FanShaoHua Book

Section Title

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前言朱国荣

Essence . Life II华慧 • 人间 II

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华慧·人间 II : 范少华的绘画艺术

ESSENCE • LIFE VOLUME 2 : FAN SHAO HUA ARTS

First published 2010 by

Shanghai Art Museum

2nd edition 2010 published & distributed by

Ode To Art Contemporary

Ode To Art Raffles City252 North Bridge Road,Raffles City Shopping Centre, #01-36E/F,Singapore 179109Tel: +65 6250 1901

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Email: [email protected]

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© 2010 Ode To Art Contemporary

All rights reserved. No part of this publication may be

reproduced or distributed in any form or by any means,

or stored in a database or retrieval system, without the

prior written permission of the publisher.

Front Cover:

封面作品题目:

白雪香新 Snow-White, 2008

油画 Oil on canvas, 100 x 120 cm.

Measurements of artworks are given in centimetres

Printed and bound in Singapore

内容Contents

CONTENTS

MESSAGE, YIP WEI KIT

INSCRIPTION, GONG XIN HAN

FAN SHAOHUA’S FLOWER INVITATION,

TAN SWEE HIAM

FOREWORD, ZHU GUORONG

A GODLY RELATIONSHIP WITH

FAN SHAO HUA, YANG GENGXIN

ELEVATION OF THE SPIRIT

OF CHINESE ART, LI RENYI

BIOGRAPHY

AWARDS

THE LOTUS SERIES

THE NUDE SERIES

THE LANDSCAPE SERIES

THE PORTRAIT SERIES

THE ABSTRACT SERIES

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献辞叶伟杰

人体系列

题字龚心瀚

花鸟系列

范少华花柬陈瑞献

人物系列

内容

荷花系列

神交范少华杨庚新

前言朱国荣

抽象系列

至高民族文化的精神品格李人毅

获奖范少华

范少华艺术活动年表

Essence . Life II

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华慧 • 人间 II

首先，恭贺范先生成功地在上海美术馆举办个人画展。

范先生是当代一位非常杰出的艺术家。他的作品融合了西方的绘画技巧以及东方的素材，自

成一格。这些作品曾参与新加坡以及亚洲地区的多项画展，在国内外也获得过多个奖项。范先生

的多才多艺，具体体现在他的作品中。其中，又以他创作的人物肖像、街景画以及抽象画最具代

表性。这一次，上海美术馆为范先生举办个人画展，就是对范先生的艺术造诣做出了肯定。

借此机会，我想对上海美术馆为新中两国在艺术文化方面建立更紧密的关系所作出的努力表

示由衷的感谢。

新加坡驻上海总领事

叶伟杰先生

2010年 1月

献辞

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献辞叶伟杰Message, Yip Wei Kit

Firstly, I wish to congratulate Mr Fan Shaohua for successfully staging his solo exhibition

at the Shanghai Art Museum.

Mr Fan is a very outstanding modern artist. His works are very distinct as they blend the

painting techniques and subjects from both the East and West.

Many of the paintings in this show have been shown in exhibitions in Singapore as well

as several other Asian countries. Some of them also won him many awards.

Mr Fan’s talents are all displayed in his works, especially in his portraits, street scenes and

the abstract pieces. That the Shanghai Art Gallery is staging this solo exhibition for him

shows its recognition for Mr Fan’s artistic excellence.

May I take this opportunity to show my heartfelt gratitude to the Shanghai Art Gallery for

its efforts to promote closer relations in the arts and cultural fields between Singapore and

China through this exhibition.

Mr Yip Wei Kit

Consulate-General of the Republic of Singapore in Shanghai, China

January, 2010

MESSAGE

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前言朱国荣中共中央宣传部原副部长 . 全国政协文史委员会副主任龚心瀚题字龚心瀚Inscription, Gong Xin Han

Essence . Life II

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Prologue, Tan Swee Hiam 范少华花柬陈瑞献

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华慧 • 人间 II Essence . Life II

范少华多元技法的处理，让荷长出新花。从未见过的风姿，让所有的眼睛都往绽放的方向凝

望，而久久陶醉其中。正当众人都把少华的创造与荷花等同之时，荷花却又变成一张请柬，把众

人从天上请到人间，回到花仙子与云雨的人间来。在这儿，阴阳互诱，诗乐並流，让所有的眼睛

都往向花丛延烧而去的热火凝望，而陶醉其中。

这就是范少华的艺术要旨：他通过艺术来说明生命在意义的追寻中，需要一个平衡完整的生

活实在：天上人间，都得欢乐。

能让人有如此美学体会的艺术家至为少见。

陈瑞献

2009年 12月 20日

作者是新加坡艺术家

范少华花柬

陈瑞献

范少华花柬陈瑞献

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Prologue, Tan Swee Hiam

Fan Shaohua’s multi-media treatment of the lotus has made visible the emergence of a new

flower, whose never-before-seen charm attracts the gaze of all eyes to its bloom and gets

them deeply intoxicated. Just as everyone equates Fan Shaohua’s artistic creation with his

lotus, the lotus is turned into an invitation, inviting all viewers back from the spiritual realm

to the secular world of flower damsels and clouds and rain, where the Ying and Yang cajole

each other, poetry and music are intertidal and all eyes are gazing at the fire that is burning

through the flowering shrubs and are therein intoxicated.

This is where the core of Fan Shaohua’s art lies. Through art he shows that in the search of

meaning, there needs a rounded reality in life: be it in Heaven or on Earth, one should wallow

in happiness.

Few artists are able to give the viewer such an esthetic experience.

Tan Swie Hian

December 20, 2009.

FAN SHAOHUA’S FLOWER INVITATION PROLOGUE BY TAN SWEE HIAM

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Essence . Life II华慧·人间 II

一位画家在他的艺术生涯中总会在风格上

有几次蜕变，而每一次蜕变实质上是画家对其

追求目标的修正和深入，使自己的艺术得到升

华。当我看到新加坡华裔艺术家范少华的作品

时，就有这样的感觉。

范少华原籍广东，生于广州市，十岁时，

跟随卢延光老师学习中国水墨人物、花鸟画。

文革结束后，先后在广州美术学院附中、本科

学习油画，毕业后进入广东电视台担任舞美设

计，后又调入广州大学设计系任教。这期间，

他创作、展出和发表了大量的油画、水彩画、

连环画、插图作品，不少作品还入选七届全国

美展等全国性展览。1990年，范少华移民新加

坡，在艺术创作上开始以新加坡的都市生活为

题材，并且积极参与当地的各项艺术展览，获

得过各类奖牌。他还以新加坡艺术家的身份参

加了与马来西亚、日本、法国、韩国、美国等

国的美术交流。2007年，范少华回到家乡，在

广东美术馆举办个展，好评如潮。今年初，他

移师上海美术馆亮相他的一批油画作品，诚意

与上海的同行切磋技艺。

范少华在广州美院附中和本科的七年绘画

学习中，在创作观念上接受的是现实主义，在

艺术表现上接受的是写实主义，由此打下了扎

实的绘画基础。这使得他在表现新加坡的城市

生活时，特别是在描绘有众多人物的场景时游

刃有余，在对人物与人物、人物与景物之间的

关系处理上体现出他对大场面的有效的掌控能

力，画面的生活气息极为浓郁。照理说，范少

华完全可以从这条路上继续走下去。但是，从

1999年起，一种新的画风开始露面。他以独特

的视角对人物作切割式的局部描绘，画面中的

不完整的人物形体看似是随意摄取的、毫无意

义的，但却是当代都市人生活中时尚、匆忙、

无奈的真实写照。这类作品无论在创作构思，

还是在构图布局、色彩色调上，都与他过去的

作品面貌截然不同，个人风格十分鲜明，极富

现代感。这可以说是画家试图在艺术表现上建

立起自己的面貌的一种大胆作为。

几年以后，范少华又以一种新的尝试出

现在他的荷花系列画上。荷花在中国传统花鸟

画中，往往带有其特定的象征意义，是一种清

高、洁身自好的人格象征。范少华在他的荷花

系列画中，将西洋油画的写实描绘转变为中国

水墨的写意表现，着意于对水墨韵味的抒发，

同时又融入西方现代绘画的抽象因素，以及在

背景中揉合了褶皱的肌理效果，赋予了他的荷

花画与众不同的艺术趣味。荷花在这里改变了

它们原先的文静、自闭的性格，而转化为一种

充满激情的主动的姿态。

范少华在最近的新作中，又将女人体与荷

花画在一起。我认为这不是简单地将两种图像

混合在一起，而是在将中西两种不同的文化进

行碰撞与对话。当具有感官性审美的女人体与

富有精神性品格的荷花结合在一起时，内中的

含意不但是多重性的，而且在文化指向上是深

刻的。至此，范少华将他绘画经历中的人物画

与花卉两大部分合而为一了。这也许是范少华

在当代艺术发展背景下对油画创作所作出的一

种思考性的表达。

朱国荣

上海市美术家协会副主席

2010年 1月

前言

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前言朱国荣

In the life of an artist, there are bound to be changes

in his or her painting styles. When a change takes

place, the artist is really seeking to go deeper or

make further adjustments towards a goal that will

help to raise his or her level of artistic excellence.

