinese imperial painters followed suit and came to create
have been illustrated and interpreted for numerous times by the following
novel paintings. Surely, the imperial paintings’ association and depiction of the
generations of people and thus give rise to various editions of literary works. The
reality differ from those aroused in modern people’s minds by the images in
classical dramas, readers and picture books either fall around among ordinary
the ancient rare books. The sympathy and surprise evoked by such difference
people and literati, or find their way into the imperial palaces. Hand-written copies
motivate my research.
in diverse forms and original rare books constitute the vase sea of authentic rare
Go back to the topic of “imitation” of traditional Chinese painting. The
books, presenting an image world for building the “schema” and narrating the
imitator shows due respect to the original painter, and goes further to accept
artistic conception by the latecomers.
his painting style, humanistic spirit and ideals. The painter conveys his thoughts
My research interest has been all along focused on the Chinese rare books.
via inscriptions, images and metaphors, and the viewer comes to have spiritual
My affiliation with the National Museum of China that houses a sizable number of
communication with the painter through reading the theme and giving comments.
precious cultural relics exerts substantial influence upon me, and the recreation of
Visually, the viewer pays attention to the concrete techniques adopted in
ancient rare books or reproduction of paintings therefrom is a way to express my
“imitating” and reproducing the images, including extending the composition,
innermost feelings. In my eyes, reproduction of ancient rare books is more than a
referring to the existing painting style and appropriation of the original theme.
process of painting; actually, it is an appropriate appropriation and transformation
Spiritually, the images function as metaphors and cultural symbols. In appreciating
of contemporary oil painting materials, and a spiritual uplift in rereading the
the painting, the viewer feasts his eyes on the wonderful images, and interprets,
classics. My recreation of the series of the ancient rare books, Romance of
feels sympathy with, draws inspiration from, traces the origin of and sings praise
Western Chamber, The Peony Pavilion and A Dream of Red Mansions, represents
of the painting. Thus the imitated works come in diverse forms, as produced
a reflections upon and extension of the imitation of traditional Chinese paintings.
in the reading clubs, see-off parties, breaks at pavilions, on travels and fund-
Based on selected imperial paintings from ancient rare books dating back to
raising occasions. The significance of “imitation” not only lies in conveying the
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painter’s own sentiments, but also underlies the intention for creation on various
the 12 Beauties and Yanqinyiqing Painting Album of Yongzheng and Qianlong
occasions such as paying gratitude’s debt, pursuing high-brow art, and learning
eras, and bears a lot of influence from Ghent Altarpiece by Dutch painter Jan
in private. “Imitation” is by on means copying, but involves a very complicated
van Eyck, the most prestigious church artwork. The former is a selected work
inheriting system. The images in the complicated inheriting system are accepted,
from among the traditional Chinese imperial paintings while the latter is an
recognized or misunderstood such that the significance of imitation is spiritually
innovation of the traditional miniature of the Netherlands, an important hallmark
spread among people with different status and destiny and from different places.
of the painting level during the Renaissance. Ghent Altarpiece comes in 12
As a result, the rich meaning of “imitation” is spread and promoted in an even
segments, the altar screen unfolded in the solemn sacred music played by the
wider spatial and temporal space and the concept is manifested in the historical
pipe organ. Whether in terms of content, form or detail treatment, the painting
key chain networks. Therefore, the viewer, via the imitations, can peek into the
appears solemn but resplendent, and the elegant color painting & spiritual quality
three-dimensional ancient and modern society as well as the mind of the literati.
are powerful instruments to distinguish the oil painting language. The changes in the western religious theme and signature techniques of classic oil paintings
These creations based on ancient rare books represent my practice in
remain in the research interest of the later-generation learners. As viewed from the
contemporary fragmented aesthetics and Pop Art aesthetics. For one thing, they are about the cultural value of ancient rare books. The
cultural dissemination of artistic value, it is the same case with both Chinese and
books shed light on the living customs, costumes and accessories, furniture
western art. Aside from the teaching function, the extensive image transmission
and culture of the Ming and Qing Dynasties. Various fragmented images in the
and inheritance exert inestimable influence upon the future literature and art, and
rare books, such as furniture components in the shape of horse hoof, color tea
politics, and economy.
