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陈家泠寓所位于武康路280弄兴国花园1号楼。兴国花园为上海市第一批外销房，建于1992年。院内共6幢房屋，砖混结构，1梯2户，总高4层。 陈家泠寓所位于花园北侧，外立面采用淡黄色涂料饰面，南侧阳台外墙面为暗灰色涂料，四层阳台有弓形拱券，阳台上方为屋顶露台。红瓦双坡屋面，硬山搁檩，南坡屋面布置有老虎窗。 入口位于北侧中部，入口门厅及楼梯地面和踢脚线均有灰白相间的马赛克瓷砖装饰。房屋一层南侧设有庭院。 武康路280弄兴国花园1号楼▲ 陈家泠简介 祖籍广西，出生于浙江永康，原名陈家麟，国画家、陶艺家，新海派水墨画领军人物。1963年毕业于浙江美术学院。 初习人物画，20世纪70年代师从陆俨少学山水、书法，后攻花鸟。80年代起吸收中国古代壁画和外国水彩技法，创造出具有中国哲理性，兼有印象派、抽象派及表现主义特点的现代国画新流派，对海派绘画的发展起到引领和推动作用。 1983年起任教于上海大学美术学院。现为上海大学美术学院国画系教授、中国国家画院首聘研究员。作品曾获第六届全国美术展佳作奖、第七届全国美术展银质奖，多次在欧美、东南亚等地举行个展和群展。其策划组建的上海半岛美术馆和“泠窑”陶艺工作室致力于弘扬传统文化，推进艺术创新，为海派艺术精神的一面旗帜。2014年，纪录片《陈家泠》在意大利罗马国际电影节首映。 陈家冷（1937-）▲ 我只是玩一玩 在中国美术界，陈家泠不乏美誉：新海派水墨画领军人物、海派艺术精神的旗帜。他成立了上海第一家民间美术馆——半岛美术馆；创立了将水墨语言与瓷器创新相结合的“泠窑”；探索将瓷器与红木家具结合，甚至用瓷器创作出独一无二的麻将牌；还尝试将水墨在旗袍上加以表现。登完三山五岳，又用山水技法画了罗汉观音，并涉足佛学艺术创作。要问他哪来这么多创造力，他回答：“我只是玩一玩。” 陈家冷在创作▲ 1979年， 42岁的陈家泠如痴如醉地“玩”起了“水墨的实验”，几乎每天晚饭过后都要画一幅水墨肖像。如此数月，其中的一幅《鲁迅》入选华东六省一市肖像画展，他的实验得到了认可。 画家的最高境界，是走向自由王国。而通向这个王国的途径，在陈家泠看来，就是会玩。所谓玩，就是在创作时，心态放松，没有条条框框，没有功利，不急于求成，顺其自然。 1984年，陈家泠以一幅表现荷花的画作《开放》在第六届全国美术展中获得佳作奖；1987年同类题材画作《霞光》被美国艺术史专家琼珠恩编著的《新中国绘画（1949—1986）》选作封面；1989年同类题材画作《不染》获得第七届全国美术展银奖。荷花是他由人物画转到花鸟画创作首先找到的突破口。究其缘由，是陈家泠为“好玩”，而在个人艺术道路上走出的具有划时代意义的创新之路。陈家泠认为，前辈大师所达到的艺术高峰，后人可望不可及。只有在前人的基础上，不断求新求变，自成一格，才有光辉前途。于是，他做出两大改变：一是弃擅长的人物、山水画，改攻花鸟；二是弃规范的用笔用墨，探索纸、墨、笔、水、色之间相互作用的关系，也就是绘画材质的变化。陈家泠的创新，既是传统的，在浓郁的画意中，分明看到了灵动的线条、古典的情趣；又是现代的，那构图、墨色十分地简洁、典雅，符合现代人的视觉要求。 以荷花为代表的探索获得成功后，陈家泠的手更痒了，他“玩”了一个回马枪，将探索的主题转回山水画，选择的是桂林山水。读他的作品，只有两个字：惊叹！笔墨不多，意趣连连。朦胧的山，清澈的水，飘浮的云，飞翔的鸟，给予人的都是静和美。 陈家泠说：“我感到自己在绘画上已进入一个自由和灵动的状态，每天作画都无羁无绊，非常开心。”陈家泠的好玩，是对艺术本质的一种认识，更是文化人的一种理想和境界。他，玩出了境界。 陈家泠 （邬海佳画）▲ CHEN Jialing CHEN Jialing (1937-) has his ancestral family from Guangxi Zhuang Autonomous Region. Born in Yongkang in Zhejiang province, he had a former name of CHEN Jialin and is known as an artist of Chinese painting, pottery artist and ink painting leader of the New Shanghai School. In 1963, he graduated from the Zhejiang Academy of Fine Arts. At first he learned figure painting. In the 1970s, he took LU Yanshao as his teacher to learn landscape painting and Chinese calligraphy and later specialized in flower-and-bird paintings. Since the 1980s, he drew inspiration from ancient Chinese frescoes and foreign watercolor techniques to create a new school of modern Chinese painting with the characteristics of Chinese philosophy in addition to impressionism, abstractionism and expressionism, which played a leading and promoting role in the development of painting of the Shanghai School. Since 1983, he has been teaching at the Academy of Fine of Arts Shanghai University. Now he is a professor of the Department of Chinese Painting of Shanghai University and one of the first researchers of China National Academy of Painting. His works won the Sixth National Art Exhibition for best works and silver award of the Seventh National Art Exhibition. He held personal and group exhibitions for many times in Europe, the United States, Southeast Asia and other places. The Shanghai Peninsula Museum of Art and“Ling Kiln”Pottery Studio which he planned and set up are dedicated to promoting the traditional culture and artistic innovation, and have been a banner of the artistic spirit of the Shanghai School. In 2014, the documentary CHEN Jialing had its debut at the Rome International Film Festival in Italy. I Just Have Fun In the art circle in China, CHEN Jialing is well-known with many titles—ink painting leader and banner of the artistic spirit of the New Shanghai School. He