1号厅——前厅+圆厅

　　主题：

　　我喜欢自然、真实、面向未来

　　To Be Natural, Real and Look into Future

　　“文化的先进性，应该是对人类文明的进程有真正的贡献，真正能拓宽自由创作的视野，有全新的理论和方法。假若我们能将人文社会科学与自然科学重构，传统与现代重构，精神与身体重构，我们或许真的具有先进性。我们甚至会真正看到我们传统文化中那些真正有生命力的东西，那些纯粹与和谐的东西。仿佛昨天刚过，我仍然那么喜爱绘画、音乐、哲学。书店仍然是我最喜欢去的地方。我发现当代哲学家把目光转向语言的批判和解构时，他们确实在寻求新的生活目标。他们的许多思想使我感到兴奋。我希望有更多的角度来看待自然，让幻想与真实相碰撞，让美好的画面显现出来。我少年时期的经验，对我人生十分宝贵。我是独立的，我沿着自己的感受前行，我喜欢自然、真实、面向未来。”

——张立国

　　The advance of culture should have the real contribution to the progress of human civilization, and the vision to broaden free creation and new theories and methods. If we can re-construct human science and natural science, tradition and modernization, spirit and body, then we may have the real advance of culture and even find the materials with real vigor—the pure and harmonious materials in our traditional culture. During my life, I always like painting, music, and philosophy and bookstore is my favor places to visit. When the modern philosophers turn to their attention to the criticism and deconstruction of language, and they really look for the new goal of life. And many ideas of them are exciting. Looking at nature from different angles, having the collision of illusion and facts can create beautiful pictures. The experiences of my youth are precious in my life. I am independent, going forward with my feeling; I like nature, real and looking into future.

——Zhang Liguo

　　1号厅——环廊外环

　　主题：

　　艺术年表

　　评论：

　　“张立国先生的艺术是在传统艺术的大树上成长起来的，所以根非常扎实，这个根既有中国传统文化的根，又有西方传统文化的根，但他又有现代主义的观念，他在这方面的思考是走在前面的，他这条路走到现在是比较健康的、比较扎实的。我觉得张立国先生所走的现代主义之路是很值得我们研究的。像他这种高度和探索的深度，以及达到的艺术的高度是不多的。”

—— 邵大箴

　　"The root of Zhang Liguo’s art is from traditional arts, both Chinese and Western traditional arts, but he also has modernist concept. I think that his art is worthy of our study. He is a pioneer in the study of our time, with the solid and positive attitude. There are not so many artists as him in terms of depth and height in his art."

　　1号厅——环廊内环

　　张立国先生的水墨作品，主题轻松自然，既有他一贯坚持的主题如“緩山”系列，也有他对日常生活的观察与体验，如“花”的主题与“湍流”的主题。尽管张立国先生一生的创作以油画为主，但是他也不同时期创作了不少的水墨作品。1930年代出生的张立国先生如同他那一代人一样，幼年曾受到中国传统绘画的直接影响，他的书法与水墨画都具有传统基础。尽管张立国先生在中央美院接受了西式油画教育，但是中国传统绘画仍然对张立国先生产生了潜在的影响。观看张立国先生的水墨绘画会给人一种自然的愉快。欢快的形式与用笔，跳跃的色彩，使他的作品乍看起来更像是使用中国传统材料的西方绘画，但是尽管回味之后，观者能够强烈的体验到直接源于中国文化的朴素的精神。总体上，1993年之后张立国先生的绘画作品趋于对日常生活的表现，他的绘画、艺术与生活已融为一体。张立国先生对现代性的理解已经超越了东西方。在他身上现代性、启蒙、东方文化传统与日常生活融为一体，完成了建立在中国传统文化基础之上的现代化，他最终将现代性与日常生活自然的结合，并创造出了中国人儒雅而平静的新美学。花,湍流与緩山构成了张立国宁谧，清雅的世界。

　　The theme of Mr. Zhang Liguo’s wash paintings is relaxing and genuine, as his painting "Gentle Slope Mountain series", and also there is the theme as "flower" and "Torrent", which is from his observation and experience in his daily life. Althought he made oil paintings mostly, he did quite a few wash paintings as well from time to time. Mr. Zhang Liguo, as the other Chinese artists from his generation borned in 1930s, was influenced by traditional Chinese paintings in his childhood, so the traditional foundation exists in his calligraphy and wash paintings. Even though he received the education of Western oil painting in China Central Academy of Fine Arts, Chinese traditional paintings generated an impact on him. His wash paintings are pleasant from his cheerful painting form and lively coloring style, looks as Western paintings with Chinese painting materials, but while recollecting, you would notice, in the paintings, the spirit of genuineness from Chinese culture. Since 1993, Mr. Zhang tended to express daily life in his paintings, that his art and life fused into one. His understanding of modernity transcended the boundaries of both the East and the West. On him, you might find modernity, thoughts of the Enlightenment, and the oriental culture and tradition. He achieved the modernity which was established on Chinese traditional culture, and finally, combining modernity and daily life, he created a new aesthetic of elegance and calm in Chinese culture.

