1
Section Title
前言
朱国荣
·人间 II : 范少华的绘画艺术
华慧
ESSENCE • LIFE VOLUME 2 : FAN SHAO HUA ARTS
First published 2010 by Shanghai Art Museum 2nd edition 2010 published & distributed by Ode To Art Contemporary Ode To Art Raffles City 252 North Bridge Road, Raffles City Shopping Centre, #01-36E/F, Singapore 179109 Tel: +65 6250 1901 Ode To Art Kuala Lumpur 168 Jalan Bukit Bintang, The Pavilion, #06-24E/F, Kuala Lumpur 55100, Malaysia Tel: +603 2148 9816 Email: sales@odetoart.com www.odetoart.com © 2010 Ode To Art Contemporary All rights reserved. No part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written permission of the publisher. Front Cover: 封面作品题目: 白雪香新 油画
Snow-White, 2008
Oil on canvas, 100 x 120 cm.
Measurements of artworks are given in centimetres Printed and bound in Singapore
华慧 • 人间 II
Essence . Life II
22 BIOGRAPHY
03 CONTENTS 内容
范少华艺术活动年表
04 MESSAGE, YIP WEI KIT 献辞
叶伟杰
获奖
07 INSCRIPTION, GONG XIN HAN 题字
龚心瀚
TAN SWEE HIAM 陈瑞献
48 THE NUDE SERIES 62 THE LANDSCAPE SERIES
朱国荣
花鸟系列
78 THE PORTRAIT SERIES
14 A GODLY RELATIONSHIP WITH FAN SHAO HUA, YANG GENGXIN 神交范少华
30 THE LOTUS SERIES
人体系列
12 FOREWORD, ZHU GUORONG 前言
范少华
荷花系列
09 FAN SHAOHUA’S FLOWER INVITATION, 范少华花柬
29 AWARDS
杨庚新
人物系列
86 THE ABSTRACT SERIES 抽象系列
18 ELEVATION OF THE SPIRIT OF CHINESE ART, LI RENYI 至高民族文化的精神品格
Contents
内容
李人毅
献辞
首先，恭贺范先生成功地在上海美术馆举办个人画展。
范先生是当代一位非常杰出的艺术家。他的作品融合了西方的绘画技巧以及东方的素材，自 成一格。这些作品曾参与新加坡以及亚洲地区的多项画展，在国内外也获得过多个奖项。范先生 的多才多艺，具体体现在他的作品中。其中，又以他创作的人物肖像、街景画以及抽象画最具代 表性。这一次，上海美术馆为范先生举办个人画展，就是对范先生的艺术造诣做出了肯定。
4
借此机会，我想对上海美术馆为新中两国在艺术文化方面建立更紧密的关系所作出的努力表 示由衷的感谢。
新加坡驻上海总领事 叶伟杰先生 2010年 1月
华慧 • 人间 II
Essence . Life II
MESSAGE
Firstly, I wish to congratulate Mr Fan Shaohua for successfully staging his solo exhibition at the Shanghai Art Museum. Mr Fan is a very outstanding modern artist. His works are very distinct as they blend the painting techniques and subjects from both the East and West. Many of the paintings in this show have been shown in exhibitions in Singapore as well as several other Asian countries. Some of them also won him many awards. 5
Mr Fan’s talents are all displayed in his works, especially in his portraits, street scenes and the abstract pieces. That the Shanghai Art Gallery is staging this solo exhibition for him shows its recognition for Mr Fan’s artistic excellence. May I take this opportunity to show my heartfelt gratitude to the Shanghai Art Gallery for its efforts to promote closer relations in the arts and cultural fields between Singapore and China through this exhibition.
Mr Yip Wei Kit Consulate-General of the Republic of Singapore in Shanghai, China January, 2010
Message, Yip Wei Kit
献 辞
叶伟杰
6
7
Inscription, Gong Xin Han
题字 朱国荣 龚心瀚 前言
中共中央宣传部原副部长 . 全国政协文史委员会副主任
龚心瀚
8
华慧 • 人间 II
Essence . Life II
9
Prologue, Tan Swee Hiam
范少华花柬
陈瑞献
范少华花柬 陈瑞献
范少华多元技法的处理， 让荷长出新花。从未见过的风姿，让所有的眼睛都往绽放的方向凝 望，而久久陶醉其中。正当众人都把少华的创造与荷花等同之时，荷花却又变成一张请柬，把众 人从天上请到人间，回到花仙子与云雨的人间来。在这儿，阴阳互诱，诗乐並流，让所有的眼睛 都往向花丛延烧而去的热火凝望，而陶醉其中。 这就是范少华的艺术要旨：他通过艺术来说明生命在意义的追寻中，需要一个平衡完整的生 活实在：天上人间，都得欢乐。 能让人有如此美学体会的艺术家至为少见。 10
陈瑞献 2009年 12月 20日
作者是新加坡艺术家
华慧 • 人间 II
Essence . Life II
FAN SHAOHUA’S FLOWER INVITATION PROLOGUE BY TAN SWEE HIAM
Fan Shaohua’s multi-media treatment of the lotus has made visible the emergence of a new flower, whose never-before-seen charm attracts the gaze of all eyes to its bloom and gets them deeply intoxicated. Just as everyone equates Fan Shaohua’s artistic creation with his lotus, the lotus is turned into an invitation, inviting all viewers back from the spiritual realm to the secular world of flower damsels and clouds and rain, where the Ying and Yang cajole each other, poetry and music are intertidal and all eyes are gazing at the fire that is burning through the flowering shrubs and are therein intoxicated. This is where the core of Fan Shaohua’s art lies. Through art he shows that in the search of meaning, there needs a rounded reality in life: be it in Heaven or on Earth, one should wallow in happiness. Few artists are able to give the viewer such an esthetic experience. Tan Swie Hian December 20, 2009.
Prologue, Tan Swee Hiam
范少华花柬
陈瑞献
11
前 言
一位画家在他的艺术生涯中总会在风格上
义的，但却是当代都市人生活中时尚、匆忙、
有几次蜕变，而每一次蜕变实质上是画家对其
无奈的真实写照。这类作品无论在创作构思，
追求目标的修正和深入，使自己的艺术得到升
还是在构图布局、色彩色调上，都与他过去的
华。当我看到新加坡华裔艺术家范少华的作品
作品面貌截然不同，个人风格十分鲜明，极富
时，就有这样的感觉。
现代感。这可以说是画家试图在艺术表现上建
范少华原籍广东，生于广州市，十岁时，
12
立起自己的面貌的一种大胆作为。
跟随卢延光老师学习中国水墨人物、花鸟画。
几年以后，范少华又以一种新的尝试出
文革结束后，先后在广州美术学院附中、本科
现在他的荷花系列画上。荷花在中国传统花鸟
学习油画，毕业后进入广东电视台担任舞美设
画中，往往带有其特定的象征意义，是一种清
计，后又调入广州大学设计系任教。这期间，
高、洁身自好的人格象征。范少华在他的荷花
他创作、展出和发表了大量的油画、水彩画、
系列画中，将西洋油画的写实描绘转变为中国
连环画、插图作品，不少作品还入选七届全国
水墨的写意表现，着意于对水墨韵味的抒发，
美展等全国性展览。1990年，范少华移民新加
同时又融入西方现代绘画的抽象因素，以及在
坡，在艺术创作上开始以新加坡的都市生活为
背景中揉合了褶皱的肌理效果，赋予了他的荷
题材，并且积极参与当地的各项艺术展览，获
花画与众不同的艺术趣味。荷花在这里改变了
得过各类奖牌。他还以新加坡艺术家的身份参
它们原先的文静、自闭的性格，而转化为一种
加了与马来西亚、日本、法国、韩国、美国等
充满激情的主动的姿态。
国的美术交流。2007年，范少华回到家乡，在
范少华在最近的新作中，又将女人体与荷
广东美术馆举办个展，好评如潮。今年初，他
花画在一起。我认为这不是简单地将两种图像
移师上海美术馆亮相他的一批油画作品，诚意
混合在一起，而是在将中西两种不同的文化进
与上海的同行切磋技艺。
行碰撞与对话。当具有感官性审美的女人体与
范少华在广州美院附中和本科的七年绘画
富有精神性品格的荷花结合在一起时，内中的
学习中，在创作观念上接受的是现实主义，在
含意不但是多重性的，而且在文化指向上是深
艺术表现上接受的是写实主义，由此打下了扎
刻的。至此，范少华将他绘画经历中的人物画
实的绘画基础。这使得他在表现新加坡的城市
与花卉两大部分合而为一了。这也许是范少华
生活时，特别是在描绘有众多人物的场景时游
在当代艺术发展背景下对油画创作所作出的一
刃有余，在对人物与人物、人物与景物之间的
种思考性的表达。
关系处理上体现出他对大场面的有效的掌控能 力，画面的生活气息极为浓郁。照理说，范少 华完全可以从这条路上继续走下去。但是，从
朱国荣
1999年起，一种新的画风开始露面。他以独特
上海市美术家协会副主席
的视角对人物作切割式的局部描绘，画面中的
2010年 1月
不完整的人物形体看似是随意摄取的、毫无意
华慧·人间 II
Essence . Life II
FOREWORD In the life of an artist, there are bound to be changes in his or her painting styles. When a change takes place, the artist is really seeking to go deeper or make further adjustments towards a goal that will help to raise his or her level of artistic excellence. This was how I felt when I saw the works of Chinese Singaporean painter Fan Shaohua.