founded the first folk art museum in Shanghai—Peninsula Museum of Art; he created the“Ling Kiln”which combined the ink language and porcelain innovation; he explored the combination of porcelain and mahogany furniture and even the use of porcelain to create a unique set of mahjong; also he tried to use ink on cheongsam for artistic creation. After climbing mountains and peaks in artistic creation, he also made use of landscape techniques to create paintings of arhat and Guanyin and involved himself in Buddhist art creation. When asked how he was so creative, his reply was “I just have fun”. When he was at the age of 42 in 1979, he was drunk in the “fun” of “ink-wash painting experiment” and painted a portrait of ink almost every day after dinner. A few months in this way, one of the paintings LU Xun was selected for the East China Six Provinces and One City Portrait Exhibition, which meant that his experiment was recognized. The highest state of an artist is to enter into the kingdom of freedom. In his opinion, the way to the kingdom is to have fun. The so-called having fun means a relaxed state of mind in the time of creation and there is no rule, no material gain, no hurry. What is needed is to let nature take its course. In 1984, he won the prize for outstanding works in the 6th National Art Exhibition with the painting of lotus Blossom. In 1987, his painting in the same vein Morning Rays was selected as the cover of the book New Chinese Painting (1949-1986) edited by an American art historian; in 1989, the painting of the same subject No Dyeing won silver award in the Seventh National Art Exhibition. Lotus represented the first breakthrough he found to shift from figure to flower-bird. The reason was that his “having fun” led to an epoch-making road of innovation in his personal artistic pursuit. He thought that the peaks of art reached by artist predecessors could only be appreciated from afar. Only on the basis of predecessors, constant innovation and change as well as a unique style could an artist have a bright future. So he made two major changes. The first was the discarding of figure and landscape he was good at and shifting to flowers and birds; the second was the abandoning of standardized pen and ink to explore the interaction between paper, ink, pen,water and color, which meant the change of materials for painting. His innovation was both traditional and modern. Being traditional meant the classical taste and smart lines in rich paintings; being modern meant that the composition and ink were very simple and elegant, which was in line with the visual requirements of modern people. After his exploration with lotus as the representative was successful, he was more eager to do experiments and went back to explore the theme of landscape painting with the choice of Guilin landscapes. Viewing his works only generated one word—amazing! Not much ink radiated charm again and again. Obscure mountains, clear water, floating clouds and flying birds—all these impress viewers with silence and beauty. Once he said, “In the painting I feel like entering a state of freedom and agility. Every day I paint without any restriction or binding. So I’m very happy.” His having fun is not merely a kind of understanding of the nature of art, but an ideal and realm of professionals in art and literature. He created a realm by having fun. 信息来源：《200031 — 一个历史街区的文化记忆》 |
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