　　Flower, Torrent and Gentle Slope Mountain forms a tranquil and elegant world of Zhang Liguo.

　　8号厅：

　　主题：

　　心中的风景——新美学的批判性重建

　　Scenery in heart: The Critical Reconstrction of New Aesthetics

　　“心中的风景”始终是张立国先生关注的主题。如果关注他的作品，你会发现这一特定的主题在他不同的艺术时期都有重要的作品完成。一组平淡的山水风景，在他的笔下呈现出无法想象的多样性。在这个主题中，形式变得不再重要，他反复的探索内心深处的场景，在意识与无意识的边界穿梭，对同一个主题的反复阐释构成了这一主题系列作品的强烈特征。

　　不断追求与创造新美学是现代主义绘画的美学目标。新美学也就成为了艺术的现代性在美学上区别于其他一切艺术形态的最主要特征。中国的现代主义绘画艺术同样面临如何面对旧美学传统的问题，离开？复古还是批判？选择批判性的现代主义同样在方法上可以有不同的选择，拼贴或批判性重建？中国的现代派画家，如齐白石，林风眠，吴冠中等诸先生，选择了拼贴的方法，逐步将中国传统水墨材料绘画中的与西方现代派绘画作品呈现形式相类似的地方，作为发展其新美学的出发点。而张立国先生则采用批判性重建的方法以建构新美学。2006年创作的《旁观者》，在一片单纯的蓝色空间中，突兀的线条或类似笔墨的痕迹，将晃动的人影杂乱的投射到空间中。书写的临时性与纯色空间的永恒性被画家对抗性的放置在一起。对于画面本身，纯色与书写都不再是主导性的，而是互为主导。书写时的情景变得既重要又不重要。永恒性产生于这种对抗时的瞬间，并可以反复地被重新解读。画面的生动来自于载体与美学之间、表达与权力之间、阅读与呈现之间的对抗性的反复解读。

　　Scenery in heart is a theme which Mr. Zhang Liguo concerned. You might notice that his paintings related to this theme appeared in several of his art periods. He painted insipid landscapes with inconceivable diversity. For this theme, painting form is not important, and he searched repeatedly the landscapes inside his mind on the border of consciousness and unconsciousness to create various art pieces, which is the feature of the paintings in the theme.

　　The goal of modernist paintings is to seek and create new aesthetics. The new aesthetics is the main character in the differences between artistic modernity and the other art forms. The art of modernist painting in china confronts, as in other parts of the world, the same choice:return to the tradition or ignore it. If "ignore it", another choice appears:totally or partly. Chinese modern artists as Qi Baishi, Lin Fengmian and Wu Guanzhong prefer to inherit partly. They choosed it as a starting point, the smiliar presenting modes between Chinese traditional wash paintings and Western modernist paintings. However, Mr. Zhang broke the tradition to reestablish a new aesthetics. In the painting Onlooker painted in 2006, as an example, obtrusive lines casts the swaying shadows onto the innocent blue background. This forms a kind of opposition between transience of the brushed lines and permanence of the blue background. Both of the lines and the background are not dominant individually in the painting but mutually. The scene while being brushed is important and also not important. The permanence arises from the oppositional instant, which can be interpreted repeatedly. Vividness of the painting comes from repeated interpretation of the opposition between vector and aesthetics, between expression and power and between reading and presentation.

　　评论：

　　“我觉得张立国先生作为知识分子、教授，中国艺术学院的画家，他保持了中国知识分子的独立性，这种独立性是非常非常可贵的，也就是对人类和自身不断地探索和反思，在这一点上，张先生可以做我们的楷模。他的绘画有一种品格，它的品格有一种朴素，有一种超然的东西，有一种你感觉就是文人的那样一种东西。”

——高名潞

　　I think that as an intellectual, a professor and an artist in Chinese art schools, Zhang Liguo holds the independent personality of Chinese intellectuals, which is exploration and reflection on human nature and themselves. This is valuable and he can be our role model for the personality that he has. His paintings have quality and style of genuineness, of a kind of freedom and of a kind of what you feel from the Chinese intellectuals.

——Gao Minglu

　　“此前的世界艺术史大会的主题就是在讨论，世界上其实不只有一个艺术，我们今天把艺术看作是一个复数。有了这样的意识，反过来看张立国先生的作品，就发现了一个很重要的特点：就是他的油画在用笔中间有一种波折和变动，这种理解就是如何在笔画的运动中，把人更深的思考和修养涵盖在里面。这是张立国先生作品里很突出的一个特点。”

——朱青生

　　The theme of the previous World Congress of Art History can be interpreted as that there is not only one kind of art in the world and today, we can see art as plural. With this awareness, you may find an important feature in Zhang Liguo’s art works: fluctuation. The explanation is that he paints his reflection and self-cultivation in his paintings.

