香港明珠HKSTV《文化风情》2013年 王明青徐小虎在杭州象山王澍新招待所聊古怀旧(1+2/2)HKSTV Interview with Wang Mingqing

六月正要離開杭州回台灣時,一位美麗聰明善良的古琴音樂家兼電視節目主持人王明青女士邀了一起聊天,我們就在中國美院象山建築學院王澍院長剛完工的教師招待所認識;一見如舊,似乎前幾輩子都在一起的,好好玩兒。作出兩段,第一段香港新鏈接在此,歡迎參與。上集链接在此。下集链接
This link leads to a TV interview (part 1 of 2) with the Hong Kong HKSTV’s beautiful and talented hostess Ms Wang Mingqing, in Hangzhou late June. During interludes Ms Wang plays the ancient qin zither, with a clarity and force belying her gentle mien, bringing out a depth of feeling hidden from ages past. The visit took place in the just completed Visiting Faculty Lodge by Dean Wang Shu of the School of Architecture,China Academy of Arts, and 2012 winner of the distinguished Pritzker Prize. Link to Part 2 of 2.

11 thoughts on “香港明珠HKSTV《文化风情》2013年 王明青徐小虎在杭州象山王澍新招待所聊古怀旧(1+2/2)HKSTV Interview with Wang Mingqing

  1. 尊敬的小虎老师:

    First of all, I do appreciate your time for pay attention to my letter!
    Finished reading your impressive work, “OLD MASTERS REPAINTED”, I think it’s necessary to write to you for a guide you might give. Now I have a problem of selecting a theme for my PhD topic. Hence I’m an on-job PhD candidate in College of Architecture & Urban Planning Tongji University, and I have big interesting in Chinese painting at the same time, I’d like to make some research work under the theme such as “Image of Architecture in Chinese Paintings”, or narrower, confine it to one or two century.
    I’m forty-years old, an age that average Chinese people won’t make trouble for themselves by completing a PhD paper. Different from most of my classmates, I entered the Tongji University two years ago to look for what I can do to enrich my spare time, or you can say, the second half of my life. From the last summer, I realized I might combine my interesting( Chinese paintings) and my subject( architecture history) together to look for something people never noticed.

    Till now, I have read nearly every book I believed helpful, such as books or papers written by James Gahill, Wen C. Fong, Max Loehr, Michael Sullivan, Lothar Ledderose, Crag Clunas, Jerome Silbergeld, Wu Hung, 石守谦,李铸晋,傅申,王妙莲,and so on. Of course I have read involved books of Chinese architecture history as well. However, I believe your book is one of the most useful for me because you show people step by step how to study a painting. Actually, it looks like a manual instruction! Meanwhile, I was so lucky to enjoy your lectures in Hangzhou this summer. Remember, what a hot auditorium at there.

    What puzzle me now is I can’t find an entry point on this huge mountain. The connection between image of architecture and Chinese painting is still hanging out of my brain, and I don’t know how to catch it. Would you kindly to give me some advice?
    Thanks again for your time!

    Best wishes,

    Levy Lee

    • Thank you Levy for your kind letter, and for recognizing the Wu Zhen study as a “manual.” Indeed, putting it together at the age of 50 for my DPhil Thesis, I had conceived and organized it as a Textbook for Researchers!
      Combining your two loves, the history of Chinese Architecture, with the study of landscape painting, can be most interesting and productive. In his study of architectural history, 傅熹年 when joining the authentication team of 徐邦达, 谢稚柳 et al, dated paintings by the architectural style of the buildings. This knowledge is most helpful for art historians, as long as we first make sure those “late” buildings are not the result of a later additions or erroneous retouching (补笔)。
      A good PhD thesis should have immediate application, filling a common need. Your thesis could be a running account of the evolution of Chinese architecture in landscape painting over certain centuries, using Dunhuang 敦煌 material, or you could focus on architecture in Chinese painting using certain (groups of) specific works featuring boats and buildings in our very limited corpus of 界画, from public and private collections。 Your supervisor, knowing your work, may have better ideas of where your research can make the greatest contribution. 加油!

  2. 可爱的小虎老师:
    您现在在哪里?夏天的时候都有去博物馆寻找《被遗忘的真迹》中提到的画作,一一看过,还看了一些别的作品。看到喜欢的不得了的,感觉被催眠一样,旁边就没有别人了。最近再看《被遗忘的真迹》心里的感触又不一样一些了,兴奋转而平静的喜悦。
    苏州这段日子正好有文徵明的展,会去看的。想着会站在画前就提前快乐起来了。我从来没有读过中国书画的学术书,小虎老师的是第一本读物,如果没有小虎老师,大概不会如此高兴地去看画了吧。感谢小虎老师!
    昨天在网页上留意到,广西师大出版社又要出您的作品了,好像叫《画语录》。真开心!又能读到你的书了!等待着出版,可以买来看了。这里小小工作室里您发的东西都仔细读着,我英语不好,待我英语好些,就读来顺利多了。O(∩_∩)O~
    祝您一切都好!新书出版了,多来大陆走动吧。等您来玩。