This was how I felt when I saw the works of Chinese

Singaporean painter Fan Shaohua.

Fan Shaohua was born in the city of Guangzhou

and he is a native of Guangdong province in China.

When he was 10, he studied Chinese ink painting

on the human figure, birds and flowers under the

master Lu Yanguang.

After the Chinese Cultural Revolution, he went to the

secondary school of the Guangzhou Art Academy

first before studying oil painting in the academy.

After graduation, he worked briefly as a designer for

dance at the Guangdong Television Station. Later,

he moved to Guangzhou University where he taught

art and design.

During this period, he started to create and showed

many of his works in oil and watercolor as well as

some of his illustrations and even comics at public

exhibitions. Several of his works were selected for

the Seventh National Art Exhibition that went round

the country.

In 1990, he migrated to Singapore. Since then,

subjects on modern city living in Singapore started

to appear in his works. He has been very active in

the art scene there and won many prizes. He also

represented Singapore in art exchange programs

with several countries. They included Malaysia,

Japan, France, Korea, and the United States.

In 2001, he returned to his hometown where

he staged a solo exhibition at his alma mater,

Guangzhou Art Academy, and received rave

reviews. This new year, he is showing some of his

works in oil at the Shanghai Art Academy, sincerely

wanting to share his art with his counterparts in

Shanghai.

In the seven years he was at the secondary

school of the Guangzhou Art Academy and later

during his graduate studies at the academy, he

was trained to apply realism to his creative ideas

and representational art in his artistic expression.

Thus, he was equipped with a strong foundation in

painting techniques.

With his skills, he could paint large compositions

with no difficulties and yet able to express the

liveliness and richness of the textures on the

canvas, especially in his works on modern

Singapore where many people and buildings appear

together. He was able to treat relationships among

human characters, and between human characters

and their surroundings very well.

Actually, Fan Shaohua could have continued to work

on this artistic path. But from 1999 onwards, he

embarked on a new painting style.

He looked at the human figure with a new and

unique perspective, cut it up and paint it section

by section. Initially, the incomplete human figures

looked like they were painted casually and appeared

to be meaningless. But on carefully examination,

they actually showed the characteristics and trends

in modern living, such as the city folks’ daily mad

rush or helplessness.

These new style of painting were vastly different

from those of his past, whether in their creative

ideas, compositions or the use of colors. His

individual style was very distinct, and the new

paintings also looked very modern. It was certainly

a bold attempt by the artist to establish a distinctive

painting style of his own.

A few years later, Fan Shaohua tried another new

painting techniques in his Lotus series. The lotus

has special significance in the traditional Chinese

painting of flowers and birds. It represents a certain

aloofness and purity of character, among other

qualities.

In Fan Shaohua’s Lotus series, he turned the

representational art painting technique of the West

into free-hand brush strokes in Chinese ink and

brush painting which often uses the degree of

concentration of the ink on paper as a means of

expression. To give a Western flavor to his works,

he painted the background with a crumbled-paper

look, making his pictures of the lotus to be so

artistically distinctive.

The lotus in his works also changed from their

usual quiet and aloof nature to be so full of life and

passion.

In Fan Shaohua’s recent works, he painted the

female figure together with the lotus. I don’t think it

is just a simple act of putting two different subjects

side by side. More than that, he was really making

a contrast between the East and the West, two

subjects from different cultures, and trying to create

a dialogue between them.

When you put the sensuous and beautiful body of

a woman together with the lotus, the significance

could be multiple and many sided. Culturally, they

also have great meanings.

Fan Shaohua has put his human figures he painted

for years together with the lotus. This is perhaps

his thoughtful expression of the place oil painting

should be in the development of modern art today.

Zhu Guorong

Vice-President of the Shanghai City Association

of Artists

January, 2010.

Foreword, Zhu Guorong

FOREWORD

Essence . Life II

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与范少华先生可谓神交。他远在南洋异国

新加坡，我在中国首都北京，虽路途万里，却

因画结缘，心心相印。

冬至的北国，千里冰封，刺骨的寒风，令

人心冷。隔窗的露台，洒下冬日的阳光，欣赏

《华慧·人间——范少华的绘画艺术》和他的

《新山水》画册，有一种莫名的惬意和温暖。

范少华是一位新加坡新移民艺术家。1963

年出生于中国广州市。儿时受父亲影响，酷爱

绘画。1978年考入广州美术学院附中，1981年

入广美油画系学习。七十年代末八十年代初，

正值中国大陆改革开放，一方面社会秩序得以

恢复，教学步入正轨；一方面国门开放，思想

日渐活跃，范少华恰逢其时，沐浴着新时期的

阳光，受到良好的学院教育，打下了坚实的绘

画基础。在校期间，范少华重视深入生活，创

作了《铁臂》、《求索》等富有时代气息的作

品，受到当时媒体的广泛关注。1985年毕业

后，他深入到少数民族地区，完成了《瑶族少

女》、《故居》、《日照》等一批颇具生活气

息的现实主义油画作品。与此同时，受’85美

术思潮的影响，他大胆探索，竭力摆脱既往的

创作模式，尝试以象征性语言，揭示人的存在

和生命价值，完成了《生命的启蒙》、《我》

等作品，从而开启了他日后关注人、关注人

生、关注人的生存状态的艺术创作之路。

1990年，范少华移居新加坡。异国他乡，

语言、风俗竟是那么熟悉，他很快就融进了这

个社会。他喜欢画人，在差不多十年的时间

里，他画了大量人物肖像，代表作有《舞蹈

家》、《红头巾》、《祖父》、《龙的传人》

、《外籍劳工》等。他有时也深入到街头巷

尾、港口码头、市场作坊观察普通市民生活，

创作了《走过的岁月》、《旧货摊》、《正月

初一》、《春到牛车水》等一批具有人文关怀

和怀旧情结的作品。范少华在延伸他的现实主

义。作为一位外来艺术家，范少华常常以审视

的眼光挖掘那些常常被人忽略的生活细节，着

力揭示生活在大都市人们的生存状态、情绪和

心理，像《早上七点》、《中午十二点》、《

晚上九点》、《同道》、《赶路》、《途中》

、《前程》等作品不一而足。范少华还有些关

注环境和生态的画作，更能引发人们对这一普

遍社会问题的思考。在艺术语言上，为适应表

现新的主题，范少华由地道的写实风格转向概

括、夸张以至变形状态，使作品更具现代性。

作为一位现代艺术家，范少华在关注人、

关注社会的同时，自然也关注与人和谐相处的

大自然。天人合一的宇宙观深深地体现在他的

艺术实践中。他画静物，也画山水（风景）。

我们注意到，范少华九十年代前期的静物画

得比较规矩，延续着学院派细腻典雅作风，九

十年代后期的作品，如《花开花谢》之一、之

二，以对比的手法，表现葵花花开花落，赞美

生命之辉煌、感叹哀败之悲怆。从而超越了一

般静物画传统表现手段，使作品更富象征意

义。在艺术语言上，画家一改以往的精雕细

刻，以率意的用笔一气呵成。象征性手法和笔

意的变化预示着范少华艺术一次重要变革。

进入新世纪，范少华步入一个全新的创作

神交范少华

杨庚新

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神交范少华杨庚新

期。这个时期的代表作是《荷花》系列和《新

山水画》系列。

荷花是中国古典文学和绘画的传统题材。

楚辞、汉赋以及六朝诗歌有许多咏荷颂莲的华

章。绘画方面，四川新都出土的汉代“莲花”

