摘要: 主办|宜美术馆Sponsor：YiArtMuseum艺术家：张庆国Artist：QingguoZhang策展人：王家男Curator：JiananWang策展助理：罗文帅CuratorialAssis
“东南寻脉”系列展
《 辋川·张庆国绘画作品展 》
“Wang Chuang：Qingguo Zhang Solo Exhibition ”
--张庆国艺术创作述评
肇摩诘以“辋川”命名诗与画，辋川便成为“诗画一律”的最早样式，以人文地理的象征方式承载了中国人的文化记忆，既是文人不断归返的精神原乡，又是艺术生生不息的复兴衣钵。因此，中国传统艺术的时间观并非西方艺术史的线性发展模式，而是一种不断回向与开创的诠释循环。正如张庆国的绘画作品，“当代”和“传统”不必成为两个方向相抵的时间分叉，而是一种借古开今的视域融合。这种融合反思了走入观念的当代艺术以“思”打败“手”的局面，以及用理念征服感知的桎梏。
Wang Wei（courtesy name Mojie）once named his poems and paintings after Wangchuan, making it the earliest form of “Poetry and Painting in Harmony”. As a symbol of Cultural Geography, Wangchuan has carried the Cultural Memory of the Chinese, serving both as a spiritual homeland for scholars to return to and as a source of artistic renewal through the ages. Thus, the Chinese view of time in traditional art does not follow the linear progression of Western art history; instead, it embodies a continuous cycle of return and creation as “hermeneutischer zirkel”. Zhang Qingguo’s paintings show that “the contemporary”and “the traditional”do not have to be opposing paths in time. Rather, they merge into a perspective that draws from the past to illuminate the present as “verschmelzung der horizonte”. This integration questions the state of contemporary art where “concept” often triumphs over “craft” and where ideas attempt to overpower perception.
2014 200×240cm 木板亚麻布坦培拉
Artist / 张庆国《西山朗照》Tampella
Yi Art Museum2025
张庆国的绘画犹如图像的珊瑚一般，在坦培拉技艺的时间沉积中展开。在西方已有千年的坦培拉技法多用于创作圣像，如果要在中国的文人世界中寻找一种神圣意象，一种超越性的精神存在，那一定是“以形媚道”之山水，山水是中国人在此岸世界对彼岸超越性的追求，山水的隐遁与其说是一种逃避，不如说创造出一种观看的距离，这段距离的两端呈现出山水图像与社会图景的对称性，也就是说山水以一种同构的方式与社会相对照。因此，山水是文人的内省世界与社会空间的中介，也成为张庆国与古为徒的不二法门。张庆国乐道五代、北宋的山水，如是我们从《西山朗照》中洞见的“格物”之理，苍穹幽暗、山川晦明。或者在《岩壑图》纪念碑式的巨嶂中，领略古人对山石寂寥之永恒敬意。
Zhang’s paintings unfold like coral structures, forming through layers of time in the Tempera technique. Tempera technique used for over a thousand years in the West mainly to create sacred icons, finds in Zhang’s work a parallel to the sacred images of the Chinese literati world—Shanshui painting that “Embodies the Dao Through Form”. In China, Shanshui represent a longing for transcendence beyond this world. Their seclusion is less an escape than a way to create distance for viewing, a distance that reveals a symmetry between Shanshui imagery and social reality. In this way, Shanshui become a mediator between the scholar’s introspective world and the social sphere, and thus Zhang’s faithful learning from the ancients finds its natural path. Zhang draws inspiration from the Shanshui of the Five Dynasties and Northern Song periods. In works like Western Mountains Illuminated we glimpse the principle of “investigating things”with a universe that is both vast and dim. In the monumental peaks of Rock Ravine, we feel the ancients’ solemn reverence for the stillness of rocks.
Artist / 张庆国《岩壑图》Tampella
Yi Art Museum2025
纵览西方绘画的发展，从湿壁画到油画，逐步走向直接性与覆盖性，也就是说艺术家的技艺试图从绘画的基底当中脱颖而出，这一脉络上演了图像对起源（基底）的反叛，故而每一笔都是对前一笔俄狄浦斯式的否定（覆盖）。坦培拉绘画是其发展过程中居间一环，该技法在渲染与覆盖，透明与遮蔽、缺席与在场之间缓慢地揭开图像的摩耶之幕，譬如张庆国的作品《白气以和·1》、《溪涧·3》、《归山》、《霜白山》所示有无之间、而非相抵，正如于连所言：“任何不被缺席所穿透的在场，皆会因其闭塞而暴露出自身的狭隘”，这种“可见与不可见”之间的流变、隐显所道说的画与真，在形而上学层面与中国传统绘画别无二致。
Looking at the development of Western painting, from Fresco to Oil Painting, there is a clear move toward immediacy and coverage. Artists sought to make their skill emerge from the surface, resulting in images that rebelled against their own base layer. Each brushstroke became an Oedipal act, negating what came before. Tempera stands as a middle point in this history, slowly revealing the Māyā veil（illusionary veil of images）through gradations between layering and transparency, presence and absence. In Zhang’s works such as Harmonious White Mist·1, Mountain Stream·3, Returning to the Mountains, and Frost White Peaks, the interplay is one of both presence and absence—not simple opposition. As François Jullien said, “Any presence not pierced by absence exposes its own narrowness through its closure.” This shifting visibility and invisibility (Merleau-Ponty) reveals the dialogue between painting and truth, closely aligned with the metaphysics of Chinese traditional painting.