table marble tooth plate, Luoguozhang, three-side screen Arhat bed, encircling
Sometimes, people follow the lifestyle depicted in ancient rare books. For
bamboo screen, footrest made out of a tree root, rosewood pen holder, writing
example, the imperial paintings of the Qing Dynasty reveal that the upper class
brush made from mottled bamboo, bamboo fan and mottled bamboo stool, red-
at that time favored the clothing and accessories of the Ming Dynasty, indicating
lacquer round stool, Banzu table, bronze flower vase, vermilion lacquer wood
the Qing people’s preference for Ming culture. Even in the Xingletu of the Qing
base, so on and so forth, provide people with a visual feast of the ancient Chinese
Emperors, some emperors were dressed in Ming-style clothing. Such “imitation”
people’s living scenes.
permeates in various aspects, not only limited to China. Re-readings of classics
In repainting the images from ancient rare books, I work with fragments,
of ancient Greece, Rome and the Renaissance have kept emerging since the
emphasizing the cohesion and the plot of the story. Each detail is elaborately
19th century, showing tribute to ancient masters. The artists model after the
designed, unfolded around the central theme, showing humanistic concern
ancient works, which characterizes “appropriation” in the post-modern times.
and representing the contemporary aesthetics of fragments, i.e., employing the
If the constructed contemporaneity of the Pop Art aesthetics is widely applied by
multi-dimensional signal system to depict an image bordering on reality inside
artists via fragmenting, blending and appropriating, which uniforms the works’
out, via integration of the “poetic touch” into “the real world”, to create a
connotations and extensions at a plane level – eliminating the conflicts between
unique visual experience and record the logic reality in series of stories – narrative
the abstract and the concrete, the literal and deep-lying meaning, the general and
paintings in emotional and individualized fragments, adages and prose. Historical
the specific, its characteristics transcending the boundary between art and life
stories and ancient rare books are not only intended to fix thoughts, but to
and bordering on the ordinary people’s real life shall be amplified and integrated
register the moment’ s of flashes, fissures and soliloquy. Baudrillard said,“Nothing
into and spread together with popular elements in modern life which live on the
is more constructive than deconstruction. As a result of endlessly thinking and
spread of the Pop Art. The creation materials from the ordinary people’s real
annotating the texts with so many quotation markets, italics, brackets and
life reflect the social changes, emitting a feel of pleasure and irony of the peepers
etymological terms, there is no written text any more.” With a fragment-like self-
and opening up the objectivism in creation. In the post-modernist context, the
thought amid the poetic contemplation, one enjoys the moment of pleasure of
depth and scope of rapid cultural creation, dissemination and reception have
intelligence. Each fragment of thought reflects the world in entirety.
characteristics of Pop Art Aesthetics’ contemporaneity.
The images formed based on imitating ancient rare books spread as
A look through the hundreds of years of cultural communication, Chinese
linguistic and schematic models, highlighting their being secular and boasting
and western cultures have long been drawing on each other, be the cultural
universal value. The social implications of imitation are not restricted to art, but
source from the east, west, south or north or anywhere else. It is more so with
concern all other aspects of life as well. That is contemporary aesthetics of Pop
art.
Art. Linguistically, the recent edition of Romance of Western Chamber, draws on
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September 2013
欲赴海棠花下约 太阳何苦又生根 135X70cm 布面油画 2014 年
月射书斋 云锁阳台 135X70cm 布面油画 2014 年
云鬓仿佛坠金钗 梦魂飞入楚阳台 135X70cm 布面油画 2014 年
门栏凝暮霭 楼角敛残阳 135X70cm 布面油画 2014 年
2011 年 10 月参加在香港国际会议展览中心主办的
October 2014
《2011 FINE ART AISA 香港国际艺术品博览会》。
Solo show in“The Way to Read Classics” ，Matzo
2012 年 6 月获中央电视台书画频道人物专访邀请，
Paris Art Fund,Beijing.
