陳家泠寓所位于武康路280弄興國(guó)花園1號(hào)樓。興國(guó)花園為上海市第一批外銷房，建于1992年。院內(nèi)共6幢房屋，磚混結(jié)構(gòu)，1梯2戶，總高4層。
陳家泠寓所位于花園北側(cè)，外立面采用淡黃色涂料飾面，南側(cè)陽(yáng)臺(tái)外墻面為暗灰色涂料，四層陽(yáng)臺(tái)有弓形拱券，陽(yáng)臺(tái)上方為屋頂露臺(tái)。紅瓦雙坡屋面，硬山擱檁，南坡屋面布置有老虎窗。
入口位于北側(cè)中部，入口門(mén)廳及樓梯地面和踢腳線均有灰白相間的馬賽克瓷磚裝飾。房屋一層南側(cè)設(shè)有庭院。
武康路280弄興國(guó)花園1號(hào)樓▲
陳家泠簡(jiǎn)介
祖籍廣西，出生于浙江永康，原名陳家麟，國(guó)畫(huà)家、陶藝家，新海派水墨畫(huà)領(lǐng)軍人物。1963年畢業(yè)于浙江美術(shù)學(xué)院。
初習(xí)人物畫(huà)，20世紀(jì)70年代師從陸儼少學(xué)山水、書(shū)法，后攻花鳥(niǎo)。80年代起吸收中國(guó)古代壁畫(huà)和外國(guó)水彩技法，創(chuàng)造出具有中國(guó)哲理性，兼有印象派、抽象派及表現(xiàn)主義特點(diǎn)的現(xiàn)代國(guó)畫(huà)新流派，對(duì)海派繪畫(huà)的發(fā)展起到引領(lǐng)和推動(dòng)作用。
1983年起任教于上海大學(xué)美術(shù)學(xué)院。現(xiàn)為上海大學(xué)美術(shù)學(xué)院國(guó)畫(huà)系教授、中國(guó)國(guó)家畫(huà)院首聘研究員。作品曾獲第六屆全國(guó)美術(shù)展佳作獎(jiǎng)、第七屆全國(guó)美術(shù)展銀質(zhì)獎(jiǎng)，多次在歐美、東南亞等地舉行個(gè)展和群展。其策劃組建的上海半島美術(shù)館和“泠窯”陶藝工作室致力于弘揚(yáng)傳統(tǒng)文化，推進(jìn)藝術(shù)創(chuàng)新，為海派藝術(shù)精神的一面旗幟。2014年，紀(jì)錄片《陳家泠》在意大利羅馬國(guó)際電影節(jié)首映。
陳家冷（1937-）▲
我只是玩一玩
在中國(guó)美術(shù)界，陳家泠不乏美譽(yù)：新海派水墨畫(huà)領(lǐng)軍人物、海派藝術(shù)精神的旗幟。他成立了上海第一家民間美術(shù)館——半島美術(shù)館；創(chuàng)立了將水墨語(yǔ)言與瓷器創(chuàng)新相結(jié)合的“泠窯”；探索將瓷器與紅木家具結(jié)合，甚至用瓷器創(chuàng)作出獨(dú)一無(wú)二的麻將牌；還嘗試將水墨在旗袍上加以表現(xiàn)。登完三山五岳，又用山水技法畫(huà)了羅漢觀音，并涉足佛學(xué)藝術(shù)創(chuàng)作。要問(wèn)他哪來(lái)這么多創(chuàng)造力，他回答：“我只是玩一玩?！?/p>
陳家冷在創(chuàng)作▲
1979年， 42歲的陳家泠如癡如醉地“玩”起了“水墨的實(shí)驗(yàn)”，幾乎每天晚飯過(guò)后都要畫(huà)一幅水墨肖像。如此數(shù)月，其中的一幅《魯迅》入選華東六省一市肖像畫(huà)展，他的實(shí)驗(yàn)得到了認(rèn)可。
畫(huà)家的最高境界，是走向自由王國(guó)。而通向這個(gè)王國(guó)的途徑，在陳家泠看來(lái)，就是會(huì)玩。所謂玩，就是在創(chuàng)作時(shí)，心態(tài)放松，沒(méi)有條條框框，沒(méi)有功利，不急于求成，順其自然。
1984年，陳家泠以一幅表現(xiàn)荷花的畫(huà)作《開(kāi)放》在第六屆全國(guó)美術(shù)展中獲得佳作獎(jiǎng)；1987年同類題材畫(huà)作《霞光》被美國(guó)藝術(shù)史專家瓊珠恩編著的《新中國(guó)繪畫(huà)（1949—1986）》選作封面；1989年同類題材畫(huà)作《不染》獲得第七屆全國(guó)美術(shù)展銀獎(jiǎng)。荷花是他由人物畫(huà)轉(zhuǎn)到花鳥(niǎo)畫(huà)創(chuàng)作首先找到的突破口。究其緣由，是陳家泠為“好玩”，而在個(gè)人藝術(shù)道路上走出的具有劃時(shí)代意義的創(chuàng)新之路。陳家泠認(rèn)為，前輩大師所達(dá)到的藝術(shù)高峰，后人可望不可及。只有在前人的基礎(chǔ)上，不斷求新求變，自成一格，才有光輝前途。于是，他做出兩大改變：一是棄擅長(zhǎng)的人物、山水畫(huà)，改攻花鳥(niǎo)；二是棄規(guī)范的用筆用墨，探索紙、墨、筆、水、色之間相互作用的關(guān)系，也就是繪畫(huà)材質(zhì)的變化。陳家泠的創(chuàng)新，既是傳統(tǒng)的，在濃郁的畫(huà)意中，分明看到了靈動(dòng)的線條、古典的情趣；又是現(xiàn)代的，那構(gòu)圖、墨色十分地簡(jiǎn)潔、典雅，符合現(xiàn)代人的視覺(jué)要求。
以荷花為代表的探索獲得成功后，陳家泠的手更癢了，他“玩”了一個(gè)回馬槍，將探索的主題轉(zhuǎn)回山水畫(huà)，選擇的是桂林山水。讀他的作品，只有兩個(gè)字：驚嘆！筆墨不多，意趣連連。朦朧的山，清澈的水，飄浮的云，飛翔的鳥(niǎo)，給予人的都是靜和美。
陳家泠說(shuō)：“我感到自己在繪畫(huà)上已進(jìn)入一個(gè)自由和靈動(dòng)的狀態(tài)，每天作畫(huà)都無(wú)羈無(wú)絆，非常開(kāi)心?！标惣毅龅暮猛?，是對(duì)藝術(shù)本質(zhì)的一種認(rèn)識(shí)，更是文化人的一種理想和境界。他，玩出了境界。
陳家泠 （鄔海佳畫(huà)）▲
CHEN Jialing
CHEN Jialing (1937-) has his ancestral family from Guangxi Zhuang Autonomous Region. Born in Yongkang in Zhejiang province, he had a former name of CHEN Jialin and is known as an artist of Chinese painting, pottery artist and ink painting leader of the New Shanghai School.