——ZHU Qingsheng

　　9号厅：

　　主题：

　　影子——去空间化的表达

　　Shadow: Despatialization’s expression

　　现代主义对艺术自主性的发掘，开创了反叙事的艺术形式。叙事是在特定的时间与特定的地点所发生的事件的再现。艺术想要从这一特定的结构中解放出来，必须对这一结构进行抵抗：或是去除时间化，或是去除空间化。20世纪前期的欧洲现代派绘画主要选择了去时间化的方向。去时间化的努力带来了抽象主义运动。这一运动的后期开始从色彩，视觉形式的关注等转向材料与物质性的关注，并进一步发展出空间的物质性，精神与文化的物质性等。同样起始于20世纪早期的中国绘画艺术的现代化运动，选择了去空间化的方向来获得一种反叙事的结构。在没有特定文脉关系的抽象空间中，中国艺术家开始尝试让时间通过视觉动态被表达出来。在这个独特的方向上，如齐白石先生著名的作品主题“虾”等，在同一画面中多次重复出现，既如一群，也好像只是一只，却在画面中不断变换位置，使人感到它们仿佛活在画中。不同于齐白石，张立国的去空间化的努力不是通过视觉动态而是心理动态来表达。在他著名的影子主题中，原本空虚和没有色彩的人影成为画面的主角，占据了画面中心的位置。在一个没有标记的非特定空间中，物质性让位于时间性，色彩与材料变得轻快，借助人影，画面获得了空前的时间维度，所有的人影都是具体而特别的，可能是童年的影子，可能是中年的影子，可能是未来的影子，甚至是多重时间维度重叠的影子。影子在去空间化的纯粹维度中，强烈的宣示了生命的意义与价值。凝视这些影子：尽管影子静静的投射在画面上，但观者仿佛坠入画面之中，影子后面的主体在你的四周不断涌现。这个在画中从未出现的主体，在人们的心中创造出无限丰富的时间性表达。

　　Excavation of artistic independence by modernism has started anti-narrative art form. Narrative is representation of events which occur at a given time and place. Escaping from this given structure, art must be separated from the structure: either detempiralization or despatialization. The European modernist paintings in the early 20th century was more likely towards the direction of detempiralization. The effort of detempiralization resulted in abstractionism. The focus of abstractionism in its later period was turned from color and visualization to materials and materiality, which grew into spatial materiality, spiritual and cultural materiality etc. afterwards.  Chinese modernist paintings, started also in the early 20th century, yet, is towards despatialization direction acquiring a sort of anti-narrative structure. In a abstract space absent cultural context, Chinese artists attempted to expresss time with visioninmotion. For example, on the painting of Shrimp by Qi Baishi, these shrimps appear repeatedly, looks as one and also as a bunch, looks lifelike. Unlike Mr. Qi Baishi, Zhang’s effort of despatialization is not with visioninmotion but psychoinmotion. Speaking of his "Shadow", shadow, originally empty and no color, becomes the leading role on the painting and occupys the central position. In an unmarked neutral space, materiality gives place to temporality, color and materials becomes brisk. With the help of shadows, the paintings obtains unprecedented time dimension, in which all shadows of human figures are unique, maybe of children, maybe of adults, maybe of someone in the future or maybe from multiple time dimensions. Shadows in the dimensions of despatialization declare the meaning of life and value. Gazing at the shadows:while the shadows are quietly on the paintings, the viewers seem to fall into the paintings and the principal part behind the shadows emerge reappearingly. The principal part, which never appeared in the paintings, creates wealthy expression of temporality in people’s hearts.

　　评论：

　　“张立国先生的油画中没有个性、没有光影情境、不追求生动可感性的、时显荒谬感人影，是对人的隐喻，是对自设空间陷阱、对影自怜的人的处境和困境的象征。这种大写意笔法与象征倾向结合的追求，与他的成名作《天长地久》一脉相承。”

——刘骁纯

　　The shadow of people without personality, the situation of light and shadow, the unwillingness to seek for the sensibility and the ridiculer is the metaphor of people, and it is the symbol of the trap of the self-set space, the situation and predicament of the lamentation of people. The combination of grand impressionistic sketches and the seeking for symbolic intention shares the same origin with his masterpiece Eternity, which establishes his fame.

——Liu Xiaochun

　　“张立国先生对我印象最深的有三点：他是画家中的思想者；他的艺术特立独行；在中国的现代主义艺术中运动中，他的‘现代主义’不是舶来品，而是自觉的需要。”

——杭间

　　"He is a painter and a thinker. His art work is non-conformist. His modernistic style is not exotic but conscious."

——Hang Jian