ART艺术南洋画的芳香The draw of Sin­ga­pore art

1990年代初移居新加坡开设那薇画廊的朱慧敏,被充满南洋风情的中国画深深吸引,近年不遗余力推动本地第二代画家的作品。Gallery NaWei founder Jenny Zhu has a soft spot for Nanyang Style art and has turned her focus to pro­mot­ing sec­ond-gen­er­a­tion artists here

ZbBZ (Singapore) - - CONTENT - TEXT 黄向京 / NG SIANG PING PHOTOGRAPHY 龙国雄

1990 年代初,随夫移居新加坡的朱慧敏,最初在五星级酒店卖中国工艺品与中国画,后用女儿名字开了“那薇画廊” (Gallery NaWei,那薇即“那一朵蔷薇花”)。当时来自中国广东的她接触到新加坡画家的水墨画,觉得与中国传统不同,散发南洋风情,由衷喜欢,购藏了一些先驱画家陈文希、钟四宾、刘抗等的作品。

不过,朱慧敏(48岁)最早在画廊经营的画家主要来自缅甸(如Tin Maung Oo)、俄罗斯(如Ta­tiana Alieva)、乌克兰(如Kateryna Per­vak),在本地,较不为人熟悉。但2009年配合F1大奖夜间赛事在新加坡首次举行,她举办画布上的赛车画展,吸引到20多个国家大使出席开幕礼,作品很快卖光,颇受瞩目。

最近十年,朱慧敏转而关注开拓本地第二代画家的市场。她说,经常有人向她抱怨祖辈没积累艺术收藏,或感叹自己错过了那个一元钱一平尺字画的年代,没机会收藏近代大师张大千、齐白石、徐悲鸿、黄宾虹的画;又赶不上南洋画派一代宗师陈文希、钟四宾、刘抗的年代。

她认为,一代人有一代人的文化遗产。南洋第一代作品来不及买,市场少见了,何不把眼光投向第二代?她说:“本地第二代画家传承的艺术传统比较完整,作品又具南洋风情、人文与历史,令人感觉焕然一新。他们的作品里没有浮躁,少了匠气,清新雅致,深得我的共鸣。”

也因此,画廊最近几个展览都主打本地第二代名家,包括:潮籍画家陈建坡、许梦丰、李福茂、赖瑞龙、林家雄首次联展“潮·五艺荟”、文化奖得主许梦丰个展“惜花·赏画”、林家雄个展“水墨情怀”、陈建坡个展“水月相忘”,引起藏家兴趣,反应都不错。像文化奖得主画家陈建坡,朱慧敏说,懂诗词、篆刻、书法、工笔、写意,创作全能多元,倍受同道尊重和相惜。

朱慧敏指出,这些第二代画家的画价比起十年前起了三倍。以大中堂来说,一幅从几千元涨到五位数。画廊顺境时,她通常会买画购藏。现下国外画家画价虚浮,水分很高,她更希望能推广本地的艺术作品。

不开画廊,不知要干嘛,朱慧敏这辈子只想做画廊,与艺术打交道。这和爱美的性情相关,她喜欢被美丽的艺术围绕,跟着画家的引导走向 美感与优雅,慢慢受熏陶。她每次出国不是去商场,而是泡在美术馆画廊流连忘返。

画廊信奉“艺术生活化,生活艺术化”的原则,这和唐朝王维理念相同。她说:“艺术的本质不是抨击,也不是说教,是表达情感,以润物细无声的方式,用审美高度滋养人心。”

画廊至今营业22年,朱慧敏认为是“诚信”二字令这朵蔷薇绽放那么多年,对画家、客户与装裱等业内人士皆如此。她自认很幸运,用心的经营,得到画家与客户的支持、鼓励与指点。

她的梦想是在大大的屋子周围种满蔷薇花,墙上挂画,过上惜花赏画喝下午茶、唱唱歌的生活——充满艺术的蔷薇色。

Each time Jenny Zhu trav­els to a for­eign coun­try, she would head not for the shop­ping malls, but the lo­cal art gal­leries.

The Guang­dong na­tive rev­els in the aes­thet­ics and el­e­gance of artists, so much so that she went and set up an art gallery her­self.

Gallery NaWei, which opened in 1995, is named af­ter her daugh­ter. “Na wei” is also a con­trac­tion of the Chi­nese phrase, “That rose yon­der”.

Zhu, 48, who moved to Sin­ga­pore with her hus­band in the early 1990s, used to run a shop in a five-star ho­tel that sold crafts and art­works from China. But she was struck by the Nanyang Style of ink paint­ings by Sin­ga­pore artists and be­gan col­lect­ing works by pi­o­neers such as Chen Wen Hsi, Cheong Soo Pieng and Liu Kang.

In the ini­tial years, her gallery rep­re­sented artists such as Tin Maung Oo from Myan­mar, Ta­tiana Alieva from Rus­sia and Kateryna Per­vak from Ukraine — coun­tries that were not on the radar of most art buy­ers here.

Gallery NaWei drew much in­ter­est in 2009, when Zhu staged an ex­hi­bi­tion themed on auto rac­ing to tie in with the in­au­gu­ral For­mula One night race here. The event was at­tended by en­voys from more than 20 coun­tries and the works were quickly snapped up.

Over the last decade, her gallery at The Full­ter­ton Ho­tel has be­gun to focus more on pro­mot­ing Sin­ga­pore’s sec­ond-gen­er­a­tion artists.

Col­lec­tors, she said, would of­ten lament the fact that they had missed out on ac­quir­ing works by the likes of mod­ern mas­ters Zhang Daqian, Qi Baishi, Xu Bei­hong and Huang Bin­hong while they were still af­ford­able, or those by Nanyang Style pi­o­neers like Liu, Chen and Cheong.

But she be­lieves each gen­er­a­tion can lay claim to a unique slice of cul­tural her­itage. If you have missed the boat in procur­ing works by first-gen­er­a­tion artists, she rea­sons, why not set your sights on those by the next gen­er­a­tion?

“Sec­ond-gen­er­a­tion artists here demon­strate a more com­plete trans­mis­sion of artis­tic tra­di­tions. Their works not only em­body the Nanyang Style, but also en­com­pass per­son­al­i­ties, land­scapes and his­tory,” she ex­plained. “There is no im­pa­tience in their works,

“本地第二代画家传承的艺术传统比较完整,作品又具南洋风情、人文与历史,令人感觉焕然一新。他们的作品里没有浮躁,少了匠气,清新雅致,深得我的共鸣。” ——朱慧敏

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