不舍得中国,也热爱祖国

2018-06-09 02:57方时列
文化交流 2018年6期
关键词:伟业美院幅画

方时列

在中国美术学院,有不少外国留学生。借中国美院九十周年院庆之机,我采访了其中的两位——来自美国纽约的柯伟业和来自俄罗斯莫斯科的卡佳,想听听他和她在杭州学习、生活的感受,及其各自对中国文化艺术的理解。

同学的评价是,他比中国人还像中国人

很巧的是,这次我采访的两位中国美术学院的留学生,相互之间认识。我先采访了来自美国纽约的柯伟业,第二天采访来自俄罗斯莫斯科的卡佳。说起柯伟业,卡佳笑了,说:“他比中国人还像中国人。”

是的。

采访柯伟业的那天正好是中国美院九十周年院庆的第二天,他很忙,说只能给我一个多小时。所以我先到了,坐在美院南山校区里新开的一家咖啡馆里等他。

咖啡抿了一口,他的电话就来了。我站起来,透过新店光亮的落地窗,看到远处有个穿褐色短褂的小伙,精瘦精瘦的,匆匆地穿行在绿荫里。

走近,落座。除了发现柯伟业个头和我差不多外,还发现他的短褂是布的,我当时心里的想法,和第二天卡佳说的真的一模一样:他比我还像中国人。

接下来,还有两个细节,我觉得更能说明柯同学的中国味道。

首先,我问他今年多大了。他说:“我是1987年生的,属兔。”

看到我惊讶的神情,柯同学又补了一句:“我是中秋节那天生的。”

他是1987年10月7日生的。我后来查了一下万年历,这天果然是中秋。

然后,我给他我的采访本和笔,让他在上面写下他的英文名。奇迹发生了,小伙子竟然是用握毛笔的手势握钢笔的,而且用的是钢笔尖的那一侧,就像用毛笔的侧锋,墨一下子下不来。

我们都笑了。然后我教他把笔转过来,他这才在我的本子上写下:Michael Cavayero。

这个姓不太常见。问了一下,柯伟业原来是犹太裔。

2003年,柯伟业16岁的时候,在高中的美术史课上,老师展示了一幅画《六祖斫竹图》。

30岁的中国美院博士生柯伟业回忆说,当时他这个16岁的纽约小伙子看到这幅画时,“有触电的感觉”。

这幅画保存在日本东京国立博物馆。2007年从纽约大学毕业后,这位有执念的小伙子便追随这幅画来到日本,学了两年木刻浮世绘。大概是意犹未尽,也因为当时日本突然发生地震,他又来到了中国、杭州,来到中国美术学院。

因为,这幅画,据推断,极有可能是在杭州画的。

柯伟业能来中国美院,是有很多方面原因促成的。首先当然是小伙子对艺术、宗教,特别是中华文化的热爱。2007年他从纽约大学毕业时,就来过中国,当时是作为纽约大学与华东师大的交换生,“柯伟业”这个中文名,就是那时候取的。

机会终于来了。2011年,当时的奥巴马政府与中国政府推出了两国文化交流上的一大举措:人文交流政府奖学金,柯伟业争取到了这个机会,他向中国美院递交了读硕士生的申请,并得到了国画系教授、博导林海钟的垂青,被收入到林教授的门下。

一个美国人学中国画,是需要很大的勇气的,不要说语言、文化,就连毛笔怎么握也要从头学起。

刚开始,听说有一个美国学生要来杭州学习禅画,林海钟也吓了一跳。最终,吸引林海钟教授的,是这个美国小伙身上的执念。尤其是对《六祖斫竹图》这幅作品的执念,在美国期间,柯伟业就曾向世界著名的中国美术史专家高居翰教授请教过对这幅画的理解,双方有过几年的电话交流和邮件往来。

如今的柯伟业已在中国美院学习了6年。2015年他硕士毕业的时候,曾作为全体研究生代表发言,当时就诗经佛经地“掉”了一地“书袋”。现在更是了不得,聊天的一个多小时里,他“福报”、“梦幻泡影”什么的张口就来。

有些话,显然是柯伟业自己的体會,别人说不出来。

比如他说,中国是“和文化”,西方是“爱文化”;中国用的是儒释道教育,西方用的是“宗教”教育,其实本质上是一样的,都是“爱”的教育;

比如他说,中国传统文化是“内学”。真正的“大学问”是从“内心”挖出来的,不是往外求的,是智慧,不是知识;

比如他最后说,画画、传统、宗教,是一不是二。

一个俄罗斯姑娘,为啥来中国学油画

与柯伟业聊完的第二天,我去中国美院象山校区找卡佳。俄罗斯姑娘漂亮我是有心理准备的,但在杭州春天的暖阳中,看到远处穿着一件小花连衣裙,如一只蝴蝶般翩然而来的卡佳,我还是忍不住心生赞叹。