画像砖、四川德阳出土的汉代“采莲”画像砖

以及传南唐画家顾德谦所绘《莲池水禽图》、

南宋画家吴炳的《出水芙蓉》都是古人留给我

们的稀世画荷杰作。明清乃至近现代，以荷为

题作画的画家更是不胜枚举，现代画家凌文

渊、张大千、林风眠、谢稚柳都是我们熟知的

画荷高手。荷花出污泥而不染，庄重、典雅、

秀美，旧时文人、画家常常借题发挥，抒发孤

傲、高洁、伟岸、独处的人文品格。范少华爱

荷、画荷，并以之为图像符号，是有其特定的

人文内涵的。他笔下的荷花承继着传统，又创

造着未来。范式荷花如烟如织，亦真亦幻，灿

烂如霞、热烈如火、碧绿如玉，给人以无尽的

审美享受和太多的想像空间。这些作品都是来

自画家的真实感受。他学习传统绘画“以我观

物”、“静观妙悟”、“神与物游”的创作方

法，运用意象造型，完成了创作一次质的飞

跃。在艺术上，他注意营造气氛，创造意境，

运用诗意的语言和拟人手法，引人入胜。他还

成功运用油画丰富的色彩，以色为“墨”，一

反明清以来“水墨为上”的传统，造成绚丽多

彩的艺术效果。在笔法上，他吸收传统笔墨技

巧，将书法引入创作，姿意挥洒，放达自由。

通过几年实践，范少华从传统工致描绘渐渐步

入了放笔书写状态，使画面更加富有生气和底

蕴。

“新山水画”系列是范少华对传统的山水

画的全新解读与形象诠释，它继承了传统山水

画的本体意蕴，却采取全新的语汇和图式，运

用油画的色彩和抽象半抽象的语言，使传统意

义的山水画进入一个全新阶段。

我以为，无论是范少华的“荷花”系列还

是他的“新山水画”系列都集中体现了画家

以“中为主，融西于中”的绘画理念。他的艺

术主张和创作实践都是十分可贵的。八十年前

岭南派大师高剑父在《我的现代绘画观》一文

中曾说：“西画能够参些中画成分其中，带点

东方色彩……西画人皆将国画之精神技法来写

西画，实可开一派最新中国西画，又成为最新

之现代国画。”我们在岭南派后继者范少华先

生的作品中似乎看到了这派最新的中国西画。

2010 年元月 6日

杨庚新艺评家《艺术》杂志执行总编

A Godly Relationship With Fan Shao Hua, Yang Gengxin

Essence . Life II

16


My relationship with Fan Shaohua is a godly one.

He lives far away in Nanyang or the south seas in

Singapore, and I, in China’s capital, Beijing. Though

we are miles apart, we are closed to each other in

our hearts because of art.

It’s freezing cold in the winter back in my home up

north. With the winter sunlight shinning through

the windows at my balcony, I enjoyed flipping

through Essence-Life and New Landscapes, both

albums featuring Fan Shaohua’s paintings, and I felt

strangely warmed.

Fan Shaohua is a new immigrant artist in Singapore.

He was born in the city of Guangzhou, China, in

1963. His father’s influence resulted in him liking

to paint when he was young. He enrolled in the

secondary school of the Guangzhou Arts Academy

in 1978. Three years later, in 1981, he started

learning oil painting at the academy.

China’s open-door policy and reforms towards the

end of the 1970s and in the early 1980s helped

to restore order and put education back on track

on the one hand, and allowed gradual freedom

of thoughts after the country’s opened up to the

outside world on the other. Fan Shaohua was

fortunate that he could benefit from this era as

he received the best education that helped to

lay a strong foundation for his art and painting

techniques.

When he was in school, he concentrated his works

on the importance of daily living and created

several works such as “Iron Arm” to reflect that and

received good media attention. After he graduated

in 1985, he went into the lives of the minority tribes

in China and created works such as “Girl From Yao

Minority” and “Hometown” which were realistic

works of art and full of life.

Greatly influenced by the art movement of ‘85,

he was bold to experiment and tried to move

away from his old creative styles. He began to use

symbolic language in his art to show the value of life

with such work as “Genesis of Life” and “Myself”.

Thus, he started his artistic journey to focus on man

and life and the meaning of human existence.

He moved to Singapore in 1990. As the language

and customs in his new home are familiar to him,

he integrated quickly in its society. He liked to

paint people. In a short span of about 10 years, he

painted many portraits and among the outstanding

ones include “The Dancer”, “Samsui Woman”,

“Grandfather”, “Descendants of the Dragon”,

“Foreign Worker”.

Sometimes he also went far into the streets, the

markets, the port and harbor to observe lives of

the ordinary folks. He came out with works such as

“Time Passed”, “Old Stall”, “First Day of Chinese

New Year”, and “Celebrating Chinese New Year In

Chinatown”, all nostalgia works about life.

Increasingly, Fan Shaohua is using more realism

A GODLY RELATIONSHIP WITH FAN SHAOHUABY YANG GENGXIN

17

in his art. As a foreign artist, he often used his

keen and sharp eyes to pick up details of life

often neglected by others. He also worked hard

at showing the living conditions, emotions and

psychology of life in the city with such works as “7

AM”, “12 Noon”, “9 PM”, “One Way”, “Journey”,

“On The Road” and “The Future”.

Fan Shaohua also painted on subjects concerning

the environment and ecology. They had inspired

others to give more thoughts on such social issues.

In terms of his artistic language, Fan Shaohua had

switched from the tradition of representational

techniques to to become more abstract,

exaggerated and even out of form so that his works

could appear more modern.

As a modern painter, Fan Shaohua paid a lot of

attention on people. While he was focused on

society, he did not ignore Mother Nature which

Man has been living in harmony with. We could see

in his art, Man and Heaven coming into one in the

universe.

He painted still life and also landscapes. We

observed that the still life works he painted in the

1990s were more proper and rich in details and

that followed the strict discipline of representational

painting from the art academies. His works after

the 1990s, such as “Blossoming & Withering 1”

and “Blossoming & Withering II”, which compared

the blossoming and withering of the sunflower to

sing praises for life as well as to sigh as life began

to degenerate and die away. It was a breakthrough

in traditional still life painting techniques and

added symbolic meaning to the works. From the

artistic language point of view, he had moved from

concentrating on the details to focus on what the

subjects would represent.

In the new century, Fan Shaohua entered into yet

another new phase in his artistic creation. His

“Lotus” and “New Landscape” series of paintings

are representative works from this is new period.

The lotus is a traditional subject for paintings and

literature in ancient Chinese literature and art, dating

to the poetry and verses written as long ago as

during the period of the Six Northern and Southern

Dynasties. In ancient paintings, artworks on tiles

unearthed in Sichuan dated to the Han Dynasty

showed the “Lotus”. The southern Tang Dynasty

painter Ku Delian also painted a picture of the lotus

in a pond. So did the southern Song Dynasty painter

Wu Bing whose work, Lotus From the Water or Chu

Shui Fu Rong is even remembered today.

From the Ming and Qing dynasties up to the present

day, there are even more examples of artists using

the lotus as their painting subject. Modern painters

well-known for painting the lotus include Ling

Wenyan, Zhang Daqian, Lin Fengmin and Xie Yaliu.

The lotus remains beautiful even though it came out

of the mud. It is respectful, elegant and beautiful.

Ancient scholars and painters used it to illustrate

good human characteristics such as pride, purity,

independence and greatness.

Fan Shaohua loves the lotus and like to paint the

flower. He uses it as a symbol to represent some

good human characteristics as well. The lotus under

his brush represents ancient traditions as well the

future. His lotus can be as thin as smoke, real and

unreal, as bright as the morning clouds, as hot as

fire and as clear as the best jade. They never fail to

give the viewer space to appreciate their beauty and

imagine. His works all came from his true feelings

and emotions.

He practiced traditional Chinese painting techniques

and used imagery to create. He was also particular

with the atmosphere and employed poetic elements

in his works to make them appealing to the viewer.

He used oils as ink, or mo, which is a break from

the tradition of Chinese brush and ink paintings

since the Ming and Qing periods. In terms of his

brush strokes, he showed that he had mastered

the traditional Chinese brush and ink painting

techniques and even introduced elements of

Chinese calligraphy in his works. After a few years,

he had moved from the disciplined hands of a

traditional Chinese brush artist to one with a free

hand to paint and splash, adding new life to his

works.

Fan Shaohua’s “New Landscape” series is a

complete and revolutionary change from his past

traditional Chinese landscape paintings. Using his

mastery of traditional Chinese landscape painting

techniques and combining them with new and

modern artistic idioms and compositions which

are either abstract or semi-abstract in colorful oils,

he revolutionized traditional Chinese landscape

paintings to a brand new level.