In the seven years he was at the secondary school of the Guangzhou Art Academy and later during his graduate studies at the academy, he was trained to apply realism to his creative ideas and representational art in his artistic expression. Thus, he was equipped with a strong foundation in painting techniques.
Fan Shaohua was born in the city of Guangzhou and he is a native of Guangdong province in China. When he was 10, he studied Chinese ink painting on the human figure, birds and flowers under the master Lu Yanguang.
With his skills, he could paint large compositions with no difficulties and yet able to express the liveliness and richness of the textures on the canvas, especially in his works on modern Singapore where many people and buildings appear together. He was able to treat relationships among human characters, and between human characters and their surroundings very well.
After the Chinese Cultural Revolution, he went to the secondary school of the Guangzhou Art Academy first before studying oil painting in the academy. After graduation, he worked briefly as a designer for dance at the Guangdong Television Station. Later, he moved to Guangzhou University where he taught art and design. During this period, he started to create and showed many of his works in oil and watercolor as well as some of his illustrations and even comics at public exhibitions. Several of his works were selected for the Seventh National Art Exhibition that went round the country. In 1990, he migrated to Singapore. Since then, subjects on modern city living in Singapore started to appear in his works. He has been very active in the art scene there and won many prizes. He also represented Singapore in art exchange programs with several countries. They included Malaysia, Japan, France, Korea, and the United States. In 2001, he returned to his hometown where he staged a solo exhibition at his alma mater, Guangzhou Art Academy, and received rave reviews. This new year, he is showing some of his works in oil at the Shanghai Art Academy, sincerely wanting to share his art with his counterparts in Shanghai.
Foreword, Zhu Guorong
前言
朱国荣
Actually, Fan Shaohua could have continued to work on this artistic path. But from 1999 onwards, he embarked on a new painting style. He looked at the human figure with a new and unique perspective, cut it up and paint it section by section. Initially, the incomplete human figures looked like they were painted casually and appeared to be meaningless. But on carefully examination, they actually showed the characteristics and trends in modern living, such as the city folks’ daily mad rush or helplessness. These new style of painting were vastly different from those of his past, whether in their creative ideas, compositions or the use of colors. His individual style was very distinct, and the new paintings also looked very modern. It was certainly a bold attempt by the artist to establish a distinctive painting style of his own.
In Fan Shaohua’s Lotus series, he turned the representational art painting technique of the West into free-hand brush strokes in Chinese ink and brush painting which often uses the degree of concentration of the ink on paper as a means of expression. To give a Western flavor to his works, he painted the background with a crumbled-paper look, making his pictures of the lotus to be so artistically distinctive. The lotus in his works also changed from their usual quiet and aloof nature to be so full of life and passion. In Fan Shaohua’s recent works, he painted the female figure together with the lotus. I don’t think it is just a simple act of putting two different subjects side by side. More than that, he was really making a contrast between the East and the West, two subjects from different cultures, and trying to create a dialogue between them. 13 When you put the sensuous and beautiful body of a woman together with the lotus, the significance could be multiple and many sided. Culturally, they also have great meanings. Fan Shaohua has put his human figures he painted for years together with the lotus. This is perhaps his thoughtful expression of the place oil painting should be in the development of modern art today.
Zhu Guorong Vice-President of the Shanghai City Association of Artists January, 2010.
A few years later, Fan Shaohua tried another new painting techniques in his Lotus series. The lotus has special significance in the traditional Chinese painting of flowers and birds. It represents a certain aloofness and purity of character, among other qualities.
神交范少华 杨庚新
14
与范少华先生可谓神交。他远在南洋异国
家》、《红头巾》、《祖父》、《龙的传人》
新加坡，我在中国首都北京，虽路途万里，却
、《外籍劳工》等。他有时也深入到街头巷
因画结缘，心心相印。
尾、港口码头、市场作坊观察普通市民生活，
冬至的北国，千里冰封，刺骨的寒风，令
创作了《走过的岁月》、《旧货摊》、《正月
人心冷。隔窗的露台，洒下冬日的阳光，欣赏
初一》、《春到牛车水》等一批具有人文关怀
《华慧·人间——范少华的绘画艺术》和他的
和怀旧情结的作品。范少华在延伸他的现实主
《新山水》画册，有一种莫名的惬意和温暖。
义。作为一位外来艺术家，范少华常 常 以审视
范少华是一位新加坡新移民艺术家。1963
的眼光挖掘那些常常被人忽略的生活细节，着
年出生于中国广州市。儿时受父亲影响，酷爱
力揭示生活在大都市人们的生存状态、情绪和
绘画。1978年考入广州美术学院附中，1981年
心理，像《早上七点》、《中午十二点》、《
入广美油画系学习。七十年代末八十年代初，
晚上九点》、《同道》、《赶路》、《途中》
正值中国大陆改革开放，一方面社会秩序得以
、《前程》等作品不一而足。范少华还有些关
恢复，教学步入正轨；一方面国门开放，思想
注环境和生态的画作，更能引发人们对这一普
日渐活跃，范少华恰逢其时，沐浴着新时期的
遍社会问题的思考。在艺术语言上，为适应表
阳光，受到良好的学院教育，打下了坚实的绘
现新的主题，范少华由地道的写实风格转向概
画基础。在校期间，范少华重视深入生活，创
括、夸张以至变形状态，使作品更具现代性。
作了《铁臂》、《求索》等富有时代气息的作
作为一位现代艺术家，范少华在关注人、
品，受到当时媒体的广泛关注。1985年毕业
关注社会的同时，自然也关注与人和谐相处的
后，他深入到少数民族地区，完成了《瑶族少
大自然。天人合一的宇宙观深深地体现在他的
女》、《故居》、《日照》等一批颇具生活气
艺术实践中。他画静物，也画山水（风景）。
息的现实主义油画作品。与此同时，受’85美
我们注意到，范少华九十年代前期的静物画
术思潮的影响，他大胆探索，竭力摆脱既往的
得比较规矩，延续着学院派细腻典雅作风，九
创作模式，尝试以象征性语言，揭示人的存在
十年代后期的作品，如《花开花谢》之一、之
和生命价值，完成了《生命的启蒙》、《我》
二，以对比的手法，表现葵花花开花落，赞美
等作品，从而开启了他日后关注人、关注人
生命之辉煌、感叹哀败之悲怆。从而超越了一
生、关注人的生存状态的艺术创作之路。
般静物画传统表现手段，使作品更富象征意
1990年，范少华移居新加坡。异国他乡，
义。在艺术语言上，画家一改以往的精雕细
语言、风俗竟是那么熟悉，他很快就融进了这
刻，以率意的用笔一气呵成。象征性手法和笔
个社会。他喜欢画人，在差不多十年的时间
意的变化预示着范少华艺术一次重要变革。
里，他画了大量人物肖像
，代表作有《舞蹈
进入新世纪，范少华步入一个全新的创作
华慧 • 人间 II
Essence . Life II
期。这个时期的代表作是《荷花》系列和《新
蕴。
山水画》系列。
“新山水画”系列是范少华对传统的山水
荷花是中国古典文学和绘画的传统题材。
画的全新解读与形象诠释，它继承了传统山水
楚辞、汉赋以及六朝诗歌有许多咏荷颂莲的华
画的本体意蕴，却采取全新的语汇和图式，运
章。绘画方面，四川新都出土的汉代“莲花”
用油画的色彩和抽象半抽象的语言，使传统意
画像砖、四川德阳出土的汉代“采莲”画像砖
义的山水画进入一个全新阶段。
以及传南唐画家顾德谦所绘《莲池水禽图》、
我以为，无论是范少华的“荷花”系列还
南宋画家吴炳的《出水芙蓉》都是古人留给我
是他的“新山水画”系列都集中体现了画家
们的稀世画荷杰作。明清乃至近现代，以荷为
以“中为主，融西于中”的绘画理念。他的艺
题作画的画家更是不胜枚举，现代画家凌文
术主张和创作实践都是十分可贵的。八十年前
渊、张大千、林风眠、谢稚柳都是我们熟知的
岭南派大师高剑父在《我的现代绘画观》一文
画荷高手。荷花出污泥而不染，庄重、典雅、
中曾说：“西画能够参些中画成分其中，带点
秀美，旧时文人、画家常常借题发挥，抒发孤
东方色彩……西画人皆将国画之精神技法来写
傲、高洁、伟岸、独处的人文品格。范少华爱
西画，实可开一派最新中国西画，又成为最新
荷、画荷，并以之为图像符号，是有其特定的
之现代国画。”我们在岭南派后继者范少华先
人文内涵的。他笔下的荷花承继着传统，又创
生的作品中似乎看到了这派最新的中国西画。
造着未来。范式荷花如烟如织，亦真亦幻，灿 烂如霞、热烈如火、碧绿如玉，给人以无尽的 审美享受和太多的想像空间。这些作品都是来 自画家的真实感受。他学习传统绘画“以我观
2010 年元月 6日
物”、“静观妙悟”、“神与物游”的创作方 法，运用意象造型，完成了创作一次质的飞
杨庚新 艺评家 《艺术》杂志执行总编
跃。在艺术上，他注意营造气氛，创造意境， 运用诗意的语言和拟人手法，引人入胜。他还 成功运用油画丰富的色彩，以色为“墨”，一 反明清以来“水墨为上”的传统，造成绚丽多 彩的艺术效果。在笔法上，他吸收传统笔墨技 巧，将书法引入创作，姿意挥洒，放达自由。 通过几年实践，范少华从传统工致描绘渐渐步 入了放笔书写状态，使画面更加富有生气和底
A Godly Relationship With Fan Shao Hua, Yang Gengxin
神交范少华
杨庚新
15
A GODLY RELATIONSHIP WITH FAN SHAOHUA BY YANG GENGXIN
My relationship with Fan Shaohua is a godly one. He lives far away in Nanyang or the south seas in Singapore, and I, in China’s capital, Beijing. Though we are miles apart, we are closed to each other in our hearts because of art.
