2022.04.29 - 2022.07.03
Curator: Ji Ran, Deng ZhitingOrganizer: Boxes Art MuseumCoordinator: Oil Painting Department Curatorial Group of Guangzhou Academy of Fine ArtsConsultant: Institute of Art and Culture Innovation Research and Development, Sun Yat-sen UniversitySupporting: Whitestone Gallery, Karuizawa New Art MuseumAcademic Director: Liu Ke, Wang Bei工作团队：郭燕 邓子军 袁泽强 邓芷婷 陈思佳 曾芸 林昀 石嘉琦Work Team: Guo Yan, Deng Zijun, Yuan Zeqiang, Deng Zhiting, Chen Sijia, Zeng Yun, Lin Yun, Shi JiaqiGraphic Design: Lin WantingPublic Opening Hours: From 2022.04.29Opening Event Time: 2022.5 (Specific Time to be Determined)开馆时间：每周二至周五10:00-18:00 周六，周日10:00-20:00Exhibition time: Tuesday to Friday 10:00-18:00 Saturday, Sunday 10:00-20:00Address: Boxes Art Museum, Shunfeng Mountain Park（South Gate）, Shunde District, Foshan City.
1946年，花田和治出生于北海道札幌，在青年时就读于东京艺术大学油画系。70年代东京艺大已具备提供完善的西方美术教育的基础，再加上其师小矶凉平对印象派的研究和实践使得花田能够较为全面地了解到西方现代绘画的转向。在早期的艺术创作中，花田尽可能的尝试多种流派，从后印象派、立体主义、超现实主义等战前风格，到战后抽象表现主义，其个人的实践线索也契合了抽象表现主义的发展脉络。
《春天的海浪》创作于1994年，是花田经过各类风格实验后开始生发出具有个性的成熟阶段的作品。它的拼接模式通常称为三联画，而我却认为是一面三曲屏。障屏画是日本琳派的主要艺术载体之一，一般为三曲或六曲一双。海浪和岩石作为琳派对水景刻画的经典母题，在这400多年间不曾中断。花田呈现出的海浪既有水的细腻，也有石的硬朗，他把这对经典母题在物性上进行反转、融合与统一，使理性的韵律与“心情式美学”形成一曲独特的协奏。在创作手法上，画面中的形式受到了硬边绘画的影响，体现出材质的纯粹性和二维空间的平面性，这也是格林伯格式的现代主义回响。但他的绘画不服膺于西方中心的现代主义，对其影响较大的艺术家福田平八郎的《雨》，展现了人造机械性重复与“物哀”之间的张力，作品中的雨滴如雕刻般嵌入瓦当，留下一处处“自然”的痕迹。江户时代的琳派集大成者尾形光琳，其作品《燕子花图》为琳派奠定了审美基调，画面仅用金、蓝、绿三色表现燕子花的动势，那清晰可循，毫不妥协的图案与形式仿佛就是那个时代的“硬边艺术”。
所以，花田创作中所带有的抽象与硬边的痕迹，不仅源自于西画，更根植于日本传统美学，当然也须考虑到日本美术对欧洲现代绘画的交互影响，在这文化传播的脉络之间，使我们理解艺术与物性在现今琳派中的传授与传承。如果说西方哲学中的人与自然是主体与客体的二元，而日本美学对自然的关照则体现出了心情、亲近与气韵。《古今和歌集》序的第一句即为“和歌以人心为种子，方成为万语的诗歌。”此后，藤原定家提倡以“有心体”作为理想境界，经过世阿弥的“知道人心之贵，方有人心之趣”，直到本居宣长的“物哀”，日本美学中人心与自然的特殊关联一直扮演着重要的角色。正如花田所说：“无论是素描或色彩，我都希望能在画面里注入如行经草木般的充实感与生命力”。
花田成熟期的大部分作品都在表现家乡风景中的温和、恬静与他独特的幽默，特别是对海的描绘，寄托了他对家乡深沉的爱。他的抽象历程呈现了对西画与日本画之间的取舍、探索和转化，而这一切最终复归到属于他的纯粹自然，透过北海道工作室的那扇小窗，把“海与迭奏”带入我们的视界。
Preface
Kazuharu Hanada was born in Sapporo, Hokkaido in 1946, and studied at the Oil Painting Department of Tokyo University of the Arts as a youth. In the 1970s, Tokyo University of the Arts had the foundation to provide a complete Western art education, coupled with the research and practice of Impressionism by his teacher Koiso Ryohei, which enabled Hanada to have a more comprehensive understanding of the direction of Western modern painting. In his early artistic creation, Hanada tried as many genres as possible, ranging from post-impressionism, cubism, surrealism and other pre-war styles to post-war abstract expressionism. His personal practice clue also accords with the development vein of abstract expressionism.Waves in Spring was created in 1994. It is a work in which Hanada began to develop a mature stage with individuality after various style experiments. Its stitching pattern is usually called a triptych painting, but I think it's a triptych screen. Screen painting is one of the main artistic carriers of the Statsu and Kren School, usually consisting of three or six pieces in a pair. Waves and rocks, as the classic motifs of Statsu and Kren School's waterscapes, have not been interrupted for more than 400 years. The waves presented by Hanada have both the delicacy of water and the hardness of stone. He reversed, integrated and unified these classical motifs in terms of physical properties, making rational rhythm and "mood aesthetics" form a unique ensemble. In terms of creative technique, the form in the picture is influenced by hard-edged painting, which reflects the purity of the material and the flatness of the two-dimensional space, which is also the echo of Greenberg's modernism. However, his paintings do not obey the Western-centered modernism. Fukuda Heihachiro's work Rain has a great influence on Hanada, shows the tension between the