Whether it is Fan Shaohua’s “Lotus” or “New

Landscape” series, I believe they both showed the

artist’s attempt to blend the West with the East while

maintaining the Chineseness of his paintings. His

philosophy in art and creativity are very valuable.

The great master of the Lingnan School of art in

the 1980s, Gao Jianfu in his book on his painting

beliefs on modern art once said: “Some elements

of Chinese paintings can be added into Western

art, to give them some oriental character….Western

painters too can absorb some Chinese painting

techniques to create new Chinese-Western artworks

to be a new form of modern painting.”

Following the Lingnan School, we can perhaps now

see in Fan Shaohua’s paintings, this new form of

modern Chinese-Western works of art.

January 6, 2010

Yang Gengxin is an art critic and executive editor of

Art or Yi Shu magazine.

神交范少华杨庚新A Godly Relationship With Fan Shao Hua, Yang Gengxin

Essence . Life II

18

当我看到画家范少华的作品“荷花系列”

和“人体荷韵系列”时，喝彩声不由脱口而

出。一个读者被艺术所感动，来自作品的强烈

的震撼力。也是作品丰厚精神内涵和优秀的表

现方法加上精湛的绘画技巧融为一体显现出的

艺术灵光。

范少华这两大系列艺术佳构，都是以中国

画大写意表现方法，用油画材质表现出来的鲜

活的艺术品。其鲜活程度，在于我们找不到古

今中外可与之类比的参照，鲜明的艺术个性书

写出画家带给当今画坛推陈出新下石破天惊般

的艺术传奇。这一传奇，带给我们一批足以让

民族艺术骄傲的标识盛世的经典艺术佳作。

这依山带水肆意开放的古莲，是艺术家的

真情负载在传统写意的神韵上来尽情吟咏着一

曲岁月恋曲。这笔墨浓淡干湿的对比带来的张

力，色彩冷暖真幻虚实中的视觉冲击力和二者

结合下的鲜活的艺术氛围。犹如百折不挠的民

族精神，不屈的国魂巍然挺立，又如一个人坎

坷曲折、柔肠百曲的心路和情感在丹青原野上

娓娓倾吐着。而人体与荷花系列更是令人耳目

一新，画家充分发挥油画规律展现意境美和丰

富的表现力，凸现出了一个全新的艺术天地。

在高洁清雅中内蕴，给人以视觉舒服、感受愉

悦的审美享受。又以其主题深刻的象征意义和

哲思带来意境深远的文化洗礼。

艺术品的高格不在于他画了什么，而在于

作品是否阐释出深刻的社会人文关怀，是否在

文化传承和发展上有着里程碑般的意义。感谢

画家范少华，给予我们一个深入探求的机会

首先，画家大胆地用西方传统绘画的材质

油画颜料和油画的艺术语言来构思创作、表现

自己的艺术见解和心灵的意象，开创先河地进

行一次前无古人的新探索。在他的荷花系列

中，高扬母系文化精神，以中国画的笔墨元素

做为艺术图腾，展现出传统中国文化艺术魅

力。使这种洋为中用的艺术实践一步到位，直

通车般地走进受众视野，成为学习与借鉴外来

艺术的成功的范例

第二，在作品的艺术面貌上出现了新气

象。他笔下的荷花在油画风格中和国画的表现

上都呈现出前人所无的新面貌，进而超出了两

种绘画形式的表现格局而形成一种新的艺术形

式和风格样式。既拓展了中国画的发展领域，

又丰富了油画的意境和神韵。这一中西融合没

有在相互抵消中弱化为两种艺术的张力，却在

相互激荡中提升了作品的精神内涵。用作品标

识着中西艺术交流的美好前景，开拓出一条两

个画种融汇共荣的新路。

第三，这种探索的成功，来自画家的生活

积累和充分的文化准备。范少华有扎实的素描

根基，精准的人物造形能力，天赋般良好的色

彩感觉，又能熟练地架驭油画创作的艺术语

言，表现主题得心应手。同时，他又精通中国

画大写意笔情墨意的画道学术，熟练掌握浓淡

干湿对比的艺术肌理，更主要是对传统中国画

的审美特征和形象特质及艺术语言、笔墨技巧

等都有继承与发展上深层次的思考，更有时刻

准备为艺术献身的生命状态。这种蓄势待发中

的艺术之旅，一旦选准方向必定会大有作为。

至高民族文化的精神品格

读范少华油画系列作品有感

李人毅


19

实践证明，只有以厚重的文化积累做后

盾，承载起艺术家创新图变的艺术追求，才能

使良好愿望变为现实。

在赏读范少华荷韵人体系列时，使人走进了一

种美丽的梦境中，痴迷着沉醉着，感受着两种

文化撑击下强烈的文化共振。

当我们走进范少华的艺术空间，流连和散

发的都是中国文化元素的丹青阐释。他的艺术

成就，是民族人文思想的抽象表达，是天人合

一哲思的艺术再现，更是刚柔相济、冷暖人

生、动静生态哲思的艺术显像。这些中国文化

优秀内质，通过画家才能的演绎传递，增强了

中华民族的文化自信。也造就了一位中国优秀

文化传承的文化使者。使范少华成为一名怀有

强烈中华文化传承使命的艺术大家。

画家作品的精神品格，还是在画家的作品

里。

在此，我们清晰地看到一串坚实的文化履

痕。范少华高扬起中华文明的大旗，一路风

尘、一路追求，走着一个坚守高尚情操的爱国

主义者的艺术人生之路。

这人生之路中有三点闪亮标识，诠释着画

家艺术的精神品格：

1、鲜明而响亮的文化身份。当今西方文化

无时不在向文明古国渗透之时。各种流派都在

消解中华文化传统之际，范少华的作为做出响

亮坚定的回答，只有执着地坚持守住民族文化

阵地，中国画家才能有所作为。

2、坚定而扎实的文化立足点。范少华艺术

之根是传统中国艺术的精华，在这口深井中挖

掘钻探，使源头活水汇流成河，让中国艺术之

树长青，并在嫁接中凸显母体的光辉，才能使

中国艺术的强势更有辐射力。

3、高扬中国的艺术精神。范少华以传承

中华文明为使命，使古老的绘画焕发了青春光

彩，引领笔墨意韵进入新的领域，彰显时尚的

魅力。在弘扬民族文化精神的实践中拓展了艺

术人生，创造具有当代盛世文明风范的艺术佳

作。

一个艺术家的创作，看似特立独行的行

为。其实，在其艺术成果中，总是会找到艺术

品的精神归宿。在爱国情操的内涵中的创新之

旅上，书写着艺术家范少华的赤子之情，在我

们享受这艺术大餐之际，对画家的爱国情怀，

献上我们深深的敬意。

已丑十一月十五日於北京

（李人毅：人民日报社《人民美术》杂志执行主编。

中国美术家协会会员、中国作家协会会员、国家一级

美术师，原《美术》杂志执行编委）

至高民族文化的精神品格李人毅Elevation of the Spirit of Chinese Art, Li Renyi

Essence . Life II

20


“Bravo!” was the word that I shouted when I came

face to face with the Lotus Series and Rhythm of

Body in Lotus Form Series by artist Fan Shaohua.

When a painting moves the viewer, it is often the

result of not just the techniques behind it but a

combination of technique, brilliant method of

expression and rich cultural depth contained in it.

The two series of oil painting by Shaohua are

rendered with the expressive style of Chinese

painting using oils as a medium. The works that

have been produced are refreshing and amazingly

rare. They feature such a distinctive artistic

characteristic that they are truly a legend-like art

treasure the artist has offered to the contemporary

art scene.

The classic image of lotuses that bloom by the

hills and rivers in Lotus Series is a love song of the

times in which the artist has lodged his emotions,

which is offered in reverence to the artistic essence

of traditions. The charming atmosphere of the

works created by rich ink tones with a clear contrast

between moist and dry inks and the visual impact

created by the interplay of cold and warm colours

can be likened to the lofty spirit of a people and to

the traces of a man’s emotional journey. The Rhythm

of Body in Lotus Form Series unveils another artistic

haven resplendent with the melodic charms of oil

painting.

In addition to the aesthetic appeal of works in the

series, the subject, which has rich symbolic and

philosophical implications, is thought-provoking as

well for its cultural dimension.

When we appreciate a painting, we often ask: “Does

the painting reflect a concern for humanity?” “Does

it have the quality of being a landmark work in the

inheritance and development of the culture of which

it is a part?” The two series by Shaohua offer us an

opportunity to examine these considerations.