16
It’s freezing cold in the winter back in my home up north. With the winter sunlight shinning through the windows at my balcony, I enjoyed flipping through Essence-Life and New Landscapes, both albums featuring Fan Shaohua’s paintings, and I felt strangely warmed. Fan Shaohua is a new immigrant artist in Singapore. He was born in the city of Guangzhou, China, in 1963. His father’s influence resulted in him liking to paint when he was young. He enrolled in the secondary school of the Guangzhou Arts Academy in 1978. Three years later, in 1981, he started learning oil painting at the academy. China’s open-door policy and reforms towards the end of the 1970s and in the early 1980s helped to restore order and put education back on track on the one hand, and allowed gradual freedom of thoughts after the country’s opened up to the outside world on the other. Fan Shaohua was fortunate that he could benefit from this era as he received the best education that helped to lay a strong foundation for his art and painting techniques.
When he was in school, he concentrated his works on the importance of daily living and created several works such as “Iron Arm” to reflect that and received good media attention. After he graduated in 1985, he went into the lives of the minority tribes in China and created works such as “Girl From Yao Minority” and “Hometown” which were realistic works of art and full of life. Greatly influenced by the art movement of ‘85, he was bold to experiment and tried to move away from his old creative styles. He began to use symbolic language in his art to show the value of life with such work as “Genesis of Life” and “Myself”. Thus, he started his artistic journey to focus on man and life and the meaning of human existence. He moved to Singapore in 1990. As the language and customs in his new home are familiar to him, he integrated quickly in its society. He liked to paint people. In a short span of about 10 years, he painted many portraits and among the outstanding ones include “The Dancer”, “Samsui Woman”, “Grandfather”, “Descendants of the Dragon”, “Foreign Worker”. Sometimes he also went far into the streets, the markets, the port and harbor to observe lives of the ordinary folks. He came out with works such as “Time Passed”, “Old Stall”, “First Day of Chinese New Year”, and “Celebrating Chinese New Year In Chinatown”, all nostalgia works about life. Increasingly, Fan Shaohua is using more realism
华慧 • 人间 II
Essence . Life II
in his art. As a foreign artist, he often used his keen and sharp eyes to pick up details of life often neglected by others. He also worked hard at showing the living conditions, emotions and psychology of life in the city with such works as “7 AM”, “12 Noon”, “9 PM”, “One Way”, “Journey”, “On The Road” and “The Future”. Fan Shaohua also painted on subjects concerning the environment and ecology. They had inspired others to give more thoughts on such social issues. In terms of his artistic language, Fan Shaohua had switched from the tradition of representational techniques to to become more abstract, exaggerated and even out of form so that his works could appear more modern. As a modern painter, Fan Shaohua paid a lot of attention on people. While he was focused on society, he did not ignore Mother Nature which Man has been living in harmony with. We could see in his art, Man and Heaven coming into one in the universe. He painted still life and also landscapes. We observed that the still life works he painted in the 1990s were more proper and rich in details and that followed the strict discipline of representational painting from the art academies. His works after the 1990s, such as “Blossoming & Withering 1” and “Blossoming & Withering II”, which compared the blossoming and withering of the sunflower to sing praises for life as well as to sigh as life began to degenerate and die away. It was a breakthrough in traditional still life painting techniques and added symbolic meaning to the works. From the artistic language point of view, he had moved from concentrating on the details to focus on what the subjects would represent. In the new century, Fan Shaohua entered into yet another new phase in his artistic creation. His “Lotus” and “New Landscape” series of paintings are representative works from this is new period. The lotus is a traditional subject for paintings and literature in ancient Chinese literature and art, dating to the poetry and verses written as long ago as during the period of the Six Northern and Southern
Dynasties. In ancient paintings, artworks on tiles unearthed in Sichuan dated to the Han Dynasty showed the “Lotus”. The southern Tang Dynasty painter Ku Delian also painted a picture of the lotus in a pond. So did the southern Song Dynasty painter Wu Bing whose work, Lotus From the Water or Chu Shui Fu Rong is even remembered today. From the Ming and Qing dynasties up to the present day, there are even more examples of artists using the lotus as their painting subject. Modern painters well-known for painting the lotus include Ling Wenyan, Zhang Daqian, Lin Fengmin and Xie Yaliu. The lotus remains beautiful even though it came out of the mud. It is respectful, elegant and beautiful. Ancient scholars and painters used it to illustrate good human characteristics such as pride, purity, independence and greatness. Fan Shaohua loves the lotus and like to paint the flower. He uses it as a symbol to represent some good human characteristics as well. The lotus under his brush represents ancient traditions as well the future. His lotus can be as thin as smoke, real and unreal, as bright as the morning clouds, as hot as fire and as clear as the best jade. They never fail to give the viewer space to appreciate their beauty and imagine. His works all came from his true feelings and emotions. He practiced traditional Chinese painting techniques and used imagery to create. He was also particular with the atmosphere and employed poetic elements in his works to make them appealing to the viewer. He used oils as ink, or mo, which is a break from the tradition of Chinese brush and ink paintings since the Ming and Qing periods. In terms of his brush strokes, he showed that he had mastered the traditional Chinese brush and ink painting techniques and even introduced elements of Chinese calligraphy in his works. After a few years, he had moved from the disciplined hands of a traditional Chinese brush artist to one with a free hand to paint and splash, adding new life to his works. Fan Shaohua’s “New Landscape” series is a complete and revolutionary change from his past traditional Chinese landscape paintings. Using his
A Godly Relationship With Fan Shao Hua, Yang Gengxin
神交范少华
杨庚新
mastery of traditional Chinese landscape painting techniques and combining them with new and modern artistic idioms and compositions which are either abstract or semi-abstract in colorful oils, he revolutionized traditional Chinese landscape paintings to a brand new level. Whether it is Fan Shaohua’s “Lotus” or “New Landscape” series, I believe they both showed the artist’s attempt to blend the West with the East while maintaining the Chineseness of his paintings. His philosophy in art and creativity are very valuable. The great master of the Lingnan School of art in the 1980s, Gao Jianfu in his book on his painting beliefs on modern art once said: “Some elements of Chinese paintings can be added into Western art, to give them some oriental character….Western painters too can absorb some Chinese painting techniques to create new Chinese-Western artworks to be a new form of modern painting.” Following the Lingnan School, we can perhaps now see in Fan Shaohua’s paintings, this new form of modern Chinese-Western works of art.
January 6, 2010 17 Yang Gengxin is an art critic and executive editor of Art or Yi Shu magazine.
