北京
part.4 交 流 与 互 鉴
东西方艺术的交流与互鉴，源远流长。油画是从西方引入的画种。在这里展示的版画、油画、雕塑作品，从一个侧面展示了当代中国艺术开放包容、交流互鉴的成果。
以版画为例，诞生于公元868年的木刻版画《金刚经》，是世界现存最早有明确纪年的雕版印刷作品，同时也是现存最古老的中国木刻版画。在此后的1000多年中，木刻版画艺术代代传承，成为中国传统艺术中影响广泛的一个门类。东西方版画的交流在17世纪就已开始了。中国的木刻版画通过贸易传到日本、英国和德国，并影响了日本的浮世绘艺术，而中国宫廷中也出现了西方人制作的铜版画。近代以来，西方版画艺术通过中西文化交流进一步传到中国，影响了中国版画的发展，德国的珂勒惠支、比利时的麦绥莱勒、俄罗斯的克拉甫琴科经过著名的中国作家鲁迅介绍到了中国，为20世纪上半叶的中国新兴木刻运动提供了重要的借鉴，并进一步影响了此后的木刻版画创作。
当代的中国版画艺术除了传统的套色木刻、水印套色之外，铜版画、石版画也十分普遍。来自欧洲的铜版和石版技术在东西方交流的背景下呈现出东西方融合的趋向。此外，技巧更复杂的丝网版画也是中国当代版画家喜爱的创作形式。此次展览中的《失去的信息》是具有超现实主义风格的铜版画，《姚磨村的秋天》《雪域温泉》是令人印象深刻的木刻版画作品，而《母亲的肩负》则是以丝网版画制作而成的，趣味独特。这些作品的题材都来自于当代中国的人文和社会，尽管在技巧和风格上各不相同，但都呈现出一种宁静、温暖而优美的格调和趣味。
陈明
Exchange and Mutual Learning
The exchange and mutual learning between Eastern and Western art have a long history. Oil painting is an art form introduced from the West. The prints, oil paintings, and sculptures displayed here showcase, from one perspective, the achievements of contemporary Chinese artthat embraces openness, inclusiveness, and mutual learning.
Take printmaking as an example. The woodblock print “The Diamond Sutra,” created in 868 AD, is the world’s earliest extant, clearly-dated printed artwork. It is also the oldest Chinese woodblock print found so far. Over the next 1,000 years, the art of woodblock printing was passed down through the generations, becoming a widely influential genre in traditional Chinese art. The exchange of Eastern and Western prints began as early as the 17th century. Chinese woodblock prints were introduced to Japan, England, and Germany through trade, influencing Japanese ukiyo-e art, while Western copperplate prints appeared in the Chinese imperial court. In modern times, more Western print artworks found their way to China through cultural exchange between the East and the West, influencing the development of Chinese prints. Print artists Käthe Kollwitz from Germany, Frans Masereel from Belgium, and Alexei Kravchenko from Russia were introduced to China by the famous writer Lu Xun, providing important references for the New Woodcut Movement in China in the first half of the 20th century and further influencing subsequent woodblock print creation.
In addition to traditional color woodblock printing and water-based color printing, copperplate printing and lithography are widely used in contemporary Chinese printmaking. In the context of cultural exchange between the East and the West, copperplate and lithographic techniques from Europe have shown a tendency for East-West fusion. In addition, the more technically complex screen printing is also a favored form of creation for contemporary Chinese printmakers. The exhibit “Faded Information” is a surrealist copperplate print, “Autumn in Yaomo Village” and “Hot Spring in a Snowy Region” are impressive woodblock prints, and “On a Mother’s Shoulder” is a screen print with unique appeal. All these works are inspired by contemporary Chinese culture and society, and despite their various techniques and styles, they all present a serene, heartwarming, and delightful aesthetic.
Chen Ming
陶宏 对视 150cm×120cm 2020
赵培智 乐园之二 105cm×85cm 2024
赵培智 扮小丑的孩子 100cm×80cm 2023
赵培智 抱羔羊的少女 100cm×80cm 2023
赵培智 少女 100cm×80cm 2021
宛少军 月沼冬日 80cm×100cm 2022
邱琳 悸动韵华 60cm×60cm 2017
李卓 烟雨村庄 50cm×50cm 2007
杨越 逝去的信息 59cm×79cm 2021
罗贵荣 姚磨村的秋天 137cm×94cm 2020
罗贵荣 时间No4 73cm×101cm 2014
罗贵荣 时间No9 134cm×86cm 2019
罗贵荣 时间No10 106.5cm×75cm 2020
沙永汇 雪域温泉 100cm×120cm 2015
沙永汇 城市的乐章 115cm×73cm 2013
沙永汇 时代奔流 180cm×67cm 2020
沙永汇 筑梦诗篇 120cm×150cm 2015
康雷 母亲的肩负 150cm×110cm 2023
王艺 青春 150cm×25cm×25cm 2017
张哲宇 天路 100cm×40cm×30cm 2016
张哲宇 转山 200cm×35cm×35cm 2015
刘立宇 闲愁 68cm×18cm×16cm 2018
刘立宇 蓝色畅想 60cm×24cm×18cm 2022
邓柯 守望-部里亚特人 40cm×100cm×47cm 2019
邓柯 行吟 55cm×54cm×150cm 2024
来源：中国国家画院
编辑 | 赵 墨
制作 | 闫天蒙
校对 | 安亚静
二审 | 李振伟
三审 | 冯知军
《中国美术报》艺术中心内设美术馆、贵宾接待室、会议室、茶室、视频录播室，背靠中国国家画院，面临三环，功能齐全、设备完善，诚邀您到此举办艺术展、品鉴会、研讨会等活动。
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《中国美术报》为周报，2024年出版45期。邮发代号：1-171
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