Firstly, Shaohua has, in his Lotus series, boldly

employed oils, the western painting material and the

visual language of western art. Such an engagement

represents an unprecedented exploration. The

series evidently embodies the spirit of a matriarchal

culture which uses ink-and-brush— Chinese

art elements—as artistic totem, through which

the enchantment of traditional Chinese culture

is rendered full play. His is a successful case of

using western art as a vehicle to convey Chinese

sentiment.

Secondly, Shaohua’s lotus paintings has added a

new dimension to the art of depicting lotus both in

western oil and in Chinese painting. By venturing

beyond the confines of both modes, his works

showcase a new dimension; they not only broaden

the scope of development in Chinese painting but

also enrich the realm of oil painting. The confluence

of the two modes finds absolute harmony in his

paintings and deepens their depth. His engagement

is proof of the successful fusion of the two arts.

Thirdly, Shaohua’s explorations are firmly rooted

in life and painting experiences. His foundation in

sketch is strong, his mastery of form is precise,

ELEVATION OF THE SPIRIT OF CHINESE ARTTHOUGHTS ON FAN SHAOHUA’S OIL PAINTING SERIES BY LI RENYI

21

至高民族文化的精神品格李人毅Elevation of the Spirit of Chinese Art, Li Renyi

his sense of colour excellent and he is well-versed

in the visual language of oil painting. All these

elements combine to make his expressions of the

subjects absolutely eloquent. More importantly, he is

adept at the skills of the expressive mode (xie yi) in

Chinese painting and the method of ink-and-brush

and principle of the contrast between dry and moist

inks. He is familiar with the aesthetic features, the

form and the visual language of Chinese painting.

The works that he has created shows that he is

heading towards the right direction with promising

development.

Much like the amazing Lotus series, the Rhythm of

Body in Lotus Form series takes the viewer into a

dream-like haven, a world where two art styles are

perfectly harmonised.

When we enter the artistic space of Shaohua’s

paintings, we are greeted by elements of Chinese

culture. His paintings are the abstract expressions

of the Chinese humanity, the embodiment of the

philosophy of the heaven-and-man marriage (tianren

heyi) and the interplay of sturdiness and gentleness.

Because of the rich cultural nuances in his

paintings, Shaohua may be regarded as an excellent

missionary of Chinese culture.

In Shaohua’s works, the traces of Chinese culture

are discernible and his pursuit may be likened to a

journey of artistic patriotism.

The art of Shaohua is marked by three

characteristics:

A distinctive cultural identity: Amid the waves of the

influx of western culture into China and the erosion

of Chinese culture, Shaohua presents works that

are uniquely Chinese; guarding the treasures of the

Chinese civilization steadfastly.

A sturdy cultural foothold: Shaohua’s art is firmly

rooted in Chinese soil and digging deep into the

well of traditions enables streams to converge and

form rivers. His achievement makes Chinese art an

evergreen art form, allowing its original splendour to

shine through in the course of fusion.

Elevation of the spirit of Chinese art: Shaohua’s

work revitalizes an ancient art form and takes ink-

and-brush to greater heights, illustrating the charms

of contemporary art at the same time. The artist not

only enriches his life but also presents works that

are in tune with the times.

The creation of an artist may appear to be an

individual endeavour but deep down, we can always

trace the sources of inspiration to his cultural

traditions and find his spiritual solace there as well.

On this point, may I offer my heartfelt reverence to

the artist when we feast on his sumptuous artistic

fruition.

Li Renyi

November 15, 2009

Essence . Life II

22


23

范少华艺术活动年表Biography, Fan Shao Hua

Born in Guangzhou City

出生于广州市

Studied in Lu Di Xi Primary School situated in

Guangzhou City, Li Wan District. During his free

time, Fan developed a liking for painting portraits.

The landscape due to influence from a father who

adored cultural arts.

就读于广州市荔湾区芦荻西小学,课余受爱好文艺的父

亲影响自习画政治人物形象及花鸟山水画。

Fan was selected in school to attend the Chinese

Painting class conducted by Teacher Lu YanGuang

at the Home of Li Wan Youths, generating Fan’s

a deep interest and understanding of traditional

drawings.

由学校选送到荔湾区少年之家随卢延光老师学习中国

水墨人物,花鸟画。从此对传统绘画有了真正的理解

和深刻的认识。

Graduated from Primary School. Joined Guangzhou

“No.11 Secondary School”. Learnt Western

sketching from Teacher Zhao Ji Zhao, building Fan’s

strong foundation in arts.

小学毕业,就读于广州第十一中学,期间认识赵辑照老

师学习西洋素描,打下立体造型基础。

Successfully admitted into Guangzhou City youth

arts class, followed teacher Zhang Wen Bo and

learned the standard way of drawing techniques.

Used Chinese Ink to create a special performance

to welcome the foreign guests and received great

appreciation.

考入广州市少年宫美术班,随张文博老师学习相当规

范的绘画基础。期间还以水墨花卉画表演接待外宾,

得到嘉许。

Water color painting Dawn was nominated in “Tian

Jin City, Guangzhou City youth Arts Exhibition”

Graduated from Secondary School in September

and entered The High School affiliated to

Guangzhou Academy of Fine Arts, becoming the

first cohort of the students the college accepted

since Cultural Revolution.

8月水彩画《晨》入选“天津市、广州市少年儿童美

术书法作品展览”。 9月中学毕业,同时考入广州美术

学院附中,成为文革后恢复招生的首届学生。

Graduated from The High School affiliated to

Guangzhou Academy of Fine Arts.Majored in

Oil Painting when Fan furthered his studies

in Guangzhou Academy of Fine Arts. Positive

influence from senior Wang Wei Jia gave rise to

the publications like “Golden Age”, “Family” and

“Political Newsletter”. This was made possible only

with the strong recommendation of Teacher Situ

Mian.

广州美术学院附中毕业。同年考入广州美术学院油画

系。期间受学长王维嘉影响,被司徒绵老师推荐课余

发表大量插图作品于《黄金时代》、《家庭》、《法

制报》等刊物。

Went to the factory to gather some life experiences

and generated works like “Iron Fist” which was

presented in “GuangDong Pictorial”, “ GuangZhou

Daily”, “Yang Chen Evening News”, “Shen Zhen

Special Zone Daily” and “Golden Age”. His works

are also published in Ling Nan Arts editorial’s “

Hua Lang Art Gallery” and “Hua Jia Tan Yi Lu”.

At the same time, these works were published in

“Guangzhou Daily”.

到工厂体验生活创作油画《新铁臂》发表于《广东画

报》、《广州日报》、《羊城晚报》、《深圳特区

报》、《黄金时代》并在岭南美术出版社《画廊》及

《画家谈艺录》报道,同时两幅船厂速写刊登《广州

日报》。

Fan’s oil painting “Yearn” was deemed a “collectors

item” by the Guangzhou Library.

12月油画《求索》被广州图书馆收藏。

Obtained arts degree in Guangzhou Art institution,

1963

1970

1973

1975

1976

1978

1981

1983

1984

BIOGRAPHY范少华艺术活动年表

Essence . Life II

24


Went to Shen Zhen to experience the way of

life there and created “Xin Xi”, an oil painting

which could be found in the major newspapers

like“Guangzhou Daily” and “Southern Daily”.

Appointed Guangdong Television’s Stage Designer,

and under the invitation of Supervisor Lee Xing Tao,

Fan took up the position of teaching in Hua Nan Arts

University.

就读于广州美术学院并获文学学士学位。到深圳体验

生活创作《信息》油画作品发表于《广州日报》、《

南方日报》等。同年分配到广东电视台担任舞台美术

设计工作,同时接受李醒韬主任邀请担任华南文艺业余

大学美术系教师。

Drew the Chinese comics on the theme of Chinese

martial arts and about “Lee Xiao Long”, published

by Ling Nan Arts Publishing House.

创作中国武术连环画《李小龙传奇》,岭南美术出版

社出版。

His oil painting of “Floral Shop” was selected to

be displayed in the Chinese Greenery Exhibition,

held at China’s Art Museum. His drawing by

pen “Memorable Journey” was selected in the

Guangzhou Arts Exhibition.