In 1963, he graduated from the Zhejiang Academy of Fine Arts. At first he learned figure painting. In the 1970s, he took LU Yanshao as his teacher to learn landscape painting and Chinese calligraphy and later specialized in flower-and-bird paintings.
Since the 1980s, he drew inspiration from ancient Chinese frescoes and foreign watercolor techniques to create a new school of modern Chinese painting with the characteristics of Chinese philosophy in addition to impressionism, abstractionism and expressionism, which played a leading and promoting role in the development of painting of the Shanghai School.
Since 1983, he has been teaching at the Academy of Fine of Arts Shanghai University. Now he is a professor of the Department of Chinese Painting of Shanghai University and one of the first researchers of China National Academy of Painting. His works won the Sixth National Art Exhibition for best works and silver award of the Seventh National Art Exhibition. He held personal and group exhibitions for many times in Europe, the United States, Southeast Asia and other places.
The Shanghai Peninsula Museum of Art and“Ling Kiln”P(pán)ottery Studio which he planned and set up are dedicated to promoting the traditional culture and artistic innovation, and have been a banner of the artistic spirit of the Shanghai School. In 2014, the documentary CHEN Jialing had its debut at the Rome International Film Festival in Italy.
I Just Have Fun
In the art circle in China, CHEN Jialing is well-known with many titles—ink painting leader and banner of the artistic spirit of the New Shanghai School. He founded the first folk art museum in Shanghai—Peninsula Museum of Art; he created the“Ling Kiln”which combined the ink language and porcelain innovation; he explored the combination of porcelain and mahogany furniture and even the use of porcelain to create a unique set of mahjong; also he tried to use ink on cheongsam for artistic creation.
After climbing mountains and peaks in artistic creation, he also made use of landscape techniques to create paintings of arhat and Guanyin and involved himself in Buddhist art creation. When asked how he was so creative, his reply was “I just have fun”.
When he was at the age of 42 in 1979, he was drunk in the “fun” of “ink-wash painting experiment” and painted a portrait of ink almost every day after dinner. A few months in this way, one of the paintings LU Xun was selected for the East China Six Provinces and One City Portrait Exhibition, which meant that his experiment was recognized.
The highest state of an artist is to enter into the kingdom of freedom. In his opinion, the way to the kingdom is to have fun. The so-called having fun means a relaxed state of mind in the time of creation and there is no rule, no material gain, no hurry. What is needed is to let nature take its course.
In 1984, he won the prize for outstanding works in the 6th National Art Exhibition with the painting of lotus Blossom. In 1987, his painting in the same vein Morning Rays was selected as the cover of the book New Chinese Painting (1949-1986) edited by an American art historian; in 1989, the painting of the same subject No Dyeing won silver award in the Seventh National Art Exhibition.
Lotus represented the first breakthrough he found to shift from figure to flower-bird. The reason was that his “having fun” led to an epoch-making road of innovation in his personal artistic pursuit. He thought that the peaks of art reached by artist predecessors could only be appreciated from afar.
Only on the basis of predecessors, constant innovation and change as well as a unique style could an artist have a bright future. So he made two major changes. The first was the discarding of figure and landscape he was good at and shifting to flowers and birds; the second was the abandoning of standardized pen and ink to explore the interaction between paper, ink, pen,water and color, which meant the change of materials for painting. His innovation was both traditional and modern. Being traditional meant the classical taste and smart lines in rich paintings; being modern meant that the composition and ink were very simple and elegant, which was in line with the visual requirements of modern people.
After his exploration with lotus as the representative was successful, he was more eager to do experiments and went back to explore the theme of landscape painting with the choice of Guilin landscapes. Viewing his works only generated one word—amazing! Not much ink radiated charm again and again. Obscure mountains, clear water, floating clouds and flying birds—all these impress viewers with silence and beauty.
Once he said, “In the painting I feel like entering a state of freedom and agility. Every day I paint without any restriction or binding. So I’m very happy.” His having fun is not merely a kind of understanding of the nature of art, but an ideal and realm of
professionals in art and literature. He created a realm by having fun.
信息來(lái)源：《200031 — 一個(gè)歷史街區(qū)的文化記憶》
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