鲁迅故乡（油画） 吴冠中
4月2日至5月18日，由国家大剧院与中国油画学会联合主办的“山河交响——中国南方油画山水研究展”在国家大剧院艺术馆东、西两个展厅展出，本次展览以山河为媒，承载着一脉温情贯通南北大地，奏响人文与自然、气韵与情怀的华章。这既是“南方油画山水”主题作品继上海、厦门、海南、无锡四地展出之后在京城的集中亮相，也是该展的收官之作。
区别于大众熟知的、以表现客观自然为主的油画风景画，本次展览以“南方”为创作源泉，旨在突出“油画山水”这一新的概念，探索时与空、东与西、人与景之间的对话，从“观·自然”“思·人文”“畅·心灵”3个篇章诠释融入油画的中国文化精神。
展览汇集来自全国各地百余位艺术家的170余件作品，时间跨度近百年，不仅涵盖了自20世纪10年代至30年代赴海外学习油画的第一代油画前辈颜文樑、刘海粟、阳太阳等人的风景油画代表作；还包含了第二代、三代艺术大师吴作人、吴冠中、董希文、艾中信、苏天赐、詹建俊、靳尚谊、全山石、钟涵、闻立鹏、陈钧德、张祖英、闫振铎等艺术家在“油画民族化”进程中不懈探索的作品；更有许江、闫平、洪凌、丁一林、雷波、翁凯旋、陈和西、白羽平、王克举、张新权、张立平等当今油画界的中流砥柱和后起新秀围绕“油画山水”课题辛勤耕耘的最新力作。本展策展人张祖英表示，展览既是在南方题材上的专题研究，也是一次全国范围内具有代表性艺术家作品的集中展示，对反映当代油画的现状与发展水平具有重要意义，进而完成了把油画艺术从西方文化载体转化为中国文化载体的历史性过渡。
原乡之美
在广袤的中华大地上，秦岭淮河横亘东西，划分南北。中国的南方，从江苏、上海直到云南、贵州等十几个省、自治区、直辖市，从小桥流水到田野和风，从浩渺烟波到沧海碣石，从河网交织再到沟壑纵横，或优柔、或灵秀、或壮阔、或清幽，南方以其特有的气质成为创作者的“稀世净土”。
“知者乐水，仁者乐山”，古有黄公望以浙江富春江为背景创作的《富春山居图》，把山水化为精神栖居，在中国山水画史上历久弥新。可见，南方之所以倾倒了无数的志士贤达，不止于风光，复杂多样的地形地貌作为培育充满浓郁南方气息的沃土，由此孕育出独特的民风、民情和民俗。无论是农耕文化的沉稳、踏实还是江枫渔火的诗意、怅然，无一不根植于中国人对意象与意境的美学认知。作品往往反映出画家的内心世界，只有对所生活的土地有着深厚的眷恋，才能有更为深刻和独到的理解，或因景生情，或寄情于景。正如此次展出的颜文樑的油画《重泊枫桥》 ，夜色中一轮明月当空，潺潺江波伴着泊舟渔灯点点，看似孤寂，竟透露出一丝宁静祥和，从他的作品中可以品读出“乡情”“诗情”和“真情”，这是画中展示的地域特色，更是这次展览中众多创作者的原乡意识——呼唤着人们深情归依的文化乡愁。
东海风云（油画） 靳尚谊
油画山水
作为西方绘画的重要画种，油画自20世纪初引入中国，经过百年历史长河的洗礼，至今仍是视觉艺术的焦点。山水于油画而言，见证了一代代艺术家与时代同行，逐渐将中国文化精神的特色注入油画风景的实践之路和时代艺术的探索之路。
就创作题材而论，早期西方油画少有单独的风景创作，油画风景只作为人物画的背景出现，直到文艺复兴之后，风景画才作为独立的绘画体裁活跃于欧洲画坛，而中国山水画早于西方国家千年之久。
山水审美是中国人独有的美学意识，也是中国文化对世界文化的一项贡献。在“儒、释、道”多元的文化背景下，“以山比德，以水比智” ，中国人更追求人与自然山水在精神上的契合。油画讲求构图精，山水画讲求意象美；油画空间感强烈、色彩厚重，山水画气韵生动、流畅空灵；油画从“真”的角度展现形态，山水画从“意”的角度传递神韵。把“山水”和“油画”两个概念并置，并不是简单的嫁接，而是取其精华，融会贯通，再自成一派。
把油画风景提升到中国山水精神的文化高度上来看，中西文化的碰撞呈现出更多艺术面貌的有机性。在油画传入中国之时便赋予了它新的思维方式和审美观念，并留给艺术家巨大的创作空间。在区别于欧洲传统艺术的同时，油画兼收并蓄，不断用中国气质的形与色勾勒属于民族自己的魂魄。正如张祖英所说， “民族精神”与“中国特色”蕴含于中国的广袤大地，体现在地域特征和人文风情之中，因而深入挖掘各地的精神特质，就是中国人文精神的体现。
From April 2 to May 18, Wu Guanzhong, Lu Xun's hometown (oil painting), jointly sponsored by the National Grand Theatre and the Chinese oil painting society, exhibited the "mountain river Symphony - Landscape Research Exhibition of oil painting in southern China" in the East and West exhibition halls of the Art Museum of the national Grand Theatre. This exhibition takes mountains and rivers as the medium, carrying a pulse of warmth through the north and south, playing a magnificent chapter of humanity and nature, charm and feelings. This is not only the concentrated appearance of the theme works of "southern oil painting landscape" in Beijing after the exhibition in Shanghai, Xiamen, Hainan and Wuxi, but also the closing work of the exhibition. Different from the well-known oil painting landscape painting mainly expressing objective nature, this exhibition takes "south" as the creative source, aims to highlight the new concept of "oil painting landscape", explore the dialogue between time and space, East and West, and people and scenery, and interpret the Chinese cultural spirit of oil painting from the three chapters of "view · nature", "thinking · humanities" and "Chang · soul". The exhibition brings together more than 170 works of more than 100 artists from all over the country, with a time span of nearly 100 years. It not only covers the representative works of landscape oil paintings by Yan Wenliang, Liu Haisu and Yang Taiyang, the first generation of oil painting predecessors who went abroad to study oil painting from the 10th to 1930s; The "national oil paintings" by Wu Junpei, Zhong Junpei, and other artists such as Wu Junpei, Zhong Junpei, and Zhang Shanghan are unremittingly explored; There are also the latest works of Xu Jiang, Yan Ping, Hong Ling, Ding Yilin, Lei Bo, Weng Kaixuan, Chen Hexi, Bai Yuping, Wang Keju, Zhang Xinquan, Zhang Liping and other mainstays and rising rookies in today's oil painting industry. Zhang Zuying, the curator of the exhibition, said that the exhibition is not only a special research on the theme of the south, but also a centralized display of representative artists' works across the country. It is of great significance to reflect the current situation and development level of contemporary oil painting, and then completed the historic transition from western culture carrier to Chinese culture carrier. The beauty of hometown lies on the vast land of China. Qinling Mountains and Huaihe River run from east to west and are divided into North and south. In the south of China, from Jiangsu and Shanghai to more than a dozen provinces, autonomous regions and municipalities directly under the central government such as Yunnan and Guizhou, from small