6月创作油画《花店》入选《绿化广东画展》中国美

术馆展出。 10月钢笔画《美的历程》入选广州美术

作品展览。

Transferred to Guangzhou University to teach in

the Faculty of Design. Fan’s Oil Painting “Budding

Life” was nominated in the “Third National Hygienic

Arts &Photographic Exhibition”. The Oil Painting

“Establishing” was selected into the “Chinese Youth

Artists Self-Selected Series” and was published by

Li Jiang Publishing House. The water color painting

“Light” was nominated in the 1989 Guangdong

Province Arts Exhibition, water color painting

division.

The water color painting “New Life” was awarded

Guangzhou “Wo De Hua Cheng Tian Guang Cai–

Floral City ” First Prize. Selected by Guangdong

Arts Hall to participate in the National Youth

ArtsExhibition. Drawings like “Me”, “Fruits” were

nominated in the “1989 Guangdong Excellent

ArtsExhibition” and the Painting “Fruits” was even

selected into “Seventh Annual National Arts Fair”

调入广州大学设计系任教。 3月创作油画《生命的启

蒙》入选《第三届全国卫生美术摄影作品展览》。 6

月创作油画《构成》入选《中国中青年美术家自选

作品集》漓江出版社出版。 7月创作水彩画《光》入

选《1989年广东省美术作品展览》。 9月创作水彩

画《新生》获广州《我的花城添光彩》美术大赛一等

奖。 10月被广东画院选入青年创作组筹备全国美展。

创作油画《我》、《果》入选。《1989年广东优秀

美术作品展览》油画《果》入选《第七届全国美术作

品展览》。

Recommended by Lin Yong and Tang Xiao Ming to

be part of the Guangdong Artistists’ Association in

Jan. Jointed Guangzhou Artists’ Association in July.

Created water color painting “Teenage girl” and

was selected to be displayed in the Xiang Tu Feng

Qing Arts Exhibition” which exhibited in Guangzhou,

published in Hong Kong’s “Xin Wan Bao” in Oct.

1月由林墉、汤小铭老师推荐入广东省美术家协会。 7

月加入广州市美术家协会。 10月创作水彩画《少女》

入选《乡土风情画展》展出与广州,发表于香港《新

晚报》。

Fan’s oil painting “ Luo Xia De Hong Mian”, awarded

“Guangzhou City Second Arts Exhibition” Excellent

Prize in June. Oil Painting “Luo Xia De Hong Mian”

was honored “Guang Dong Province Celebrating

Chinese Communist Group Seventieth Anniversary

Arts Exhibition” Bronze Prize in July.

6月创作油画《落下的红棉》获“广州市第二届羊城

艺术博览月美术作品展”优秀奖。 7月油画《落下的

红棉》荣获“广东省庆祝中国共产党建党七十周年美

术作品展览”铜牌奖。

Employed by Singapore Jin Feng Arts Pavilion

to be the resident painter. In the meantime, Fan

designed two sets of twelve postcards each for the

prestigious International Arts Company “Décor Art

International, themed “Portraits of Singapore Faces”

and “Singapore Places of Interests, to be distributed

to various local and overseas corporations. Drew

the insert “Hundred Tang Poems” for Singapore’s

Catholic School Chinese curriculum, held his

solo Arts Exhibition, showcasing all his works. Oil

Painting “Awaken” was presented in the magazine

“Collectors”. Interviewed by the radio station on his

achievements and drawn the portraits of several

Famous Singaporean entrepreneurs.

受聘新加坡锦峰画苑专驻画家。期间为得高国际艺术

出版公司Décor Arts International 创作两

套明信片各十二张水彩画《新加坡人物风情画》、《

1985

1987

1988

1989

1990

1991

1992

25

新加坡名胜历史》发行于国内外公共机构。为新加坡

公教中学华文课本创作设计《唐诗一百首》插图,同年

与新加坡艺术博览会举办《范少华个展》。油画《

苏醒》发表于《收藏家》杂志。受委托为新加坡大型

企业家创作肖像画,并接受新加坡丽的呼声电台专访。

Held own arts exhibition, “Fan Shao Hua Arts

Fair” Oil Painting “Me” was selected by Singapore

UOB bank for the Arts Exhibition that commended

winning paintings.

于新加坡艺术博览会举办《范少华个展》。油画《

我》入选新加坡大华银行美术比赛优胜作品展览。

Held a water color painting arts exhibition at the

cultural centre by the Singapore River, became

the Life time member of the Singapore Zhong Hua

Arts Council. Was appointed to draw portraits of

Singapore and Malaysia’s political leaders.

于新加坡河畔艺术中心举办“范少华水彩、油画展”

加入新加坡中华美术研究会永久会员。受托为新加

坡,马来西亚政治领袖创作肖像油画作品。

Joined Singapore Arts Association Oil painting

“Singapore Streets” was nominated in Singapore

Arts Festival. Chinese Painting “Autumn”

participated in the Local Arts Exhibition & Charity

Sales Contemporary Art Exhibition, organized by the

Singapore Chinese Teachers’ Society. Oil Painting

“Rui Xue” participated in the Inter-Region Famous

Ceramics Masters Arts Exhibition.

加入新加坡艺术协会。油画《新加坡街景》入选新

加坡艺术展。水墨画《盛夏》参加新加坡华文教师

职工总会主办“本地画家作品展览义卖会95”。油

画《瑞雪》参加“国内外当代名家书画陶瓷艺术品义

展95”。

Joined Singapore Modern Arts Society.

加入新加坡现代画会。

Oil painting “Nan Guo Jia Guo” was selected

for the Singapore Arts Exhibition Fan’s works on

Fruits “Waiting” was awarded Outram Park Arts

Association commendable award. Oil Painting “Hua

Kai Hua Xie” was awarded with the best entry prize

at the Arts competition organized by SingTel.

油画《南国佳果》入选新加坡艺术展。水果作品《等

待》获欧南园美术学会主办国庆青年美展优秀奖。油

画《花开花谢》获新加坡电信主办“画出新天地”美

术竞赛写实组最佳参赛作品奖。

Oil Painting “Hua Kai Hua Xie 2” was selected

by Cairnhill Community Club to participate in the

“Civilized Society” exhibition. Chinese painting

“Mid-Autumn Night” was awarded “Chen Zhi

Chu Art Contest” Excellence Prize. Oil Painting

“Starting Point” was honored by the Singapore

Sports Council. Third prize in the 25th Sports Arts

Competition.

油画《花开花谢之二》入选经禧民众俱乐部主办“优

雅社会”巡回展出。水墨作品《中秋之夜》

Water color Painting “Homeland” was nominated in

the Nokia Singapore Art Exhibition. Chinese painting

“Journey” was one of the top five entries in the

art drawing competition organized by Winsor and

Newton, and was exhibited in Europe and America.

Oil Painting “Looking On” was nominated in the

Singapore Nokia Arts Exhibition, displayed in the

Singapore Arts Museum.

水墨作品《家园》入选诺基亚新加坡美展。水墨作品

《旅程》入选英国温莎,牛顿主办全球绘画大赛新加

坡赛区前五名,于英国、比利时、瑞典、美国巡回展

出。油画《眺望》入选诺基亚新加坡美术展,展于新

加坡美术馆。

Oil Painting “Them” won the best painting prize in

the Nineteenth National Arts Competition, Singapore

organized by UOB bank. Oil Painting “Train”

competed in the fifty-first national youth artist

forum. Oil Painting “News in March”, “Last Meal

on Earth” was incorporated in the Singapore Youth

Artists’ pictorial. Singapore’s Cape of Good Hope

Art Gallery held the “Fan Shao Hua’s oil painting

exhibition. Employed as Nanyang Academy of Fine

Arts’s visiting lecturer.

油画《他们》荣获大华银行主办第19届全国美术比赛

最佳画作奖。油画《地铁》组画参加新加坡51青年画

家联展。油画《三月新闻》《世界末餐》入选《新加

坡青年艺术家》画集新加坡好望角画廊主办的“街景

情怀— 范少华油画展”。受聘为南洋艺术学院油画

客座教师。

Chinese ink painting “Daytime” was selected in

the “Philip Morris” Arts Prize. UOB bank organized

the “City Images - Fan Shao Hua’s Oil Painting

Exhibition Third Issue in 2001 of “ Nanyang Arts” in

2001 featured some of his paintings. Appeared in an

interview on the Morning Show – “Zao An Ni Hao”

1993

1994

1995

1996

1997

1998

1999

2000

2001


Essence . Life II

26


of Channel 8 & Radio Station 95.8 interview.