前一天,在微信联系的时候,我对卡佳说,我明天开车来,你到时候发个定位给我。结果当天下午她就发来了美院象山校区南门口的定位,这应该是她路过校门口的时候发的,这样,她第二天就不用特意跑去校门口定位。

所以,我觉得卡佳是个聪明、认真的姑娘。

我们走出校门,去不远的地方找一家安静的咖啡馆。看得出卡佳对这一带很熟悉,她告诉我前年这块地方还很冷清,就是这一年热闹起来的。“我很喜欢这里”,她说。然后又说了些杭州的气候,她说莫斯科要么是冬天,要么是夏天,不像杭州,有四季,她喜欢。

于是我想起一个笑话,说杭州不是四季如春,是春如四季。卡佳显然听过这个段子,哈哈地笑着,引来许多路人的目光。

我觉得这个姑娘活泼开朗,一定有好多朋友。于是找到一家小店坐下后就问她。她开心地说,是啊是啊,我有很多朋友,特别是中国朋友。

照例,我请卡佳在我的采访本上写下她的俄文名:Ekaterina Rodina。

“卡佳这个名字好记。”她说。

卡佳在中国美院油画系读研究生,师从油画系主任何红舟教授,今年就要毕业了。看得出在杭州的这三年她过得非常开心,“我可以在这里学习、生活,和艺术家聊天,喝茶,看展览,听讲座。”卡佳说了一堆她的日常,在她兴致勃勃地表达对中国美院的热爱的间隙,我问了她一个我从一开头就想问的问题:

“俄羅斯人学油画,为什么要来中国呢?”

我觉得这个问题大概很难回答,可卡佳很轻松地接了过去:“因为我喜欢中国啊。”

“那你怎么不学中国画呢?”

“中国画太难了。”

然后卡佳说了中国画与油画相比更难的原因:“油画可以改,画国画却没有犯错误的权力,一笔画错,就废了。”

这个原因,我觉得说得通,而且,应该是专业的回答。

其实中国的油画受俄罗斯影响很大,比如说,在1955年,俄罗斯油画家、艺术教育家马克西莫夫来中国办了一个讲习班,这个班叫“马训班”,在中国当代艺术史上非常有名,中国当代的油画家,很多都是从那个班出来的。

马克西莫夫的油画艺术与教学,就成了卡佳的研究生毕业论文题目,她回莫斯科的时候,在当地图书馆和资料室,翻阅了很多与之有关的材料。

卡佳是个爱学习的姑娘。她和我说,她从小就是个另类的孩子,只要给她一支笔一张纸,她就能画上半天,很安静。

初中、高中,卡佳读的都是莫斯科的美术学校。上大学之前,考虑到就业,她听从父母的建议,上了莫斯科国立设计技术大学。不过聪明的卡佳自有打算,在拿到大学的硕士学位之后,她紧接着就去了莫斯科国立大学亚非学院拿出了中文的双修学位。

“不过中文实在是太难学了!”卡佳说。一开始她认为自己只要一个月就能学会,后来觉得要一年,再后来觉得要三年。虽然现在中文真的已经说得挺好了,但卡佳依然认为中文学无止境。然后她举了个例子。

前一天晚上,她和几个朋友出去聊天,在路上看到一个字,“中国朋友也不会读。”她说。

我也很想知道是个什么字,就又把我的笔和采访本递了过去,卡佳写了下来:

“这个字读‘同。”我说。不过从卡佳写下这个字的熟练程度看,她昨天晚上回到宿舍,一定做过功课。

在采访柯伟业和卡佳的最后,我问了他们同样一个问题:

毕业以后,你有什么打算?

柯伟业说,他会找一份能在美国和中国之间来往的工作,因为他不舍得中国,也热爱祖国。

卡佳说,她已经找到工作了,在杭州,当老师——老师有假期,她可以趁假期的时候,回自己的祖国。

我觉得,这可能是在中国美院学习过的国外留学生的一个普遍心态。当然他们爱自己的祖国,但也不愿离开这个他们生活学习得很快乐的城市——杭州。他们最希望做的,就是用自己的所长,用自己的切身经历,做一些文化交流上的事情。

“文化是这个世界的桥梁。”柯伟业说。

卡佳说,今年六月她毕业的时候,会请妈妈来杭州。因为从前她在资料上看到西湖、看到灵隐寺的时候就觉得太美了,现在竟然真的可以在西湖边、灵隐寺里写生,“就像在天堂一样!”她说。

China Academy of Art, located in the capital city Hangzhou of Zhejiang Province, has many international students. I interviewed two of them to learn about their life in Hangzhou and their understanding of Chinese art and culture.