bridges and flowing water to fields and winds, from vast smoke waves to Canghai stone tablets, from interwoven river networks to vertical and horizontal gullies, or soft, or smart, or magnificent, or quiet. The South has become the "rare pure land" of creators with its unique temperament. "Those who know enjoy the water and those who are benevolent enjoy the mountain". In ancient times, Huang Gongwang created the picture of Fuchun Mountain Residence against the background of Fuchun River in Zhejiang Province, which turned the landscape into spiritual residence, which has been lasting in the history of Chinese landscape painting. It can be seen that the reason why the South has attracted countless people with lofty ideals and talents is not only the scenery, but also the complex and diverse landform as the fertile soil full of strong southern flavor, which breeds unique folk customs, customs and folk customs. Whether it is the calmness and steadiness of farming culture or the poetic and melancholy of Jiangfeng fishing fire, all are rooted in the Chinese people's aesthetic cognition of image and artistic conception. Works often reflect the artist's inner world. Only with a deep attachment to the land where he lives can he have a deeper and unique understanding, either because of the scenery or in the scenery. Just like Yan Wenliang's oil painting "heavy berthing maple bridge", in the night, a bright moon is in the sky, and the murmuring river waves are accompanied by fishing lights. It seems lonely, but it reveals a trace of tranquility and harmony. From his works, we can read "nostalgia", "Poetry" and "true feelings". This is not only the regional characteristics displayed in the painting, but also the hometown consciousness of many creators in this exhibition - calling for people's cultural nostalgia of loving return. East China Sea Fengyun (oil painting) Jin Shangyi's oil painting landscape is an important kind of Western painting. Oil painting has been introduced into China since the beginning of the 20th century. After a hundred years of history, it is still the focus of visual art. In terms of oil painting, landscape has witnessed generations of artists walking with the times and gradually injecting the characteristics of Chinese cultural spirit into the practice of oil painting landscape and the exploration of art of the times. As far as the subject matter of creation is concerned, there were few independent landscape creation in early Western oil painting. Oil painting landscape appeared only as the background of figure painting. Until after the Renaissance, landscape painting was active in European painting as an independent painting genre, and Chinese landscape painting was thousands of years earlier than western countries. Landscape aesthetics is not only the unique aesthetic consciousness of Chinese people, but also a contribution of Chinese culture to world culture. Under the multicultural background of "Confucianism, Buddhism and Taoism", Chinese people pursue the spiritual fit between man and natural landscape by "comparing virtue with mountains and wisdom with water". Oil painting emphasizes the essence of composition, while landscape painting emphasizes the beauty of image; Oil painting has a strong sense of space, thick colors, and vivid, smooth and ethereal charm of landscape painting; Oil painting shows the form from the perspective of "truth", and landscape painting conveys the charm from the perspective of "meaning". The juxtaposition of the two concepts of "landscape" and "oil painting" is not a simple grafting, but taking its essence, integrating it, and then forming a school of its own. From the perspective of raising the oil painting landscape to the cultural height of Chinese landscape spirit, the collision between Chinese and Western cultures presents more organic artistic features. When oil painting was introduced into China, it was given a new way of thinking and aesthetic concept, and left a huge creative space for artists. While being different from European traditional art, oil painting is inclusive and constantly outlines the soul of the nation with the shape and color of Chinese temperament. As Zhang Zuying said, "national spirit" and "Chinese characteristics" are contained in China's vast land and embodied in regional characteristics and humanistic customs. Therefore, to deeply explore the spiritual characteristics of various places is the embodiment of China's humanistic spirit.