    您的读者,晶晶。

    • 馬年來了新年更快樂健康好奇!這樣有趣的大小世界,一旦開心放心去體會,就會獲得不少驚喜和感嘆!不好意思現在才看到您的留言!好好欣賞博物館那些會說話的歷史啊 :)

    • 哈咯晶晶-馬年馬上快樂健康! 多謝來信,不好意思現在才看到。 高興知道你現在會去博物館了。 那是個多麼神奇的世界啊,掛在理面的每張書畫各自都是真跡,都是其創造者留下來他那時代的真跡。落款雖然大部份不可靠,但我們的心和眼睛會聽到那些作品各自的精神、時代潮流和感情。。。。多有趣啊!加油欣賞!

      • 亲爱的徐小虎老师:

        您还好吗?在忙什么?看到您躺在这里的小问候真是心里大温暖呢!嘻嘻。
        刚看完了《画语录》忍不住要给您写信。它带给我新的喜悦、更细微详尽的画的知识,也带来更多新的疑问(待我好好查查找找),可是看完又有点悲伤,翻着翻着,速度慢下来,心想,要结束了。尤其看到后面王季迁老师和您的文章,心里想起很多事,这些事就发生在阅读《被遗忘的真迹》到《画语录》的时光中间。

        我很愧疚,春节期间苏州博物馆的文徵明展没有去看,一直忙来忙去不知道到底忙什么,一个人出门旅行就把文徵明给忘了!后来您又来了大陆,没有及时看到讯息又错过了!于是带着两份歉然看完了《画语录》这本书。
        王季迁也是苏州人阿!还在东山!我的高中母校在东山!可我孤陋寡闻,不知道这些可爱的人。原来您也是食素的阿?Give me five!跑题了!我们聊聊书:)
        真有趣的对话,看完回到前面又把照片、画一一看过。真过瘾!您现在是短发阿?看完了对这些陌生脸孔又多了一丝感觉。
        《被遗忘的真迹》在去年盛夏7月看的,好几次忘记开电扇也不热,这本《画》在开春看,更添温暖,这温度也是不同时期画作弥散的感觉,真奇妙。可惜《被遗忘的真迹》里好多东西都忘了!sorry〜看这本书的时候少许记忆突然回来,看到元代画作的笔墨会心一咯噔。甚至好几次想起吴镇,像回忆一个老朋友,感觉还在。元的魅力真大,《画》中提到的好几位画师都甘愿追随元的足迹,甚至在笔尖跋山涉水找回去。我也喜欢元,或许几乎没见过什么画作的缘故吧。元是第一个留在心了。去年在博物馆看几幅画,画的橱窗里打着暖光灯,人离开,灯电子感应便自动变暗渐渐熄灭。看元的画离开时转头看它一点点暗下去,会觉得去了好远的地方。这是其他画没有感觉,它特别静,也不挽留人,带着一点冷和寂静就熄灭了。

        王季迁的回答很好懂,很想找《明清画家印鉴》来看看。后文中"此外,我个人看画,尚有三个原则,始终坚持着的:第一是画中的笔墨问题,第二是画中的格局问题,第三是画与文学的关系。"我对他的"画与文学"的关系很感兴趣!很想知道画和文学那是什么关系阿?他生前是否和您展开过这个话题呢?
        还有疑问,请教小虎老师,书中第50页,你们谈李唐的部分,他说"中国山水画基本上分成两个大传统,而到了明代它们这两大传统又再度并存……",其中"两大传统"指什么?128页中讲到董其昌用色神奇片段中王老师说"但他偶尔也做没骨画","没骨画"又指什么?你们谈说董的这类画太不寻常,看你们谈心里喜欢:P他算奇葩一枚,这种大胆的用色像是把西方的画笔拿过来了。红和绿参差的美,又很开心的样子,颜色浓浓的艳艳的。
        看这本书的时候还是很想看到更多的画,一些你们提到的作品并没有放进来,夏珪的几幅画也只有局部。你们口中的他那么好玩,可惜看不到他更多的作品,《十二景山水图》很想看到完整的,不知道左边是什么风景。因为王老师说的他的石头朝不同方向动我并不能感受到(书中好多地方都完全不懂拉〜〜),那么整体看了会不会好明白些?对了,还有讲黄公望、夏珪时《溪山雨意》时王老师说"你看最左边的这棵落叶树,向左而对着河,实在是太怪了。在构图上这是不对的…"–为什么这么说呢?我没有看懂,是局部画中靠近读者这一岸最左边的前倾的那棵树吗?所指的"构图不对"指什么?怎样的画法是"对的"?请教小虎老师。后来也一再提到"结构、构图"这两个有什么区别?听上去好像一样耶。