至高民族文化的精神品格 读范少华油画系列作品有感 李人毅
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当我看到画家范少华的作品“荷花系列”
首先，画家大胆地用西方传统绘画的材质
和“人体荷韵系列”时，喝彩声不由脱口而
油画颜料和油画的艺术语言来构思创作、表现
出。一个读者被艺术所感动，来自作品的强烈
自己的艺术见解和心灵的意象，开创先河地进
的震撼力。也是作品丰厚精神内涵和优秀的表
行一次前无古人的新探索。在他的荷花系列
现方法加上精湛的绘画技巧融为一体显现出的
中，高扬母系文化精神，以中国画的笔墨元素
艺术灵光。
做为艺术图腾，展现出传统中国文化艺术魅
范少华这两大系列艺术佳构，都是以中国
力。使这种洋为中用的艺术实践一步到位，直
画大写意表现方法，用油画材质表现出来的鲜
通车般地走进受众视野，成为学习与借鉴外来
活的艺术品。其鲜活程度，在于我们找不到古
艺术的成功的范例
今中外可与之类比的参照，鲜明的艺术个性书
第二，在作品的艺术面貌上出现了新气
写出画家带给当今画坛推陈出新下石破天惊般
象。他笔下的荷花在油画风格中和国画的表现
的艺术传奇。这一传奇，带给我们一批足以让
上都呈现出前人所无的新面貌，进而超出了两
民族艺术骄傲的标识盛世的经典艺术佳作。
种绘画形式的表现格局而形成一种新的艺术形
这依山带水肆意开放的古莲，是艺术家的
式和风格样式。既拓展了中国画的发展领域，
真情负载在传统写意的神韵上来尽情吟咏着一
又丰富了油画的意境和神韵。这一中西融合没
曲岁月恋曲。这笔墨浓淡干湿的对比带来的张
有在相互抵消中弱化为两种艺术的张力，却在
力，色彩冷暖真幻虚实中的视觉冲击力和二者
相互激荡中提升了作品的精神内涵。用作品标
结合下的鲜活的艺术氛围。犹如百折不挠的民
识着中西艺术交流的美好前景，开拓出一条两
族精神，不屈的国魂巍然挺立，又如一个人坎
个画种融汇共荣的新路。
坷曲折、柔肠百曲的心路和情感在丹青原野上
第三，这种探索的成功，来自画家的生活
娓娓倾吐着。而人体与荷花系列更是令人耳目
积累和充分的文化准备。范少华有扎实的素描
一新，画家充分发挥油画规律展现意境美和丰
根基，精准的人物造形能力，天赋般良好的色
富的表现力，凸现出了一个全新的艺术天地。
彩感觉，又能熟练地架驭油画创作的艺术语
在高洁清雅中内蕴，给人以视觉舒服、感受愉
言，表现主题得心应手。同时，他又精通中国
悦的审美享受。又以其主题深刻的象征意义和
画大写意笔情墨意的画道学术，熟练掌握浓淡
哲思带来意境深远的文化洗礼。
干湿对比的艺术肌理，更主要是对传统中国画
艺术品的高格不在于他画了什么，而在于
的审美特征和形象特质及艺术语言、笔墨技巧
作品是否阐释出深刻的社会人文关怀，是否在
等都有继承与发展上深层次的思考，更有时刻
文化传承和发展上有着里程碑般的意义。感谢
准备为艺术献身的生命状态。这种蓄势待发中
画家范少华，给予我们一个深入探求的机会
的艺术之旅，一旦选准方向必定会大有作为。
华慧 • 人间 II
Essence . Life II
实践证明，只有以厚重的文化积累做后
掘钻探，使源头活水汇流成河，让中国艺术之
盾，承载起艺术家创新图变的艺术追求，才能
树长青，并在嫁接中凸显母体的光辉，才能使
使良好愿望变为现实。
中国艺术的强势更有辐射力。
在赏读范少华荷韵人体系列时，使人走进了一
3、高扬中国的艺术精神。范少华以传承
种美丽的梦境中，痴迷着沉醉着，感受着两种
中华文明为使命，使古老的绘画焕发了青春光
文化撑击下强烈的文化共振。
彩，引领笔墨意韵进入新的领域，彰显时尚的
当我们走进范少华的艺术空间，流连和散
魅力。在弘扬民族文化精神的实践中拓展了艺
发的都是中国文化元素的丹青阐释。他的艺术
术人生，创造具有当代盛世文明风范的艺术佳
成就，是民族人文思想的抽象表达，是天人合
作。
一哲思的艺术再现，更是刚柔相济、冷暖人
一个艺术家的创作，看似特立独行的行
生、动静生态哲思的艺术显像。这些中国文化
为。其实，在其艺术成果中，总是会找到艺术
优秀内质，通过画家才能的演绎传递，增强了
品的精神归宿。在爱国情操的内涵中的创新之
中华民族的文化自信。也造就了一位中国优秀
旅上，书写着艺术家范少华的赤子之情，在我
文化传承的文化使者。使范少华成为一名怀有
们享受这艺术大餐之际，对画家的爱国情怀，
强烈中华文化传承使命的艺术大家。
献上我们深深的敬意。
画家作品的精神品格，还是在画家的作品 里。 在此，我们清晰地看到一串坚实的文化履
已丑十一月十五日於北京
痕。范少华高扬起中华文明的大旗，一路风 尘、一路追求，走着一个坚守高尚情操的爱国
（李人毅：人民日报社《人民美术》杂志执行主编。
主义者的艺术人生之路。
中国美术家协会会员、中国作家协会会员、国家一级
这人生之路中有三点闪亮标识，诠释着画
美术师，原《美术》杂志执行编委）
家艺术的精神品格： 1、鲜明而响亮的文化身份。当今西方文化 无时不在向文明古国渗透之时。各种流派都在 消解中华文化传统之际，范少华的作为做出响 亮坚定的回答，只有执着地坚持守住民族文化 阵地，中国画家才能有所作为。 2、坚定而扎实的文化立足点。范少华艺术 之根是传统中国艺术的精华，在这口深井中挖
Elevation of the Spirit of Chinese Art, Li Renyi
至高民族文化的精神品格
李人毅
19
ELEVATION OF THE SPIRIT OF CHINESE ART THOUGHTS ON FAN SHAOHUA’S OIL PAINTING SERIES BY LI RENYI
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“Bravo!” was the word that I shouted when I came face to face with the Lotus Series and Rhythm of Body in Lotus Form Series by artist Fan Shaohua. When a painting moves the viewer, it is often the result of not just the techniques behind it but a combination of technique, brilliant method of expression and rich cultural depth contained in it. The two series of oil painting by Shaohua are rendered with the expressive style of Chinese painting using oils as a medium. The works that have been produced are refreshing and amazingly rare. They feature such a distinctive artistic characteristic that they are truly a legend-like art treasure the artist has offered to the contemporary art scene. The classic image of lotuses that bloom by the hills and rivers in Lotus Series is a love song of the times in which the artist has lodged his emotions, which is offered in reverence to the artistic essence of traditions. The charming atmosphere of the works created by rich ink tones with a clear contrast between moist and dry inks and the visual impact created by the interplay of cold and warm colours can be likened to the lofty spirit of a people and to the traces of a man’s emotional journey. The Rhythm of Body in Lotus Form Series unveils another artistic haven resplendent with the melodic charms of oil painting. In addition to the aesthetic appeal of works in the series, the subject, which has rich symbolic and philosophical implications, is thought-provoking as
well for its cultural dimension. When we appreciate a painting, we often ask: “Does the painting reflect a concern for humanity?” “Does it have the quality of being a landmark work in the inheritance and development of the culture of which it is a part?” The two series by Shaohua offer us an opportunity to examine these considerations. Firstly, Shaohua has, in his Lotus series, boldly employed oils, the western painting material and the visual language of western art. Such an engagement represents an unprecedented exploration. The series evidently embodies the spirit of a matriarchal culture which uses ink-and-brush— Chinese art elements—as artistic totem, through which the enchantment of traditional Chinese culture is rendered full play. His is a successful case of using western art as a vehicle to convey Chinese sentiment. Secondly, Shaohua’s lotus paintings has added a new dimension to the art of depicting lotus both in western oil and in Chinese painting. By venturing beyond the confines of both modes, his works showcase a new dimension; they not only broaden the scope of development in Chinese painting but also enrich the realm of oil painting. The confluence of the two modes finds absolute harmony in his paintings and deepens their depth. His engagement is proof of the successful fusion of the two arts. Thirdly, Shaohua’s explorations are firmly rooted in life and painting experiences. His foundation in sketch is strong, his mastery of form is precise,
华慧 • 人间 II
Essence . Life II
his sense of colour excellent and he is well-versed in the visual language of oil painting. All these elements combine to make his expressions of the subjects absolutely eloquent. More importantly, he is adept at the skills of the expressive mode (xie yi) in Chinese painting and the method of ink-and-brush and principle of the contrast between dry and moist inks. He is familiar with the aesthetic features, the form and the visual language of Chinese painting. The works that he has created shows that he is heading towards the right direction with promising development. Much like the amazing Lotus series, the Rhythm of Body in Lotus Form series takes the viewer into a dream-like haven, a world where two art styles are perfectly harmonised. When we enter the artistic space of Shaohua’s paintings, we are greeted by elements of Chinese culture. His paintings are the abstract expressions of the Chinese humanity, the embodiment of the philosophy of the heaven-and-man marriage (tianren heyi) and the interplay of sturdiness and gentleness. Because of the rich cultural nuances in his paintings, Shaohua may be regarded as an excellent missionary of Chinese culture. In Shaohua’s works, the traces of Chinese culture are discernible and his pursuit may be likened to a journey of artistic patriotism.