水墨画《白日》入选菲利普莫里斯集团新加坡美术

奖。大华银行集团主办“都市掠影-范少华油画展”

。新加坡《南洋艺术》2001第3期专访。新加坡电

视第8波道《早安您好》专访。新加坡电台95.8城市

频道专访。

Chinese Painting “Raining” participated in

Singapore’s “Chinese Cultural Festival” Calligraphy

Exhibition. Chinese Painting “Waiting” participated

in Malaysia’s Kuala Lumpur Second Chinese

Painting Interaction Meet. Chinese Painting

“Getting Hot” was nominated in the “Philip Morris”

Singapore’s Arts Exhibition. Tanjong Pagar Arts

Club organized Fan Shao Hua and his students’ oil

paintings exhibition.

Oil Painting “Untitled” was selected for the Japan

and Singapore joint exhibition, and at the same

time, joined as Japan’s modern arts club as

an overseas member. Oil Painting “Beginning”

was selected for the twenty-first Japan modern

exhibition. Oil Painting “Beginning” participated in

the Singapore’s artists joint exhibition.

水墨画《雨景》参加新加坡“华族文化节”书画大

展。水墨画《等待》参加马来西亚、吉隆坡第2届新

马水墨交流展。水墨画《发热》入选菲利普莫里斯公

司集团新加坡美术展览。丹戎巴葛美术俱乐部举办范

少华师生油画展。油画《无题》入选日本、新加坡联

展,并被聘为日本现代美术协会海外会员。油画《起

始》入选第21届日本现代展。油画《起始》参加新加

坡都市画家联展。

Alliance Francaise De Singapour and Cape of

Good Hope art gallery jointly organized “Moments

of Eternity—Fan Shao Hua Oil Painting Exhibition”

. Tanjong Pagar Arts Club organized “Fan Shao

Hua and students” Exhibition in Aug. Oil Painting

“Abstract” participated in the Eighteenth Asian Arts

Meet and was on display in Hong Kong Heritage

Museum.

新加坡法国语文学院、好望角画廊联办“永恒瞬间—

范少华油画展”。 8月丹戎巴葛美术俱乐部举办《范

少华师师生展》。油画《抽象》参加第18届亚洲国际

艺术展于香港文化博物馆。

Oil painting “Moment of Eternity” participated in the

Nineteenth Asian Arts Meet and was displayed in

Fukuoka Asian Arts Museum.

Entered Paris International Arts City to gain more

exposure, interacted with the like-minded there

for three months and held the “Fan Shao Hua,

Zhuang Xin Zhen, Cai Ai Hua Joint Exhibition” in

May.

油画《瞬间》参加19届亚洲国际美术作品展于日本

福冈亚洲美术馆。 5月进驻法国巴黎国际艺术城考察,

交流三个月并举办“范少华、庄心珍、蔡艾华作品联

展”。

Chinese Painting “Lotus” Participated in the Fourth

Malaysian, Singapore Arts Cultural Exchange

Exhibition.

Four oil paintings participated in the Modern Arts

Exhibition, Singapore.

水墨画《荷花》参加第四届马来西亚,新加坡书画艺术

交流展。四幅油画参加新加坡现代画会小品美展。

Oil Painting “Fen Ba” entered the Asian Arts

Exihibition held at Singapore Arts Museum.

Chinese Painting “Fragrant Lotus” entered the Asian

Cultural Interaction Exhibition which was exhibited

in Singapore, Beijing, Hong Kong, Macau and Kuala

Lumpur. Chinese Painting “Landscape and Rivers”

entered Seoul Fortieth International Arts Grand

Meet nd was honored the Best effort prize, painting

was even kept by the Korean International Cultural

Committee as collection.

Chinese Painting “Portrait” was nominated in the

Eighteenth Asean water color Exhibition exhibited

in various cities of Taiwan such as Gao Xiong, Xin

Su, Tai Tong. Oil Painting “Qui Qu” was honored

with the Excellent Award in the Painting competition

on Flowers, organized by American magazine

“International Artists”.

油画《分葩》参加亚洲美术年展于新加坡美术馆。水

墨画《荷香》参加亚太区艺术交流展巡回于新加坡、

北京、香港、澳门、吉隆坡。水墨画《山水》参加韩

国首尔第40回国际文化美术大展并获“功劳赏”,作

品被韩国国际文化会收藏。水彩画《肖像》入选第

18届亚细安水彩画联展。油画《秋趣》荣获美国《

国际艺术家》杂志,花卉、花园绘画竞赛优胜奖,并发

表专访。

2002

2003

2004

2005

2006

27

Oil Painting “Chinatown grand-father” was

awarded Excellent award by American magazine,

“International Artists” themed “Portrait”

Singapore’s Ode To Art Art Gallery organized Fan

Shao Hua’s Oil Painting Exhibition, themed “Time”.

Was interviewed by Channel News Asia and

Channel Eight’ s Morning Show – Zao An Ni Hao.

Featured in Singapore “ Arts Gallery Directory”

highlight on Artists. Watercolor Painting series

on“Lotus”was invited to attend Korean Cultural

Arts Meet in June. Fan Shao Hua’s Solo Arts

Exhibition was accorded 2007 International Art

Fair prize. Pastel painting “Portrait” was invited to

enter the Local Color painting exhibition organized

by Singapore

National Library Board. Oil Painting “Love in the

Fast Lane” was chosen to be displayed during the

Singapore Art Show. Essence · Life, Fan Shao Hua

Arts is held in Guangdong Museum of Art, China.