        不过这本书让我喜欢了两个人,一个是"我喜欢这样,这样,然后这样"的董其昌,心里看着他的画想象,似乎感受到他作画时非凡的自由和大快乐,一定开心死了!一个是倪瓒。这是两种不同的喜欢,对倪瓒的爱平静、微笑一些。我还是对画放大后有种小小痴迷,不知道为什么。好像更能感受到细微的画家的气息,呼吸感更强了,更贴近心。倪瓒的画局部放大很感人。好想看到更多放大的。还有,书中一些画看上去不是那么清晰,是印刷前取的摄影作品不同吗?似乎不是纸和绢的原因,还是一些画年代太久了,拍摄下来就有种模糊的沙沙的感觉。例如王蒙的《春山读书图》有些模糊,而《溪山雨意》就很清晰。

        整本书我印象最深的是你们谈倪瓒和沈周。你们谈到最后我不得不抽离了,看得两个眉毛都要挤到一块儿去了!因为沈周被你们说得实在太可怜了!虽然《策杖图》顶端放大后它最上面那坨黑的有点突然吓人。。。我总觉得一个有自知的作家面对自己的作品总还是知道它的好坏、毛病和快感,那么画家呢?他们的笔墨走到哪里他会完全感知它的好坏吗?如果能,沈周那么努力学倪瓒,无限接近,可还是得不到,他会不会大哭阿?沈周的画有点粗野,表达很直接,刷一下好像情感全出去了。但又说沈周是明代最好画家之一,又似乎在谈话里给了他大的赞赏。真让人迷惑。有点看不清沈周了,我想我得去重新再看他的画。

        对了,还想请教小虎老师的是笔墨的"含蓄"一词在英文中对应的哪个单词呢?王老师似乎很在意这个,甚至用来评判一个画家的笔墨好坏,那么笔墨还有"狂放"的吗?笔墨是不是不能狂放的?只能收?"放"了是不是就气流掉了,消失了,所以就不好了呢?

        我还是记不住,现在翻翻已经忘了"方笔""圆笔"了,看着看着就又把前面的忘了。呜〜〜〜呼!我得再想想。

        后文看你写的近几年您在大陆的事情,真为您高兴!网上好多人围着您,看了心里暖暖的。好难得能读到您的两本书,不知道说什么好。谢谢!
        我想,我还得去博物馆。ps,后面的注很好看。图片说明也好,排排列,很适用。一堆画家排着队。好像聚在一起发生了一件什么事。

        在这里看到第一次写给你的信,现在觉得好羞愧,不应该写在简历下面,sorry〜〜〜

        祝您一切安好,得空了给我写信吧^_^。

        您的读者,晶晶

    • 多謝晶晶留言。「畫語錄」應該出來了。今天剛剛才得到一點時間來到大電腦看看工作室,抱歉。
      希望您會一直抱著喜悅的心態來欣賞古人留給我們的寶貝,就是他們那些已經回不來的時辰的影子。。。

      • 亲爱的小虎老师:
        看到你的回言了。谢谢。
        有点忧伤。
        晶晶很荣幸,能读到小虎老师的书,也很开心能一次次站在画前。
        5月下旬去乌镇参加了一个长辈的纪念馆开馆仪式,他走了,他住的地方现在变成了纪念馆。是开心的,也是凄凉的。
        他离开,留下他的艺术和一堆遗稿。
        这两年,是在思念他的泪水里长大的。

        晶晶

    • 喜歡倪雲林,但對他折帶皴山石畫法一直很迷惑:倒L型下半部分從折筆往下是怎麼保持住“在筆畫之內的”?
      渴望可愛的小虎老師垂慈簡介。
      謝謝。

  3. Dear Professor Stanley-Baker:

    My name is Jian Sun, a new Ph.D student enrolled in China Academy of Arts in 2016, majoring in Chinese painting and calligraphy authentication. My supervisor is Professor Wu Gang. I am a not conventional Ph. D student in many ways as I am 61 years old and had no previous education or career experience related to Chinese painting and calligraphy. Making a such movement at this moment is mainly for my long time dream and passion since my childhood. I am currently reading your book on Wu Zhen and totally impressed by your professionalism and persistence. I have to say that I am now a big fan of your works. Running into many doubts and troublesome thought myself in my early journey of Chinese painting authentication, I am wondering whether you would be kind enough to reply to my email address so I could get more of your personal advises. I know I have asked too much and do hope that won’t cost too much of your precious time.

    I don’t know whether you have already another plan to visit China but do hope I can meet you in person in near future.

    Sincerely yours

    Jian Sun

    P. S. I have left a similar comment in your website in Chinese but am not sure whether it gets through. If you see both comments from the same person, just ignore one of them as they are pretty much the same.

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