The art of Shaohua is marked by three characteristics: A distinctive cultural identity: Amid the waves of the influx of western culture into China and the erosion of Chinese culture, Shaohua presents works that are uniquely Chinese; guarding the treasures of the Chinese civilization steadfastly. A sturdy cultural foothold: Shaohua’s art is firmly rooted in Chinese soil and digging deep into the well of traditions enables streams to converge and form rivers. His achievement makes Chinese art an evergreen art form, allowing its original splendour to shine through in the course of fusion. Elevation of the spirit of Chinese art: Shaohua’s work revitalizes an ancient art form and takes inkand-brush to greater heights, illustrating the charms of contemporary art at the same time. The artist not only enriches his life but also presents works that are in tune with the times. The creation of an artist may appear to be an individual endeavour but deep down, we can always trace the sources of inspiration to his cultural traditions and find his spiritual solace there as well. On this point, may I offer my heartfelt reverence to the artist when we feast on his sumptuous artistic fruition.
Li Renyi November 15, 2009
Elevation of the Spirit of Chinese Art, Li Renyi
至高民族文化的精神品格
李人毅
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华慧 • 人间 II
Essence . Life II
BIOGRAPHY 范少华艺术活动年表
1963
Born in Guangzhou City 出生于广州市
in Lu Di Xi Primary School situated in 1970 Studied Guangzhou City, Li Wan District. During his free time, Fan developed a liking for painting portraits. The landscape due to influence from a father who adored cultural arts. 就读于广州市荔湾区芦荻西小学,课余受爱好文艺的父 亲影响自习画政治人物形象及花鸟山 水画。 was selected in school to attend the Chinese 1973 Fan Painting class conducted by Teacher Lu YanGuang at the Home of Li Wan Youths, generating Fan’s a deep interest and understanding of traditional drawings.
and entered The High School affiliated to Guangzhou Academy of Fine Arts, becoming the first cohort of the students the college accepted since Cultural Revolution. 8月水彩画《晨》入选“天津市、广州市少年儿童美 术书法作品展览”。 9月中学毕业,同时考 入广州美术 学院附中,成为文革后恢复招生的首届学生。 from The High School affiliated to 1981 Graduated Guangzhou Academy of Fine Arts.Majored in Oil Painting when Fan furthered his studies in Guangzhou Academy of Fine Arts. Positive influence from senior Wang Wei Jia gave rise to the publications like “Golden Age”, “Family” and “Political Newsletter”. This was made possible only with the strong recommendation of Teacher Situ Mian.
由学校选送到荔湾区少年之家随卢延光老师学习中国 水墨人物,花鸟画。从此对传统绘画有 了真正的理解 和深刻的认识。
广州美术学院附中毕业。同年考入广州美术学院油画 系。期间受学长王维嘉影响,被司徒绵 老师推荐课余 发表大量插图作品于《黄金时代》、《家庭》、《法 制报》等刊物。
from Primary School. Joined Guangzhou 1975 Graduated “No.11 Secondary School”. Learnt Western
to the factory to gather some life experiences 1983 Went and generated works like “Iron Fist” which was
sketching from Teacher Zhao Ji Zhao, building Fan’s strong foundation in arts.
presented in “GuangDong Pictorial”, “ GuangZhou Daily”, “Yang Chen Evening News”, “Shen Zhen Special Zone Daily” and “Golden Age”. His works are also published in Ling Nan Arts editorial’s “ Hua Lang Art Gallery” and “Hua Jia Tan Yi Lu”. At the same time, these works were published in “Guangzhou Daily”.
小学毕业,就读于广州第十一中学,期间认识赵辑照老 师学习西洋素描,打下立体造型基础。 admitted into Guangzhou City youth 1976 Successfully arts class, followed teacher Zhang Wen Bo and learned the standard way of drawing techniques. Used Chinese Ink to create a special performance to welcome the foreign guests and received great appreciation. 考入广州市少年宫美术班,随张文博老师学习相当规 范的绘画基础。期间还以水墨花卉画表 演接待外宾, 得到嘉许。 color painting Dawn was nominated in “Tian 1978 Water Jin City, Guangzhou City youth Arts Exhibition” Graduated from Secondary School in September
Biography, Fan Shao Hua
范少华艺术活动年表
到工厂体验生活创作油画《新铁臂》发表于《广东画 报》、《广州日报》、《羊城晚报》、 《深圳特区 报》、《黄金时代》并在岭南美术出版社《画廊》及 《画家谈艺录》报道,同时 两幅船厂速写刊登《广州 日报》。 oil painting “Yearn” was deemed a “collectors 1984 Fan’s item” by the Guangzhou Library. 12月油画《求索》被广州图书馆收藏。 Obtained arts degree in Guangzhou Art institution,
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to Shen Zhen to experience the way of 1985 Went life there and created “Xin Xi”, an oil painting which could be found in the major newspapers like“Guangzhou Daily” and “Southern Daily”. Appointed Guangdong Television’s Stage Designer, and under the invitation of Supervisor Lee Xing Tao, Fan took up the position of teaching in Hua Nan Arts University. 就读于广州美术学院并获文学学士学位。到深圳体验 生活创作《信息》油画作品发表于 《广州日报》、《 南方日报》等。 同年分配到广东电视台担任舞台美术 设计工作,同时接受李醒韬主任邀请担任华南文艺业余 大学美术系教师。 the Chinese comics on the theme of Chinese 1987 Drew martial arts and about “Lee Xiao Long”, published
蒙》入选《第三届全国卫生美术摄影作品展览》。 6 月创作油画《构成》入选《中国中青年美术家自选 作品集》漓江出版社出版。 7月创作水彩画《光》入 选 《1989年广东省美术作品展览》。 9月创作水彩 画《新生》获广州《我的花城添光彩》美术大赛一等 奖。 10月被广东画院选入青年创作组筹备全国美展。 创作油画《我》、《果》入选。 《1989年广东优秀 美术作品展览》油画《果》入选《第七届全国美术作 品展览》。 by Lin Yong and Tang Xiao Ming to 1990 Recommended be part of the Guangdong Artistists’ Association in Jan. Jointed Guangzhou Artists’ Association in July. Created water color painting “Teenage girl” and was selected to be displayed in the Xiang Tu Feng Qing Arts Exhibition” which exhibited in Guangzhou, published in Hong Kong’s “Xin Wan Bao” in Oct.
by Ling Nan Arts Publishing House. 创作中国武术连环画《李小龙传奇》,岭南美术出版 社出版。 oil painting of “Floral Shop” was selected to 1988 His be displayed in the Chinese Greenery Exhibition, held at China’s Art Museum. His drawing by pen “Memorable Journey” was selected in the Guangzhou Arts Exhibition.
24
6月创作油画《花店》入选《绿化广东画展》中国美 术馆展出。 10月钢笔画《美的历程》入选广州美术 作品展览。 to Guangzhou University to teach in 1989 Transferred the Faculty of Design. Fan’s Oil Painting “Budding Life” was nominated in the “Third National Hygienic Arts &Photographic Exhibition”. The Oil Painting “Establishing” was selected into the “Chinese Youth Artists Self-Selected Series” and was published by Li Jiang Publishing House. The water color painting “Light” was nominated in the 1989 Guangdong Province Arts Exhibition, water color painting division. The water color painting “New Life” was awarded Guangzhou “Wo De Hua Cheng Tian Guang Cai– Floral City ” First Prize. Selected by Guangdong Arts Hall to participate in the National Youth ArtsExhibition. Drawings like “Me”, “Fruits” were nominated in the “1989 Guangdong Excellent ArtsExhibition” and the Painting “Fruits” was even selected into “Seventh Annual National Arts Fair” 调入广州大学设计系任教。 3月创作油画《生命的启
1月由林墉、汤小铭老师推荐入广东省美术家协会。 7 月加入广州市美术家协会。 10月创作水彩画《少女》 入选《乡土风情画展》展出与广州,发表于香港《新 晚报》。 oil painting “ Luo Xia De Hong Mian”, awarded 1991 Fan’s “Guangzhou City Second Arts Exhibition” Excellent Prize in June. Oil Painting “Luo Xia De Hong Mian” was honored “Guang Dong Province Celebrating Chinese Communist Group Seventieth Anniversary Arts Exhibition” Bronze Prize in July. 6月创作油画《落下的红棉》获“广州市第二届羊城 艺术博览月美术作品展”优秀奖。 7月油画《落下的 红棉》荣获“广东省庆祝中国共产党建党七十周年美 术作品展览”铜牌奖。 by Singapore Jin Feng Arts Pavilion 1992 Employed to be the resident painter. In the meantime, Fan designed two sets of twelve postcards each for the prestigious International Arts Company “Décor Art International, themed “Portraits of Singapore Faces” and “Singapore Places of Interests, to be distributed to various local and overseas corporations. Drew the insert “Hundred Tang Poems” for Singapore’s Catholic School Chinese curriculum, held his solo Arts Exhibition, showcasing all his works. Oil Painting “Awaken” was presented in the magazine “Collectors”. Interviewed by the radio station on his achievements and drawn the portraits of several Famous Singaporean entrepreneurs. 受聘新加坡锦峰画苑专驻画家。期间为得高国际艺术 出版公司Décor Arts International 创作 两 套明信片各十二张水彩画《新加坡人物风情画》、《
华慧 • 人间 II
Essence . Life II
新加坡名胜历史》发行于国内外公共机构。 为新加坡 公教中学华文课本创作设计《唐诗一百首》插图,同年 与新加坡艺术博览会举办 《范少华个展》。 油画《 苏醒》发表于《收藏家》杂志。 受委托为新加坡大型 企业家创作肖像画,并接受新加坡丽的呼声电台专访。
术竞赛写实组最佳参赛作品奖。 Painting “Hua Kai Hua Xie 2” was selected 1998 Oil by Cairnhill Community Club to participate in the
UOB bank for the Arts Exhibition that commended winning paintings.