artificial mechanical repetition and "mono no aware". The raindrops in the work are carved into the tile, leaving traces of "nature" everywhere. Korin Ogata, the master of Statsu and Kren School in the Edo period, set the aesthetic tone for Statsu and Kren School with his work Irises Screen. The painting only used gold, blue and green to express the movement of irises. The clear, uncompromising patterns and forms seemed to be the "hard-edge art" of that era.Therefore, the traces of abstraction and hard edges in the creation of Hanada are not only derived from Western painting, but also rooted in traditional Japanese aesthetics. Of course, the interactive influence of Japanese art on European modern painting must also be considered. Between the context of cultural transmission, so that we understand the art and property in the current Statsu and Kren School of imparting and inheriting. If human and nature in western philosophy are the duality of subject and object, the attention to nature in Japanese aesthetics reflects mood, closeness and spirit. The first sentence of the preface of the Kokin Wakashū is "Waka takes the heart as the seed, and then becomes the poem of words." After that, Fujiwara Teika advocated "form with mood" as the ideal state, through Zeami's saying, "Knowing the value of heart is the only way to have the interest of heart", until Motoori Norinaga's "mono no aware", the special connection between heart and nature in Japanese aesthetics has always played an important role. As Hanada said: "Whether sketch or color, I hope to inject a sense of fulfillment and vitality like going through grass and trees in the picture."Most of the works in the mature stage of Hanada express the gentleness and tranquility of the hometown landscape and his unique humor, especially the depiction of the sea, which pines his deep love for his hometown. His abstraction process presents the choice, exploration and transformation between Western painting and Japanese painting, and all these finally return to his pure nature, through the small window of Hokkaido studio, bring "sea and refrain" into our vision.
花田和治，《无题》，2008，布面油画，100.0x80.3cm
Kazuharu Hanada, Untitled, 2008, Oil on canvas, 100.0cm×80.3cm花田和治，《盛开番红花的社区》，1993，丝网版画，22.4×18.0cmKazuharu Hanada, Residential Quarter with Crocus in Full Bloom, 1993, Silkscreen on paper
22.4×18.0cm
花田和治，《二十岁》，1991, 布面油画，45.5×37.9cmKazuharu Hanada, Twenty, 1991, Oil on canvas，45.5×37.9cm
花田和治，《山与水》，1989，丝网印刷，29.0cm×91.0cm
Kazuharu Hanada, Mountains and Water, 1989, Silkscreen on paper, 29.0cm×91.0cm
花田和治，《月夜》，1983-1984，布面油画，90.9cm×60.6cm
Kazuharu Hanada, Moon Night, 1983-1984, Oil on canvas, 90.9cm×60.6cm
花田和治，《无题（40-69花田）》 ，1969，布面油画，80.4cm×100.0cm
Kazuharu Hanada, Untitled (40-69Hanada), 1969, Oil on canvas, 80.4cm×100.0cm
花田和治
花田和治（1946-2017）是北海道代表性的抽象画家之一。1946年出生于札幌，1965年就读于东京艺术大学油画系。他受小矶良平教授的课程中受启发，并进一步追求艺术。学生时代的花田正在尝试各种形式的现代艺术。从野兽派、立体主义、超现实主义等战前风格、到战后抽象表现主义，1972年毕业后，花田便前往欧洲，直至1974年返国并回到故乡北海道札幌。
花田自就学期间便持续尝试着图形绘画，并在返国并回到故乡后便着手利用方形在鲜艳的色面上构图绘画，最终，他以北海道的大自然与自身的日常生活为主题，创造出将其本质以简单的抽象形式表现的方法。在受到战后的抽象表现主义即及硬边画等风潮影响的同时，花田也对琳派及京都画坛的画家福田平八郎（1892-1974）等深感兴趣。花田的表现方式充满丰富情感抒发身边现象的诗意感性与清晰的视觉效果，在战后日本所创作出的许多抽象绘画中，花田的作品充满少有的清凉感与独创性。
Kazuharu Hanada (1946-2017) was one of Hokkaido‘s representative portrait painters. Born in Sapporo in 1946, and study in the oil painting department at Tokyo University of the Arts in 1965. He was inspired by Professor Ryohei Koiso’s classes and further pursued his own art method. As a student, Hanada was experimenting with various forms of modern art. From pre-war styles such as Fauvism, Cubism and Surrealism to post-war Abstract Expressionism. after graduating in 1972, Hanadatravelled to Europe until returning to his homeland of Sapporo, Hokkaido in 1974.
