油彩飞扬 梦想不老

肖艳艳

人物名片

全山石，中国著名油画家，2019年获第三届中国美术奖·终身成就奖等。

秋日的杭城，天朗气清，钱塘江畔的全山石艺术中心格外热闹。当天，全山石老先生亲自策划的马玉如、高友林油画作品展开幕，给这个秋天带来了不一样的色彩。

这是难得一见的一场油画作品展，中国几代油画名家都来了。马玉如、高友林两位中国美院的老教授，几十年来孜孜不倦地坚持油画民族化创作，却一直很低调，从不参加展览，是全老对油画的热忱打动了他们。当天，马玉如在家人的搀扶下来到了现场，高友林戴着呼吸机、坐着轮椅也来了。

在全山石艺术中心，每年都会举办几场令人喜出望外的油画展，总会吸引圈内外的观众纷至沓来。不少展是全老亲自策划的。他说，油画艺术是他一生的追求。

出国后，才真正认识油画

93岁，是本该享清福的年纪，而全老却完全停不下忙碌的脚步。他在艺术中心办公、看画、授课、接待来宾，忙到没有休息天。自2014年艺术中心开放以来，这里就成了他的家。

全老很潮，银白的头发，配上背带裤，洋溢着青春活力。

谈起油画时，老爷子眼中的神采，如同画布上的色彩一般明亮饱和。

全老出身于宁波书香门第，1949年考上了国立杭州艺术专科学校（中国美院前身）。

那时，油画引进中国时间很短，教学体制并不完善。因国内很难接触到真正的油画作品，大家只能传阅画报，来临摹学习。按全老的话说，以当时的印刷质量，画报和原作相比，“差了两万八千里都不止”。直到1954年有机会到前苏联列宾美术学院留学，他才知道究竟什么是油画。

艺术中心会客厅墙上挂着一幅黑白旧照，那是他和几位中国同学在前苏联时的留影，个个风华正茂。

那时，虽已是美院的青年教师，他仍要从大一学起，一边学语言，一边补专业。

“我认为自己画得很像，为什么成绩不如苏联同学？”初来乍到，一向自信的全山石感到了困惑。

为了找到答案，他利用休息时间，在各大博物馆临摹油画名作，突然有一天就恍然大悟了。“油畫不仅仅是用颜料在画布上画画，还要懂得油画的本体语言，了解它的色感、质感、触感。”他还到乡间去访问，了解当地人的生活，对油画有了崭新的认识。

后来，他被选进列宾美术学院院长阿列什尼科夫工作室，直接跟着大师学习。

1960年秋，全山石拿着全优成绩回到母校任教。从此，他一直致力于培养中国新一代青年油画家，还通过一系列创作实践、出版策展等工作，探求油画艺术的真谛和创新。

为看原作，走遍欧洲博物馆

说来没人相信，20世纪90年代，为完成多年心愿，退休后的全山石背着换洗衣物，还自带电饭煲，几乎走遍了欧洲所有博物馆和美术院校。

欧洲是油画的发源地。为了了解油画的来龙去脉，他独自出发前往各大博物馆考察。

“你们不知道，原作有多么震撼人心。” 虽然常常长途飞行，但只要走进博物馆，他的劳累之苦就会被欣喜若狂所替代。

“我小学三年级就知道文艺复兴有三杰，可是我真正在意大利看到米开朗基罗的《大卫》原作，已经是白发苍苍了。”回忆起这段经历，全老感叹相见恨晚。

十多年前，艺术中心所在的位置还是一片农田。现在，艺术中心两馆相辅相成，老馆侧重公益性，新馆偏于商业性，如今新馆的经营所得都用于老馆的建设。在老馆，有五分之三的展厅是常设展览，观众可以免费欣赏到西方精品油画原作。一馆到双馆，这片圣洁的艺术殿堂，吸引着众多油画专业人士、艺术爱好者慕名而来专程打卡，还成为青少年美育基地。

时任中国美术学院院长许江前来拜访，希望全老能够帮助培养年轻教师。2015年，全老亲自主持教学的第一期油画高级创研班开班。去年夏天，又开办了第二期。他依然习惯几乎所有事都亲力亲为，甚至还带着学员们去新疆体验生活，通过各种方式继续培养新一代油画人才。文化需要交流，他想作为一座桥梁，让年轻人知道什么是原原本本的油画，让发源于西方的油画在东方开花结果。他还曾带着学员们到国外博物馆参观、交流。

几十年来，全老亲自编著了几十套介绍西方著名油画家的画册系列丛书。

一句忠告，一生探索

在全山石归国前，一位艺术家的忠告让他至今萦绕耳畔。

留学时，他和同学曾拜访前苏联著名画家萨里扬。萨里扬拉着他的手，语重心长地说：“我只认识你一个中国画家。中国人能掌握西方绘画技巧，而我们对东方总觉得陌生。中国有优秀的文化遗产，千万别忘记……”

油画是西方的舶来品，怎样才能使这种外来艺术成为如同己出的艺术语言？

几十年来，全老一直在探索油画的民族精神。他在坚持西方绘画技法的基础上，不懈地寻找一种能表现中国人生活、中国人情怀并传递出中国精神和中国气质的表达方式。

全老曾20余次深入新疆采风。那里有强烈的紫外线、饱满的色彩、淳朴的人民、丰富的多民族文化，到处都是令他激动的绘画题材。这正是他所向往的中国油画宝库，他常常在那里一待就是几个月。

“油画是世界人民的共同遗产，需要百花齐放。我们既需要进行曲，也需要小夜曲和摇篮曲；既需要梅兰竹菊，也需要漫野山花。”全老特别推崇马玉如、高友林两位教授，认为他们把中国元素融入到了油画当中。