“Civilized Society” exhibition. Chinese painting “Mid-Autumn Night” was awarded “Chen Zhi Chu Art Contest” Excellence Prize. Oil Painting “Starting Point” was honored by the Singapore Sports Council. Third prize in the 25th Sports Arts Competition.
于新加坡艺术博览会举办《范少华个展》。 油画《 我》入选新加坡大华银行美术比赛优胜作品展览。
油画《花开花谢之二》入选经禧民众俱乐部主办“优 雅社会”巡回展出。水墨作品《中秋之夜》
a water color painting arts exhibition at the 1994 Held cultural centre by the Singapore River, became
color Painting “Homeland” was nominated in 1999 Water the Nokia Singapore Art Exhibition. Chinese painting
own arts exhibition, “Fan Shao Hua Arts 1993 Held Fair” Oil Painting “Me” was selected by Singapore
the Life time member of the Singapore Zhong Hua Arts Council. Was appointed to draw portraits of Singapore and Malaysia’s political leaders. 于新加坡河畔艺术中心举办“范少华水彩、油画展” 加入新加坡中华美术研究会永久会员。 受托为新加 坡,马来西亚政治领袖创作肖像油画作品。
1995
Joined Singapore Arts Association Oil painting “Singapore Streets” was nominated in Singapore Arts Festival. Chinese Painting “Autumn” participated in the Local Arts Exhibition & Charity Sales Contemporary Art Exhibition, organized by the Singapore Chinese Teachers’ Society. Oil Painting “Rui Xue” participated in the Inter-Region Famous Ceramics Masters Arts Exhibition. 加入新加坡艺术协会。 油画《新加坡街景》入选新 加坡艺术展。 水墨画《盛夏》参加新加坡华文教师 职工总会主办“本地画家作品展览义卖会95”。 油 画《瑞雪》参加“国内外当代名家书画陶瓷艺术品义 展95”。
1996 Joined Singapore Modern Arts Society. 加入新加坡现代画会。 painting “Nan Guo Jia Guo” was selected 1997 Oil for the Singapore Arts Exhibition Fan’s works on Fruits “Waiting” was awarded Outram Park Arts Association commendable award. Oil Painting “Hua Kai Hua Xie” was awarded with the best entry prize at the Arts competition organized by SingTel. 油画《南国佳果》入选新加坡艺术展。 水果作品《等 待》获欧南园美术学会主办国庆青年美展优秀奖。 油 画《花开花谢》获新加坡电信主办“画出新天地”美
Biography, Fan Shao Hua
范少华艺术活动年表
“Journey” was one of the top five entries in the art drawing competition organized by Winsor and Newton, and was exhibited in Europe and America. Oil Painting “Looking On” was nominated in the Singapore Nokia Arts Exhibition, displayed in the Singapore Arts Museum. 水墨作品《家园》入选诺基亚新加坡美展。 水墨作品 《旅程》入选英国温莎,牛顿主办全球绘画大赛新加 坡赛区前五名,于英国、比利 时、瑞典、美国巡回展 出。 油画《眺望》入选诺基亚新加坡美术展,展于新 加坡美术馆。 Painting “Them” won the best painting prize in 2000 Oil the Nineteenth National Arts Competition, Singapore 25 organized by UOB bank. Oil Painting “Train” competed in the fifty-first national youth artist forum. Oil Painting “News in March”, “Last Meal on Earth” was incorporated in the Singapore Youth Artists’ pictorial. Singapore’s Cape of Good Hope Art Gallery held the “Fan Shao Hua’s oil painting exhibition. Employed as Nanyang Academy of Fine Arts’s visiting lecturer. 油画《他们》荣获大华银行主办第19届全国美术比赛 最佳画作奖。 油画《地铁》组画参加新加坡51青年画 家联展。 油画《三月新闻》《世界末餐》入选《新加 坡青年艺术家》画集 新加坡好望角画廊主办的“街景 情怀— 范少华油画展”。 受聘为南洋艺术学院油画 客座教师。 ink painting “Daytime” was selected in 2001 Chinese the “Philip Morris” Arts Prize. UOB bank organized the “City Images - Fan Shao Hua’s Oil Painting Exhibition Third Issue in 2001 of “ Nanyang Arts” in 2001 featured some of his paintings. Appeared in an interview on the Morning Show – “Zao An Ni Hao”
of Channel 8 & Radio Station 95.8 interview. 水墨画《白日》入选菲利普莫里斯集团新加坡美术 奖。 大华银行集团主办“都市掠影-范少华油画展” 。 新加坡《南洋艺术》2001第3期专访。 新加坡电 视第8波道《早安您好》专访。 新加坡电台95.8城市 频道专访。 Painting “Raining” participated in 2002 Chinese Singapore’s “Chinese Cultural Festival” Calligraphy Exhibition. Chinese Painting “Waiting” participated in Malaysia’s Kuala Lumpur Second Chinese Painting Interaction Meet. Chinese Painting “Getting Hot” was nominated in the “Philip Morris” Singapore’s Arts Exhibition. Tanjong Pagar Arts Club organized Fan Shao Hua and his students’ oil paintings exhibition. Oil Painting “Untitled” was selected for the Japan and Singapore joint exhibition, and at the same time, joined as Japan’s modern arts club as an overseas member. Oil Painting “Beginning” was selected for the twenty-first Japan modern exhibition. Oil Painting “Beginning” participated in the Singapore’s artists joint exhibition.