1月油画《唐山老爹》荣获美国《国际艺术家》杂

志,人物、人体绘画竞赛优胜奖。 3月新加坡Ode To

Art画廊举办“时光— 范少华油画展”,亚洲电视新

闻台报道,新加坡电视第八波道“早安您好!”专访,

《新加坡艺术画廊指南》画家焦点4月及5月报道。

6月水墨花《荷花》系列受邀出席韩国文化艺术研究

会主办“2007国际文化Art Fair”, 其中的“范少华

个展”,获“2007国际文化Art Fair奖”。 6月粉笔画

《肖像》两幅受邀参加新加坡国家图书馆主办的“

本地粉彩画家艺术展”。 8月油画《爱的快板》入

选新加坡美术展。 8月“华慧·人间范少华绘画艺

术展”于中国广东美术馆举行。

The Solo Exhibition by Fan Shao Hua, Seoul,

Korea

范少华水墨荷花个展，首尔，韩国

Pastel Art Exhibition, National Library, Singapore

肖像粉彩画展览，国家图书馆，新加坡

Fan Shao Hua New Landscapes, Mica Building,

Singapore

范少华新山水画展, 新加坡新闻艺术部雅殿，新加坡

2007

01.06.07

19.06.07

10.2007

22nd Asian International Art Exhibition, Bandung,

Indonesia

第22届亚洲国际艺术展，万隆，印尼

Liquid Passion – MASS Annual Show 2008, Mica

Building, Singapore

现代画会美展2008，新加坡新闻艺术部雅殿，新

加坡

Exhibition of Famous Singapore Painter Fan Shao

Hua, Hong Kong

新加坡著名油画家-范少华油画作品展，香港

获香港世界艺术家评级认证委员会颁发国际一级油

画家证书

Contemporary Asian Art, Ode to Art, Singapore

42th International Culture Art Exhibition, Seoul,

Korea

《荷花系列》个展， Ode to Art画廊, 新加坡

第42回国文化美术大展，首尔，韩国

The Solo Exhibition by Fan Shao Hua, Seoul,

Korea

范少华水彩个展，首尔，韩国

Asia Passion by Singapore Artists, Mei He Art

Gallery, Tai Pei, Taiwan

亚洲聚情-新加坡资深画家联展，美和画廊，台

北，台湾

23rd Asian International Art Exhibition 2008,

the University City Art Museum of Guang Zhou

Academy of fine Arts, Guang Zhou, China

第23届亚洲国际美展，广州大学美术馆，广州，

中国

43th International Culture Art Exhibition, Seoul,

Korea

第43回国际文化美术大展，首尔，韩国

23.11.07

03.2008

21.04.08

05.2008

01.06.08

02.12.08

12.2008

05.2009


28

Landmarks, Taipei, 19th Singapore Artists

Exhibition, Black Earth Art Museum, Singapore

台北归来-19新加坡画家联展，黑土地美术馆，

新加坡

Nanyang in Paris Art Exhibition, Nanyang

Academy of fine Arts, Singapore

巴黎南艺一线牵画展，南洋艺术学院画廊，新

加坡

Remade, Relived : Modern Art in Singapore

2009, Nanyang Academy of Fine Arts,

Singapore

现代画会美展2009，南洋艺术学院画廊，新加坡

The call of the Tradition, Singapore Art Show

09, Black Earth Art Museum, Singapore

传统的呼唤-新加坡艺术节美展，黑土地美术馆，

新加坡

21st Asia Watercolor Exhibition, Tianjin, China

第21届亚细安水彩画展，天津，中国

Talk on Oil Painting History, Black Earth

Museum, Singapore

范少华油画艺术讲座，黑土地美术馆，新加坡

Japan Modern Fine Arts Exhibition, Osaka,

Japan

日本现代美术展，大阪，日本

Singapore International Art Fair 2009,

Singapore

《花仙子》系列，第1 届新加坡国际艺术博览

会，新加坡

14th Guang Zhou International Art Fair 2009,

Guang Zhou, China

第23届亚洲国际美展，广州大学美术馆，广州，

中国

08.08.09

28.08.09

08.09.09

11.09.09

12.09.09

27.09.09

10.2009

11.2009

12.2009

<Essence.Life> Oil Painting Exhibition Preview,

Lyceum Mansion , China

第14届广州国际艺术博览会，广州，中国

Singapore renowned artist Fan Shao Hua

Preview Exhibition, Lyceum Mansion

新加坡著名画家范少华油画预展上海兰馨公寓

上海 • 中国

<Essence.Life> Fan Shao Hua Arts Solo

Exhibition, Shanghai Museum, China

范少华绘画个展《华慧人间》中国.上海美术馆

12.2009

31.12.09

01.2010

29

获奖范少华Awards

AWARDS

Chinese painting “Journey” was one of the

top five entries in the art drawing competition

organized by Winsor and Newton.

水墨作品《旅程》入选英国温莎,牛顿主办全球绘

画大赛新加坡赛区前五名。

Oil Painting “Them” won the best painting prize

in the Nineteenth National Arts Competition,

Singapore organized by UOB bank.

油画《他们》荣获大华银行主办第19届全国美术比

赛最佳画作奖。

Chinese ink painting “Daytime” was selected in

the “Philip Morris” Arts Prize.

水墨画《白日》入选菲利普莫里斯集团新加坡美

术奖。

Oil Painting “Qui Qu” was honored with the

Excellent Award in the Painting competition

on Flowers, organized by American magazine

“International Artists”.

油画《秋趣》荣获美国《国际艺术家》杂志,花

卉、花园绘画竞赛优胜奖,并发表专访。

Oil Painting “Chinatown grand-father” was

awarded Excellent award by American magazine,

“International Artists”

1月油画《唐山老爹》荣获美国《国际艺术家》杂

志,人物、人体绘画竞赛优胜奖。

International Culture Art Fair Award, Seoul. Korea

By International Culture Association of Korea,

Korea Culture Art research Institution

2007 国际文化大赏，首尔.韩国韩国文化协会，韩

国文化艺术研究会。

International Premium Oil Painting Artist Award

By Hong Kong World Class Artist Committee.

香港世界艺术家评委会颁发国际一级油画家证书。

1999

2000

2001

2006

2007

16.06.2007

21.04.08

获奖

Essence . Life II

30


THE LOTUSSERIES

right

浣筆荷花 Complete, 2009


荷花系列

Section Title

31

前言朱国荣

Essence . Life II

32


映日刺绣 Shadow of the Sun, 2007


33

荷花系列The Lotus Series

白雪香新 Snow-White, 2008


34

35

left

泼霞乍染 Splash, 2008


颖脱香泥 Rich in Fragrance, 2009



Essence . Life II

36


花笺特艳 Glorious Lotus, 2009


37

含露穿珠 Dew, 2008



Essence . Life II

38


连理形 Apprearance, 2007


39

共而忘年 Timeless, 2007



Essence . Life II

40


Title of artwork, 2005

Mixed Medium, 100 x 100 cm.

入梦闻诗 Poem, 2007


Section Title

41

前言朱国荣

Essence . Life II

42


色占红霞 Rosy Clouds, 2009


43

风卷水绿 Green Stream, 2007



Essence . Life II

44


45

轻红细掰 Petal, 2007


Essence . Life II

46


风泛天香 Icy Day, 2007


47

THE NUDESERIES

right

火欲凤凰 Fire Phonenix, 2009


人体系列

Section Title

49

前言朱国荣

Essence . Life II

50


喜啄花间 Fun Play, 2009


51

一举上弦 Melody, 2009


Essence . Life II

52


荷泛沼 Lotus in Swamp, 2009


53

人体系列

雁抒向远 Take Off, 2009


The Nude Series

54

春溢 Spring, 2009


55

矫祤之舞 Dance, 2009


人体系列The Nude Series

Essence . Life II

56


黄风 Yellow Wind, 2009


57

美人蕉 Flora Beauty, 2009



Essence . Life II

58


黄落 Autumn Leaves, 2009


59

天鹅湖传说 Swan Lake, 2009



Essence . Life II

60


鹊爪果颗 Fruitfull, 2009


61

阴伏 Intented, 2009


影长 Long Shadow, 2009



THE LANDSCAPE SERIES

left

听王母谣 Ballad, 2008


花鸟系列

Essence . Life II

64


望帝红池 Reddish, 2008


65

花鸟系列

花间律吕 Frangrance, 2008


The Landscape Series

Essence . Life II

66


秋隔晶帘 Curtaincall, 2007


67

春雨萍开 Spring Rain, 2008


花鸟系列The Landscape Series

Essence . Life II

68


将军作俦 Longevity, 2007


right

望穿白练 Bewitching Eyes, 2008


69


Essence . Life II

70


喜戏池泉 Play, 2008


71

一叶秋 Autumn Leave, 2008



Essence . Life II

72


相偶观瀑 Enagagement, 2009


73


Essence . Life II

74


雪飞出谷 Snowy Valley, 2007


75

雪爪星眸 Starry Night, 2007



Essence . Life II

76


right

驚山客夢 , 2007


Section Title

77

前言朱国荣

THE PORTRAIT SERIES

right

等候 Awaiting, 2001


人物系列

79

前言朱国荣

Essence . Life II

80


同道 On The Way, 1999


81

人物系列The Portrait Series

中午12点 12 Noon, 1999


Essence . Life II

82


早上七点 7am, 1999


right

前程 Future, 2000


Section Title

83

前言朱国荣



85

出工 Starting Work, 2009


The AbstractSeries

right

太岁天道 Truth, 2009


抽象系列

Essence . Life II

88


四时吉兆 Best timing, 2009


89

抽象系列

阴阳之窗 The Yin & Yang, 2009


The Abstract Series

Essence . Life II

90


坎卦匹配 Matching, 2009


91

静空之圣 Slient, 2009


抽象系列The Abstract Series

Essence . Life II

92


动阳之王 The Moving Sun, 2009


right

水火兼容 Endure, 2009


93



94

天地、人神 Heaven & Earth, 2009


95

天窗乾卦 Skylight, 2009


The Abstract Series 抽象系列

96

97

对立、互动 Exchange, 2009


主办机构:

新加坡共和国驻上海总领事馆

协办机构:

赞助机构:

新加坡艺术理事会

主编：李磊

副主编：张文庆

编辑：杨霞敏吴晓丽

策展：王莹

顾问：林卫平

翻译：梁荣锦吴明珠李南虹

文书：郑慧

校对：郑慧

设计：Interactive Armada

相片摄影：黎坚荣

画作摄影：何耀荣

Chief Editor: Li Lei

Vice Chief Editor: Zhang Wen Qing

Executive Editor: Yang Xia Min, Wu Xiao Li

Curator: Wang Ying

Consultant: Lin Wei Ping

Translator: Leong Weng Kam, Wu Ming Zhu, Deebe Lee

Producer: Zheng Hui

Proof Reading: Zheng Hui

Design: Interactive Armada

Photography: Li Jian Rong

Art work Photography: Ho Yue Weng

Ode To Art Contemporary represents

an extensive collection of Fan Shao Hua.

For more information, please contact [email protected]

Ode To Art Raffles City

252 North Bridge Road,

Raffles City Shopping Centre, #01-36E/F,

Singapore 179109

Tel: +65 6250 1901

Ode To Art Kuala Lumpur

168 Jalan Bukit Bintang,

The Pavilion, #06-24E/F,

Kuala Lumpur 55100, Malaysia

Tel: +603 2148 9816

www.odetoart.com

www.odetoart.com

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