现在，到了周末，全老还是喜欢画画，一天可以画四五个小时，这还是跟家人争取来的时间。

“年纪大了，人家说要静养，我就主张要‘动养：眼动、手动、脚动、脑动。”他一直保持着良好的作息习惯，前几年还一直坚持游泳。“年纪大了，他们不让我游了。”全老似乎很不服气。

因今年底又要推出一个大展，全老再次忙碌了起来，脚步快到年轻人都追不上。只见他满头银发，却倔强而又自信。

（感谢戚建卫、王金双戈对本文的贡献）

Make the Oil Paint Fly， Never Let the Dreams Die

By Xiao Yanyan

On a clear and cool day in autumn， alongside the Qiantang River of Hangzhou， the Quan Shanshi Art Center was extremely busy. It was the grand opening of the oil painting exhibition of Ma Yuru and Gao Youlin， planned all by Quan himself. Such kind of exhibition is almost held only once in a lifetime， and therefore lots of famous Chinese oil painting masters of all ages showed up. Ma and Gao， senior professors from the China Academy of Art， who have been pursuing national-oriented oil paintings for decades， always kept a low profile and never participated in exhibitions before. It was Quans enthusiasm that moved them to join this time. On that day， Ma Yuru came to the scene with the help of his family members， and Gao Youlin also came wearing a ventilator in a wheelchair.

Highly anticipated Oil painting exhibitions like this are organized here in Quan Shanshi Art Center once in a while every year， most of which are planned by Quan himself. He said that oil painting art is the pursuit of his life.

Quan， 93， a fashionable artist often in suspenders， takes his art center as his home. He was born in a scholarly family in Ningbo and was admitted to the National Hangzhou Art College （now the China Academy of Art） in 1949. At that time， oil painting was still very new in China and its curriculum was not mature either. It was quite difficult to get access to real oil paintings and people could only circulate pictorials and learn by copying. In 1954， Quan went to the Russian Academy of Arts （then named as Ilya Repin Leningrad Institute for Painting， Sculpture and Architecture）， and it was only then that he finally got to know what oil paintings really were. “With the printing quality at the time in China， the pictorials were more than 9，000 miles worse than the originals，” said Quan.

Even as a teacher in the Art College， he had to start from scratch as a freshman in Russia and to learn Russian as well. He was often confused about his own works which he thought was good enough but his scores were often not as good as his Soviet classmates. In order to find the answer， when there was no class， he went to all kinds of oil painting museums to copy and learn. And he finally realized that oil painting is not simply about drawing on canvas with paints， but more importantly， it is for the artist to truly comprehend its particular language， its color， its texture， and even its touch. So he started to visit the local people in the countryside， which gave him a brand new understanding of oil paintings. Soon， he was selected to study directly under Victor Mikhailovich Oreshnikov in his studio， who was then the rector of the Repin Institute of Arts.

In the autumn of 1960， Quan Shanshi returned to the China Academy of Art with straight As and he has since been committed to cultivating a new generation of young Chinese oil painters and exploring the art of oil painting.

It is hard to believe that in the 1990s， in order to fulfill his long-cherished dream， Quan Shanshi carried a pack of clothes， brought his own rice cooker and traveled all the way to museums and art schools in Europe after his retirement. “You dont understand how shocking the power of the original painting is. I knew about the three masters in the Renaissance when I was in grade three， but when I actually saw Michelangelos David in Italy， my hair was already gray，” Quan recalled.

A decade ago， the location for the Quan Shanshi Art Center was still a farmland. Now， the two galleries of the center complement each other. The old gallery is focused on public-interest projects while the new one is more commercial. Now the operation income of the new gallery is used for the renovation of the old one. Three-fifths of the exhibitions are permanent in the old gallery， and visitors can enjoy the original Western fine oil paintings for free. From one gallery to two galleries， this holy art palace attracts all types of oil painting professionals and art lovers， and it has also become an aesthetic education base for younger generations.

Xu Jiang， the then president of China Academy of Art， came to visit and hoped that Quan could help train young teachers. In 2015， Quan started his first advanced oil painting innovation and research class and ran another， similar class last summer. He also took the students to experience life in person in Xinjiang. Culture needs to be exchanged， and Quan wants to serve as a bridge to help young people understand what true oil paintings really are about， and to make the Western-originated oil paintings bloom and bear fruits in the East. He even took his students to visit foreign museums as well. For decades， Quan has compiled dozens of series of introductory picture albums on famous Western oil painters.

When studying abroad， Quan and his classmates visited Saryan， a well-known Soviet painter， who took Quans hand and expressed his heartfelt concern： “I only know one Chinese painter and that is you. That means Chinese people are able to master Western painting skills， but we Westerners still feel strange and unfamiliar with the East. Please always remember that China has an excellent cultural heritage itself.”

That conversation deeply struck Quan and he couldnt help but wonder how to make this foreign art an artistic language of our own？ For decades， Quan has been exploring the national spirit of oil painting. Based on Western painting techniques， Quan has succeeded in expressing the life and feelings of Chinese people as well as innovating ways of telling the China spirit and the China temperament.

“Oil painting is the common heritage of the world， and any kind of art should be given the chance to bloom. We need not only marches， but also serenades and lullabies. We like plums， orchids， bamboo， chrysanthemums， and we also cherish wild mountain flowers.” The reason why Quan Shanshi praised Professors Ma and Gao is that they have successfully incorporated Chinese elements into their works.

Quans steps of exploring oil paintings never stop. In spite of his age， he can paint as long as four to five hours a day. And there will be another big exhibition later this year in his center as well. His confidence and his pursuit of perfection are exemplary for the young generations and all.