26
水墨画《雨景》参加新加坡“华族文化节”书画大 展。 水墨画《等待》参加马来西亚、吉隆坡第2届新 马水墨交流展。 水墨画《发热》入选菲利普莫里斯公 司集团新加坡美术展览。 丹戎巴葛美术俱乐部举办范 少华师生油画展。 油画《无题》入选日本、新加坡联 展,并被聘为日本现代美术协会海外会员。 油画《起 始》入选第21届日本现代展。 油画《起始》参加新加 坡都市画家联展。 Francaise De Singapour and Cape of 2003 Alliance Good Hope art gallery jointly organized “Moments of Eternity—Fan Shao Hua Oil Painting Exhibition” . Tanjong Pagar Arts Club organized “Fan Shao Hua and students” Exhibition in Aug. Oil Painting “Abstract” participated in the Eighteenth Asian Arts Meet and was on display in Hong Kong Heritage Museum. 新加坡法国语文学院、好望角画廊联办“永恒瞬间— 范少华油画展”。 8月丹戎巴葛美术俱乐部举办《范 少华师师生展》。 油画《抽象》参加第18届亚洲国际 艺术展于香港文化博物馆。
exposure, interacted with the like-minded there for three months and held the “Fan Shao Hua, Zhuang Xin Zhen, Cai Ai Hua Joint Exhibition” in May. 油画《瞬间》参加19届亚洲国际美术作品展于日本 福冈亚洲美术馆。 5月进驻法国巴黎国际艺术城考察, 交流三个月并举办“范少华、庄心珍、蔡艾华作品联 展”。 Painting “Lotus” Participated in the Fourth 2005 Chinese Malaysian, Singapore Arts Cultural Exchange Exhibition. Four oil paintings participated in the Modern Arts Exhibition, Singapore. 水墨画《荷花》参加第四届马来西亚,新加坡书画艺术 交流展。 四幅油画参加新加坡现代画会小品美展。 Painting “Fen Ba” entered the Asian Arts 2006 Oil Exihibition held at Singapore Arts Museum. Chinese Painting “Fragrant Lotus” entered the Asian Cultural Interaction Exhibition which was exhibited in Singapore, Beijing, Hong Kong, Macau and Kuala Lumpur. Chinese Painting “Landscape and Rivers” entered Seoul Fortieth International Arts Grand Meet nd was honored the Best effort prize, painting was even kept by the Korean International Cultural Committee as collection. Chinese Painting “Portrait” was nominated in the Eighteenth Asean water color Exhibition exhibited in various cities of Taiwan such as Gao Xiong, Xin Su, Tai Tong. Oil Painting “Qui Qu” was honored with the Excellent Award in the Painting competition on Flowers, organized by American magazine “International Artists”. 油画《分葩》参加亚洲美术年展于新加坡美术馆。 水 墨画《荷香》参加亚太区艺术交流展巡回于新加坡、 北京、香港、澳门、吉隆坡。 水墨画《山水》参加韩 国首尔第40回国际文化美术大展并获“功劳赏”,作 品被韩国国 际文化会收藏。 水彩画《肖像》入选第 18届亚细安水彩画联展。 油画《秋趣》荣获美国《 国际艺术家》杂志,花卉、花园绘画竞赛优胜奖,并发 表专访。
painting “Moment of Eternity” participated in the 2004 Oil Nineteenth Asian Arts Meet and was displayed in Fukuoka Asian Arts Museum. Entered Paris International Arts City to gain more
华慧 • 人间 II
Essence . Life II
Painting “Chinatown grand-father” was 2007 Oil awarded Excellent award by American magazine, “International Artists” themed “Portrait” Singapore’s Ode To Art Art Gallery organized Fan Shao Hua’s Oil Painting Exhibition, themed “Time”. Was interviewed by Channel News Asia and Channel Eight’ s Morning Show – Zao An Ni Hao. Featured in Singapore “ Arts Gallery Directory” highlight on Artists. Watercolor Painting series on“Lotus”was invited to attend Korean Cultural Arts Meet in June. Fan Shao Hua’s Solo Arts Exhibition was accorded 2007 International Art Fair prize. Pastel painting “Portrait” was invited to enter the Local Color painting exhibition organized by Singapore National Library Board. Oil Painting “Love in the Fast Lane” was chosen to be displayed during the Singapore Art Show. Essence · Life, Fan Shao Hua Arts is held in Guangdong Museum of Art, China. 1月油画《唐山老爹》荣获美国《国际艺术家》杂 志,人物、人体绘画竞赛优胜奖。 3月新加坡Ode To Art画廊举办“时光— 范少华油画展”,亚洲电视新 闻台报道,新加 坡电视第八波道“早安您好!”专访, 《新加坡艺术画廊指南》画家焦点4月及5月报道。 6月水墨花《荷花》系列受邀出席韩国文化艺术研究 会主办“2007国际文化Art Fair”, 其中的“范少华 个展”,获“2007国际文化Art Fair奖”。 6月粉笔画 《肖像》两幅受邀参加新加坡国家图书馆主办的“ 本地粉彩画家艺术展”。 8月油画《爱的快板》入 选新加坡美术展。 8月“华慧·人间 范少华绘画艺 术展”于中国广东美术馆举行。
01.06.07
23.11.07
22nd Asian International Art Exhibition, Bandung, Indonesia 第22届亚洲国际艺术展，万隆，印尼
03.2008
Liquid Passion – MASS Annual Show 2008, Mica Building, Singapore 现代画会美展2008，新加坡新闻艺术部雅殿，新 加坡
21.04.08
Exhibition of Famous Singapore Painter Fan Shao Hua, Hong Kong 新加坡著名油画家-范少华油画作品展， 香港 获香港世界艺术家评级认证委员会颁发国际一级油 画家证书
05.2008
Contemporary Asian Art, Ode to Art, Singapore 42th International Culture Art Exhibition, Seoul, Korea 《荷花系列》个展， Ode to Art画廊, 新加坡 第42回国文化美术大展，首尔，韩国
01.06.08
The Solo Exhibition by Fan Shao Hua, Seoul, Korea 范少华水彩个展，首尔，韩国
02.12.08
The Solo Exhibition by Fan Shao Hua, Seoul, Korea
Asia Passion by Singapore Artists, Mei He Art Gallery, Tai Pei, Taiwan 亚洲聚情-新加坡资深画家联展，美和画廊，台 北，台湾
范少华水墨荷花个展，首尔，韩国
19.06.07
Pastel Art Exhibition, National Library, Singapore
12.2008
23rd Asian International Art Exhibition 2008, the University City Art Museum of Guang Zhou Academy of fine Arts, Guang Zhou, China
肖像粉彩画展览，国家图书馆，新加坡
10.2007
第23届亚洲国际美展，广州大学美术馆，广州， 中国
Fan Shao Hua New Landscapes, Mica Building, Singapore 范少华新山水画展, 新加坡新闻艺术部雅殿，新加坡
05.2009
43th International Culture Art Exhibition, Seoul, Korea 第43回国际文化美术大展，首尔，韩国
Biography, Fan Shao Hua
范少华艺术活动年表
27
08.08.09
Landmarks, Taipei, 19th Singapore Artists Exhibition, Black Earth Art Museum, Singapore
12.2009
台北归来-19新加坡画家联展，黑土地美术馆， 新加坡
28.08.09
Nanyang in Paris Art Exhibition, Nanyang Academy of fine Arts, Singapore
第14届广州国际艺术博览会，广州，中国
31.12.09
Remade, Relived : Modern Art in Singapore 2009, Nanyang Academy of Fine Arts, Singapore 现代画会美展2009，南洋艺术学院画廊，新加坡
11.09.09
The call of the Tradition, Singapore Art Show 09, Black Earth Art Museum, Singapore 传统的呼唤-新加坡艺术节美展，黑土地美术馆， 新加坡
12.09.09
21st Asia Watercolor Exhibition, Tianjin, China 第21届亚细安水彩画展，天津，中国
27.09.09
Talk on Oil Painting History, Black Earth Museum, Singapore
28 范少华油画艺术讲座，黑土地美术馆，新加坡
10.2009
Japan Modern Fine Arts Exhibition, Osaka, Japan 日本现代美术展，大阪，日本
11.2009
Singapore International Art Fair 2009, Singapore 《花仙子》系列，第1 届新加坡国际艺术博览 会，新加坡
12.2009
14th Guang Zhou International Art Fair 2009, Guang Zhou, China 第23届亚洲国际美展，广州大学美术馆，广州， 中国
Singapore renowned artist Fan Shao Hua Preview Exhibition, Lyceum Mansion 新加坡著名画家范少华油画预展上海兰馨公寓 上海 • 中国
巴黎南艺一线牵画展，南洋艺术学院画廊，新 加坡
08.09.09
<Essence.Life> Oil Painting Exhibition Preview, Lyceum Mansion , China
01.2010
<Essence.Life> Fan Shao Hua Arts Solo Exhibition, Shanghai Museum, China 范少华绘画个展《华慧人间》中国.上海美术馆
AWARDS 获奖
1999
Chinese painting “Journey” was one of the top five entries in the art drawing competition organized by Winsor and Newton.
16.06.2007
水墨作品《旅程》入选英国温莎,牛顿主办全球绘 画大赛新加坡赛区前五名。
2000
Oil Painting “Them” won the best painting prize in the Nineteenth National Arts Competition, Singapore organized by UOB bank.
International Culture Art Fair Award, Seoul. Korea By International Culture Association of Korea, Korea Culture Art research Institution 2007 国际文化大赏，首尔.韩国 韩国文化协会，韩 国文化艺术研究会。
21.04.08
International Premium Oil Painting Artist Award By Hong Kong World Class Artist Committee. 香港世界艺术家评委会颁发国际一级油画家证书。
油画《他们》荣获大华银行主办第19届全国美术比 赛最佳画作奖。 29
2001
Chinese ink painting “Daytime” was selected in the “Philip Morris” Arts Prize. 水墨画《白日》入选菲利普莫里斯集团新加坡美 术奖。
2006
Oil Painting “Qui Qu” was honored with the Excellent Award in the Painting competition on Flowers, organized by American magazine “International Artists”. 油画《秋趣》荣获美国《国际艺术家》杂志,花 卉、花园绘画竞赛优胜奖,并发表专访。
2007
Oil Painting “Chinatown grand-father” was awarded Excellent award by American magazine, “International Artists” 1月油画《唐山老爹》荣获美国《国际艺术家》杂 志,人物、人体绘画竞赛优胜奖。
Awards
获奖
范少华
right
浣筆荷花 油画
Complete, 2009
Oil on canvas, 120 x 120 cm.
30
荷花系列
THE LOTUS SERIES
华慧 • 人间 II
Essence . Life II
31
Section Title
前言
朱国荣
32
映日刺绣 油画
Shadow of the Sun, 2007
Oil on canvas, 120 x 120 cm.
华慧 • 人间 II
Essence . Life II
白雪香新 油画
Snow-White, 2008
Oil on canvas, 100 x 120 cm.
33
The Lotus Series
荷花系列
34
35
left
泼霞乍染 油画
颖脱香泥
Splash, 2008
Oil on canvas, 120 x 120 cm.
The Lotus Series
油画
荷花系列
Rich in Fragrance, 2009
Oil on canvas, 120 x 120 cm.