Hanada continued to experiment with graphicpainting throughout his studies, and upon his return to his hometown, he began to use squares to compose paintings on brightly coloured surfaces.
Eventually, he created a way of expressing the essence of Hokkaido's nature and his own daily life in abstractforms.
While influenced by the post-war trend ofabstract expressionism and hard-edge painting, Hanada was also deeply interested in the Rinzai school and the Kyoto painter Heihachiro Fukuda (1892-1974). Hanada's expressive style is full of poetic sensuality and clear visual effects thatexpress the richness of the phenomena around him, and among the many abstractpaintings produced in post-war Japan, Hanada's works are rare in their coolness and originality. Hanada continued to work in Hokkaido until 2017.
- 策展人介绍 -
冀然
Ji Ran
冀然，策展人、写作者。曾策划“洞察之律”王蓬个展、“流动的间隔”金亚楠个展、“极·光”荷兰黑点艺术小组展、巴黎Oberkampf画廊“Peinture peinture”展、巴黎B&B画廊 “Paris photographie” 等多个展览。文章散见《美术学报》《新美术馆学》《画刊》《华侨城盒子美术馆年鉴》等刊物。
Ji Ran, Curator, writer. He has curated exhibitions such as “The Law of Perspective” Wang Peng solo exhibition, “The interval in flux” Jin Yanan solo exhibition, “Unlimited Light”Macular Art Collective, “Peinture peinture” Rue Oberkampf, Paris, “Paris photographie”The Gallery B&B, Paris. Articles are published in journals such as Art Journal , New Art Museum Studies, Art Monthly, OCT Boxes Art Museum Ⅰ, and so on.
盒子美术馆策展人，写作者，艺术类翻译，硕士毕业于英国利兹大学。她近期的研究方向为以现当代艺术史为基础，关注女性身份觉知与哲学。曾策划“林铮、潘泽嘉：第二自我”、“吴卓钊、黄逸哲：相对次序”“马雯怡：旋转木马”等展览。
Curator of the Boxes Art Museum, writer, art translator. MA graduate from University of Leeds, UK. Her recent research based on modern contemporary art history, focusing on female identity awareness and philosophy. She has curated exhibitions such as "Lin Zheng, Pan Zegia: Alter-ego”, "Wu Zhuozhao, Huang Yizhe: Relative Order" and "Ma Wenyi: Merry-go-round".
盒子美术馆是由广东顺德华侨城全资建设，委托广州美术学院油画系策划组运营管理的非营利公益性机构。华侨城盒子美术馆由范勃担任馆长，周力担任艺术总监，刘可担任执行馆长，正式开馆日期为2017年9月28日。美术馆坐落在顺德区顺峰山公园内，包括四个标准的室内展厅和室外公共展览空间。美术馆致力于整合地区及国际资源，呈现出国际化高水准的艺术样态；并依托美术学院研究与教学平台、顺德当地的传统特点和现代化发展，将艺术展示、公共交流和本地文化结合在一起，促进本土的、社会的、国际的艺术实践与文化产生。Boxes Art Museum is built and financed by the OCT Group, a non-profit public organization operated and managed by the Curatorial Group of the Oil Painting Department at the Guangzhou Academy of Fine Arts. OCT Boxes Art Museum has invited Fan Bo to serve as Museum Director, Zhou Li to serve as Artistic Director, and Liu Ke to serve as Executive Museum Director. Boxes Art Museum’s official opening was on September 28, 2017. It is located in the Shunfeng Mountain Park in Guangzhou’s Shunde District, and consists of four standard exhibition halls and outdoor public exhibition spaces. The museum strives to integrate regional and international resources in manifesting cultural activities of the highest caliber, and draws resources from the Guangzhou Academy of Fine Arts as an integrated research and educational platform. Boxes Art Museum combines Shunde’s local strengths with contemporary development strategies, uniting art exhibitions, public discourse and local culture in fostering new directions for local and international art practices and cultural production.
Boxes Art Museum, Shunfeng Mountain Park, Shunde District, Foshan City, Guangdong Province.10:00-18:00 (Tuesday to Friday)
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