录制《顾跃的奋斗》（上下集），相继在央视、旅 游卫视等媒体栏目播放。
Group Exhibitions: June 1993
︱ Profile of Gu Yue ︱ Painter & Associate Research Fellow, National Museum of China Born in 1970 in Anhui province, China. Graduated from Department of Painting, Academy of Art & Design, Tsinghua University with PhD degree in Visual Art (2008). Special guest on CCTV Painting & Calligraphy Channel and Anhui TV People Channel. Member of the editorial board of Yearbook of
︱顾跃简介︱ 中国国家博物馆副研究员，油画家。中央电视台书
Contemporary Chinese Art (Peking University). 北京商报传媒集团 798 盛世天空美术馆
Author of numerous papers and monographs: Gu
2014 年 10 月 举 办《 顾 阅 读 经 典 的 方 式 》
Yue Oil Painting，World Famous Painters: Sanyu,
法国巴黎美爵艺术基金
World Famous Painters: Yun Gee Chu, Vanguard
画频道专访嘉宾。1970 年生，安徽人。2008 年毕
and Decadent: A Different Perspective on Sanyu and
业于清华大学美术学院绘画系，博士学位。担任北
群展
the Modernity of Chinese Art, Blurred Images: Gu Yue
京大学《中国当代艺术年鉴》编委，发表学术论文
1993 年 6 月参加在安徽省久留米美术馆主办《安徽
on Contemporary Art, Contemporary Oil Paintings of
和个人专著 :《世界名画家全集 - 常玉》，河北教育
省首届大学生优秀作品联展》，获优秀奖。
Gu Yue and From Heroism to Humanism: A Study of
出版社，2007 年出版发行。画集《顾跃当代油画精
2001 年 11 月，参加厦门大学“黄永 特别研究班”，
Thematic Oil Paintings since 1949 . The birth of the
品》，北京工艺美术出版社，2007 年出版发行。《先
并结业展览。
great masters of art,( Joint translation).
锋·颓废——常玉与中国美术现代性研究的另类视角》，
2002 年 9 月 参 加 由 荷 兰 乌 特 勒 支 中 央 博 物 馆
Participant and award winner in Chinese and
河北教育出版社，2009 年出版发行。《重影：顾跃
Centraal Museum Utrecht 主办的《国际一分钟录像
international exhibitions on contemporary art.
当代美术论稿》，河北教育出版社，2012 年出版发行。
双年展》。
Some oil paintings now in international and private
《世界名画家全集——朱沅芷》，河北教育出版社，
2004 年 9 月参加由荷兰阿姆斯特丹 Zet Foundation
collections.
2014 年出版发行。《从英雄主义到人文关怀：1949
艺术中心举办的《转型－中荷艺术家交流展》。
年以来的主题性油画创作研究》即将出版发行。创
2008 年 5 月参加由英国巴柔 Art Gene 画廊举办的 《错
作油画作品多次参加国内外当代艺术展、获奖并被
位——中英当代艺术交流展》
Solo Exhibitions
国外机构（荷兰蒙德利安基金会）和私人收藏。
2008 年 10 月参加由清华大学美术学院举办《 顾跃·李
May 2004
镇油画展暨毕业展 》。
Solo show and graduation exhibition Picture, Reality,
个展
2009 年 6 月参加由中国美术馆举办的《天工开物——
Chinese European Art Center, Xiamen.
2004 年 5 月 举 办《 图 像· 现 实 顾 跃 油 画 个 展 》
学院艺术家作品展》。
November 2013
中国欧洲艺术中心 (CEAC)
2010 年 12 月参加在美国加州大学美术馆主办的《中
Solo show in Retelling the Love Story, Sky Moca
2013 年 11 月 举 办《 重 绘 善 本· 顾 跃 油 画 展 展》
国当代艺术新浪潮暨名家邀请展》 。
Museum, 798 Art Zone, Beijing
Winner of Excellent Award in the First Exhibition of the Art of University Students in Anhui Province, Kurume Art Gallery, Hefei. In November 2002, Enrolled in the class for special research on Huang Yongping, and contributed works for exhibition at the end of the research session. September 2004 Took part in Transition: Works by Chinese and Dutch Artists, Amsterdam, the Netherlands. May 2008 Took part in Out of Place, Art Gene, Barrow-finFurness, England. October 2008 Joint show and graduation exhibition Oil Paintings of Gu Yue and Li Zhen, Academy of Art & Design, Tsinghua University, Beijing. Took part in From Nature to Mind: A Joint Exhibition from Academy Artists, National Art Museum of China, Beijing. December 2010 Took part in New Wave of Chinese Contemporary Art, Sacramento Main and Auxiliary Galleries, California State University, USA. October 2011 Took part in Fine Art Asia 2011, Convention and Exhibition Centre, Hong Kong. In June 2012, received an i nterview with CCTV Calligraphy & Painting Channel: Exclusive Interview “Journey of Struggle” and “Gu Yue’s Journey of Struggle” (in two parts), which was played at CCTV Financial Channel and The Travel Channel among other media.
合作机构： 法国巴黎美爵艺术基金（巴黎、香港、北京） Matzo Paris Art Fund (Paris,HongKong,Beijing)
Beijing Song Ya Feng Culture Media Limited Liability Company
展览地址：法国巴黎美爵艺术中心（北京市东城区金宝街励骏酒店一层） 展览时间：2014 年 10 月 25 日至 11 月 8 日
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