Artist / 张庆国《归山》Tampella
Yi Art Museum2025
2021 120×100cm 亚麻布白垩底坦培拉
Artist / 张庆国《溪涧·3》Tampella
Yi Art Museum2024
Artist / 张庆国《霜白山》Tampella
Artist / 张庆国《白气以和·1》Tampella
Yi Art Museum2025
中国画的纸墨之间，并不是一种对立，而是一种渗透、滋生与润养的共生关系，笔法是此间桥梁。因此，张庆国在使用坦培拉技法的同时，又深谙笔法的意义，而这一点是西方古典绘画所未及的。笔法展露艺术家心、手之间的协调关系，只有心手双畅，方始左右逢源。比如作品“黄山系列”在水墨渲淡间逸笔草草，却使每一个环节自始至终都相互关切，每一笔都不去定义作品，不终结和限制意义的绵延，而是作为一种中介来发挥作用。在《岩壑瑞照图·1》和《酥岩》系列中，可以说每一笔都背负着过去，后一笔并没有否认、超越前一笔，甚至，后续的笃定也无外乎一种拾遗，将前一步的确定性解域、再结域，在偶然与必然、破与立的辩证中维持意义的开放性，诠释图像生命的延异过程。
In Chinese painting, the relationship between ink and paper is not one of opposition, but of penetration, mutual nourishment, and symbiosis. Brushwork is the bridge that connects them. Thus, while Zhang uses tempera techniques, he also deeply understands the meaning of brushwork—something rarely seen in Western classical painting. Brushwork reveals the harmony between the artist’s mind and hand. Only when both flow smoothly can each stroke naturally find its way. For instance, in his Huangshan series, swift and casual strokes in diluted ink show how every part is mindful of the whole. No brushstroke attempts to define the work completely, to end or limit its meaning. Each instead serves as a mediator. In pieces like Illuminated Rock Ravine·1 and the Crisp Rock series, every stroke carries the past; the next does not deny or surpass the previous one. Even the certainty of later strokes merely picks up what was left behind—deterritorializing and reterritorializing—keeping meaning open through the dialectics of accident and necessity, breaking and building. This process interprets the deferred life of images—their différance.
Artist / 张庆国《岩壑瑞照图·1》Tampella
Yi Art Museum2025
Artist / 张庆国《酥岩· 6》Tampella
荔月之至，宜美术馆载辋川意象，诚以融贯古今、东西视域的张庆国绘画，寄往昔之境於巷坊之间，晓谕山水世界并非简单的递归传统，而是以照见古人的方式来凝视自身、静观今世。
As the month of lychees arrives（Lunar calendar June）, Yi Art Museum hosts these Wangchuan-inspired visions. Zhang Qingguo’s paintings bridging ancient and modern, East and West, bring past realms into our streets, reminding us that the world of Shanshui is not a simple return to tradition. Rather by reflecting on the ancients, we gaze at ourselves and quietly observe our present world.
王家男
艺术学博士，艺术批评家
部 分 展 览 作 品
Artist / 张庆国《涧·石2》Tampella
Artist / 张庆国《云山·2》Tampella
Yi Art Museum2025
Artist / 张庆国《黄山松壑图》Tampella
Yi Art Museum2025
Artist / 张庆国《月下· 6》Tampella
Yi Art Museum2025
关于艺术家 | About the Artist
张 庆 国
Qingguo Zhang
中国美术家协会综合材料绘画艺委会 委员；福建省美协综合材料绘画艺委会 主任；福建师范大学美术学院油画系 硕士研究生导师。
专注油画及丹培拉绘画创作，近年注重“传统材料的当代性转化”方向研究。
主要奖项：
2019年，《冰臼·1》获“第13届全国美展综合材料绘画展”获奖提名（展区最高奖）；
2020年，《冰臼·1》入选“第13届全国美展进京作品展”；
2021年，《岩壑图·3》获“第二届全国美术教育教师作品展” 会员资格（最高奖）；
2006年，《红色音乐学院》获“鲁艺杯”全国高校美术教师作品评奖 优秀奖；
2007年，《于山风景》获“首届中国美术教师艺术作品年度展” 优秀奖；
主要展览：
2014年，《西山朗照》入选“第12 届全国美展油画大展”；
2019年，《岩壑图》 入选 “第13届全国美展油画大展”；
2024年，《云开千山远》入选 “第14届全国美展油画大展”；
2024年，《多界面的风景》入选“第14届全国美展综合材料绘画展”；
2021年，《岩壑图·4》入选“第五届中国油画展”；
2020年，《岩壑图》入选“第二届深圳国际油画双年展”；
2017年，《黄山云烟·3》入选“第二届全国综合材料绘画双年展”；
2020年，《岩壑图·2》入选“第三届全国综合材料绘画双年展”；
2023年，《岩壑图·4》入选“诗意江南”2022中国油画作品展；
2024年，《溪涧·3》“精神与图式·第二届中国写意油画展”
2007年，《戚公祠》入选第二届全国“风景·风情”油画展中国美术家协会；
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