Michael Cavayero

The appointed time: the day after the 90th anniversary of the academy founded on March 16, 1928. The appointed location: a newly-open café upon Nanshan Campus of the academy. While setting up the interview, Michael said he was busy and wasnt able to give me more than two hours. I was at the café ahead of time and saw him approaching the café in a hurry. Dressed in a cotton shirt, he looked energetic and lean, reminding me of comment about Michael by another international student: he was more Chinese than his Chinese classmates. The comment rung undoubtedly true when I heard him say he was born in 1987, the year of rabbit and upon the Moon Festival.

I gave him my notebook for him to write down his passport name. To my surprise he held the pen in the way people hold a Chinese brush-pen. Naturally, ink didnt come down. We laughed. He turned the pen and held it in the normal way and wrote his name.

He was from a family of religion in New York. His China story has something to do with his religious background. In 2003, the 16-year-old viewed , a painting about the sixth abbot of a famous Zen sect in China, in his high school art history course. The teenager felt electrified at the sight of the Chinese painting. The original painting is housed in Tokyo National Museum, Japan. In 2007, Michael came to Japan to study Japanese art. He stayed there for two years. He left the island country for Hangzhou, China after the 2011 earthquake off the Pacific coast of Tōhoku.

He visited China after his graduation from New York University in 2007 as an exchange international student at East China Normal University. In 2011, he applied for a government scholarship for graduate study jointly issued by China and USA. His application was approved.

His graduate advisor was Professor Lin Haizhong. The professor was surprised to learn that an American student intended to pursue Zen painting at the academy. But if the professor had any misgiving, he didnt have any after learning more about Michael. Back in the United States, Michael approached James Cahill, a professor specialized in the history of Chinese art, for information upon this painting. The two kept in touch through phone and email for years. Michael has been at the academy in Hangzhou for six years now.

He spoke at the commencement ceremony on behalf of all graduates. He amazed everyone by citing lines from  and Buddhist mantras. While we chatted at the café, many words and terms he used were from Buddhism classics. Apparently, he made his observations and formed opinions of his own through his unique perspective. He pointed out that Chinese culture emphasized harmony whereas the culture in the west focused upon love. He said that Chinese education was basically built upon Confucianism, Buddhism and Taoism whereas, in the west, religion played a critical part. However, he observed that Chinese culture and western culture were identical in nature: both emphasized love. He said that Chinese traditional culture pursued the knowledge of the mind. All the big ideas came from within; it was wisdom; it was not knowledge. He noted that painting, tradition and religion could be considered one.

Michael said he wished to find a job that would enable him to travel between China and USA. He loves both his motherland and China.

Ekaterina Rodina

The next day I met Ekaterina Rodina in a café near Xiangshan Campus of the academy. We had small talk about the weather of Hangzhou. She said all her friends called her Katya, short for Ekaterina. She laughed a lot. So I asked if she had a lot of friends. She indeed has a lot of friends, many of them are Chinese.

Katya is a graduate student under the tutelage of Professor He Hongzhou, the dean of the Oil Painting Department. She is to graduate in June 2018. She concluded she had a good time for the past three years in the city: her regular agenda included a lot of things: studying, chatting with artists, sipping tea, visiting exhibitions and attending lectures.

I asked why she, a Russian, came to China to pursue a graduate course on oil painting. I thought she might find the question hard to answer. She replied without any hesitation: “Because I love China.” I was curious. “Why dont you study Chinese painting?” “Chinese painting is too difficult,” she commented. “You can make changes in oil painting, but you dont have any chance to make corrections in Chinese painting. One mistake and the whole painting is ruined.” I thought it was a professional judgment.

Katya studied art in high school and college. Upon graduation, she took a Chinese course. At first she thought she would master the language in a month. Then she decided it would take her a year. Later she wanted to master it in three years. She spoke pretty good Chinese, but she thought she had a long way to go.

Her graduate paper was about Konstantin Maksimov (1913-1993), a prominent socialist painter in Moscow after 1940. He is best known for introducing China to the socialist realism style of oil painting. From 1954 to 1957, at the request of the Chinese government, he lived in China and taught master classes. Many Chinese painters of modern times were from the master classes he taught. When she was back in Moscow for vacations, she visited local libraries and researched upon the artist.

Katya said she would be a teacher in Hangzhou after her graduation. She got an offer already. A teaching job, for her, meant she would have long vacations to visit Moscow. Her mother would come to visit her in Hangzhou in the upcoming summer. “Living in Hangzhou is like living in paradise,” she commented.

Both Michael and Katya said that they wanted to do more about cultural exchanges.

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