36
花笺特艳 油画
Glorious Lotus, 2009
Oil on canvas, 120 x 120 cm.
华慧 • 人间 II
Essence . Life II
37
含露穿珠 油画
Dew, 2008
Oil on canvas, 120 x 120 cm.
The Lotus Series
荷花系列
38
连理形 油画
Apprearance, 2007 Oil on canvas, 120 x 120 cm.
华慧 • 人间 II
Essence . Life II
39
共而忘年 油画
Timeless, 2007
Oil on canvas, 120 x 120 cm.
The Lotus Series
荷花系列
40
Title of artwork, 2005 Mixed Medium, 100 x 100 cm.
入梦闻诗 油画
Poem, 2007
Oil on canvas, 90 x 120 cm.
华慧 • 人间 II
Essence . Life II
41
Section Title
前言
朱国荣
42
色占红霞 油画
Rosy Clouds, 2009
Oil on canvas, 100 x 200 cm.
华慧 • 人间 II
Essence . Life II
43
风卷水绿 油画
Green Stream, 2007
Oil on canvas, 120 x 120 cm.
The Lotus Series
荷花系列
44
华慧 • 人间 II
Essence . Life II
轻红细掰 油画
Petal, 2007
Oil on canvas, 120 x 120 cm.
45
46
风泛天香 油画
Icy Day, 2007
Oil on canvas, 90 x 120 cm.
华慧 • 人间 II
Essence . Life II
47
right
火欲凤凰 油画
Fire Phonenix, 2009
Oil on canvas, 120 x 100 cm.
人体系列
THE NUDE SERIES
49
Section Title
前言
朱国荣
喜啄花间 油画
Fun Play, 2009
Oil on canvas, 120 x 100 cm.
50
华慧 • 人间 II
Essence . Life II
一举上弦 油画
Melody, 2009
Oil on canvas, 120 x 120 cm.
51
52
荷泛沼
Lotus in Swamp, 2009
油画
Oil on canvas, 120 x 120 cm.
华慧 • 人间 II
Essence . Life II
53
雁抒向远 油画
Take Off, 2009
Oil on canvas, 100 x 100 cm.
The Nude Series
人体系列
54
春溢
Spring, 2009
油画
Oil on canvas, 180 x 80 cm.
55
矫祤之舞 油画
Dance, 2009
Oil on canvas, 120 x 120 cm.
The Nude Series
人体系列
56
黄风
Yellow Wind, 2009
油画
Oil on canvas, 100 x 100 cm.
华慧 • 人间 II
Essence . Life II
57
Flora Beauty, 2009
美人蕉 油画
Oil on canvas, 100 x 100 cm.
The Nude Series
人体系列
58
黄落
Autumn Leaves, 2009
油画
Oil on canvas, 180 x 80 cm.
华慧 • 人间 II
Essence . Life II
59
天鹅湖传说 油画
Swan Lake, 2009
Oil on canvas, 120 x 120 cm.
The Nude Series
人体系列
60
鹊爪果颗 油画
Fruitfull, 2009
Oil on canvas, 100 x 100 cm.
华慧 • 人间 II
Essence . Life II
61
阴伏
Intented, 2009
影长
Long Shadow, 2009
油画
Oil on canvas, 180 x 80 cm.
油画
Oil on canvas, 180 x 80 cm.
The Nude Series
人体系列
left
听王母谣 油画
Ballad, 2008
Oil on canvas, 120 x 120 cm.
花鸟系列
THE LANDSCAPE SERIES
64
望帝红池 油画
Reddish, 2008
Oil on canvas, 120 x 120 cm.
华慧 • 人间 II
Essence . Life II
65
花间律吕 油画
Frangrance, 2008
Oil on canvas, 120 x 120 cm.
The Landscape Series
花鸟系列
66
秋隔晶帘 油画
Curtaincall, 2007
Oil on canvas, 120 x 160 cm.
华慧 • 人间 II
Essence . Life II
67
春雨萍开 油画
Spring Rain, 2008
Oil on canvas, 120 x 120 cm.
The Landscape Series
花鸟系列
68
right
将军作俦 油画
Longevity, 2007
Oil on canvas, 90 x 120 cm.
望穿白练 油画
Bewitching Eyes, 2008
Oil on canvas, 120 x 120 cm.
华慧 • 人间 II
Essence . Life II
69
The Landscape Series
花鸟系列
70
喜戏池泉 油画
Play, 2008
Oil on canvas, 100 x 120 cm.
华慧 • 人间 II
Essence . Life II
71
一叶秋 油画
Autumn Leave, 2008 Oil on canvas, 120 x 160 cm.
The Landscape Series
花鸟系列
72
相偶观瀑 油画
Enagagement, 2009
Oil on canvas, 120 x 250 cm.
华慧 • 人间 II
Essence . Life II
73
The Landscape Series
花鸟系列
雪飞出谷 油画
Snowy Valley, 2007
Oil on canvas, 65 x 91 cm.
74
华慧 • 人间 II
Essence . Life II
75
雪爪星眸 油画
Starry Night, 2007
Oil on canvas, 120 x 120 cm.
The Landscape Series
花鸟系列
76
right
驚山客夢 , 2007 油画
Oil on canvas, 185 x 160 cm.
华慧 • 人间 II
Essence . Life II
77
Section Title
前言
朱国荣
right
等候
Awaiting, 2001
油画
Oil on canvas, 102 x 76 cm.
人物系列
THE PORTRAIT SERIES
79
前言
朱国荣
80
同道
On The Way, 1999
油画
Oil on canvas, 76 x 102 cm.
华慧 • 人间 II
Essence . Life II
81
中午12点 12 Noon, 1999 油画
Oil on canvas, 76 x 102 cm.
The Portrait Series
人物系列
82
right
早上七点 油画
7am, 1999
Oil on canvas, 76 x 102 cm.
前程
Future, 2000
油画
Oil on canvas, 102 x 76 cm.
华慧 • 人间 II
Essence . Life II
83
Title of artwork, 2005 Mixed Medium, 100 x 100 cm.
Section Title
前言
朱国荣
出工
Starting Work, 2009
油画
Oil on canvas, 76 x 102 cm.
85
right
太岁天道 油画
Truth, 2009
Oil on canvas, 150 x 180 cm.
抽象系列
The Abstract Series
88
四时吉兆 油画
Best timing, 2009
Oil on canvas, 150 x 180 cm.
华慧 • 人间 II
Essence . Life II
89
阴阳之窗 油画
The Yin & Yang, 2009
Oil on canvas, 150 x 180 cm.
The Abstract Series
抽象系列
90
坎卦匹配 油画
Matching, 2009
Oil on canvas, 150 x 180 cm.
华慧 • 人间 II
Essence . Life II
静空之圣 油画
Slient, 2009
Oil on canvas, 150 x 180 cm.
91
The Abstract Series
抽象系列
92
right
动阳之王 油画
The Moving Sun, 2009
Oil on canvas, 150 x 180 cm.
水火兼容 油画
Endure, 2009
Oil on canvas, 180 x 150 cm.
华慧 • 人间 II
Essence . Life II
93
Title of artwork, 2005 Mixed Medium, 100 x 100 cm.
天地、人神 油画
94
Heaven & Earth, 2009
Oil on canvas, 180 x 150 cm.
95
天窗乾卦 油画
Skylight, 2009
Oil on canvas, 180 x 150 cm.
The Abstract Series
抽象系列
96
对立、互动 油画
Exchange, 2009
Oil on canvas, 180 x 150 cm.
97
主办机构: 新加坡共和国驻上海总领事馆
协办机构:
赞助机构: 新加坡艺术理事会
主 编：李 磊 副主编：张文庆 编 辑：杨霞敏
吴晓丽
策 展：王 莹 顾 问：林卫平 翻 译：梁荣锦
吴明珠
李南虹
文 书：郑 慧 校 对：郑 慧 设 计：Interactive Armada 相片摄影：黎坚荣 画作摄影：何耀荣 Chief Editor: Li Lei Vice Chief Editor: Zhang Wen Qing Executive Editor: Yang Xia Min, Wu Xiao Li Curator:
Wang Ying
Consultant:
Lin Wei Ping
Translator: Leong Weng Kam, Wu Ming Zhu, Deebe Lee Producer: Zheng Hui Proof Reading: Zheng Hui Design:
Interactive Armada
Photography:
Li Jian Rong
Art work Photography:
Ho Yue Weng
Ode To Art Contemporary represents an extensive collection of Fan Shao Hua. For more information, please contact sales@odetoart.com Ode To Art Raffles City 252 North Bridge Road, Raffles City Shopping Centre, #01-36E/F, Singapore 179109 Tel: +65 6250 1901 Ode To Art Kuala Lumpur 168 Jalan Bukit Bintang, The Pavilion, #06-24E/F, Kuala Lumpur 55100, Malaysia Tel: +603 2148 9816
www.odetoart.com
www.odetoart.com