2023年9月19日，作为杭州第19届亚运会重要文化项目、2024中法文化旅游年项目、浙江省文化艺术发展基金重点项目，由中国美术学院美术馆与赵无极基金会联合策划的“大道无极——赵无极百年回顾特展”，在中国美术学院美术馆正式启幕。本次特展由中华人民共和国文化和旅游部、中国文学艺术界联合会、浙江省人民政府主办，法国驻华大使馆、中国驻法国大使馆、中国驻瑞士大使馆特别支持，中共浙江省委宣传部、中国美术家协会、浙江省文学艺术界联合会、浙江省文化和旅游厅、浙江省教育厅、杭州市人民政府、中国美术学院承办，法国驻上海总领事馆、法国文化中心、佳士得协办。

“大道无极——赵无极百年回顾特展”，展出了赵无极的油画作品129件，及重要作品和相关文献共200余件，是在中国举办的亚洲最大规模赵无极回顾展，是最高规格的赵无极艺术大展，也是这位最具世界影响力的华人艺术家对中华文明之根的礼赞，向世界展现了中法文化交流的杰出成果。

赵无极是享誉中外的华裔法籍著名画家。1920年出生于北京，1935年入读国立杭州艺专（中国美术学院前身），1941年留校任教，1948年赴法深造，1985年受文化部邀请回母校（中国美术学院）举办绘画讲习班。2003年当选法兰西艺术院终身院士，2013年辞世于瑞士。他融通中西，创造了极具特色的艺术风格，其作品系统收藏于全球150余个重要博物馆及美术馆，如法国巴黎蓬皮杜艺术中心、英国泰特现代美术馆、美国大都会艺术博物馆等，为东西方文化交流作出了独特贡献。

赵无极曾说：“我自中国走出，使我能再走向中国。”赵无极具有深厚的中华文化底蕴和家国情怀，一生致力于中国艺术精神的现代性诠释，是中华优秀传统文化创造性转化和创新性发展的艺术典范。“大道无极——赵无极百年回顾特展”是一个传统与现代有机衔接的艺术现场，是一次从传统到现代的跨越，是经由“结合”而形成的中国式现代化文化形态的一种实践转化。展览秉持中华文化对世界文明兼收并蓄的开放胸怀，充分运用宝贵文化资源，加强文化间的交往交流交融，共同探索面向未来的理论与实践创新。

赵无极的艺术生涯萌生于杭州，杭州哺育了他的艺术。在赵无极逝世十周年之际，他的一生力作重返杭州。本次特展汇聚了来自法国蓬皮杜艺术中心、法国国家造型艺术中心、法国赛努奇博物馆、新加坡国家美术馆、中国香港艺术馆、中国香港M+博物馆、中华艺术宫、苏州博物馆、德基艺术博物馆、中国美术学院美术馆等艺术机构、赵无极夫人弗朗索瓦以及世界各地重要收藏家的藏品，展出其油画、水墨、水彩、版画、瓷绘作品以及相关影像文献等，以六大版块多角度系统地梳理了赵无极在不同时期的艺术探索。展出的重要作品有以杭州为主题的《我在杭州的家》《父亲的花园》，以及三联画《向我的朋友亨利·米修致敬》《向弗朗索瓦致敬》、双联画《向塞尚致敬》等代表作。

据悉，本次特展于2023年9月20日至 2024 年2月20日在中国美术学院美术馆举办，2023年9月26日起正式对公众开放。

*下附本次特展六大版块文字介绍

1．两个传统Two Traditions

每个人都有一个传统，我则有两个。—— 赵无极 Everybody is bound by one tradition—I, by two. — Zao Wou-Ki

赵无极的艺术汲取中西文化传统，兼容并蓄。他自小接受中国传统教育与书法启蒙，早年入读国立杭州艺专，服膺林风眠、吴大羽先生融合中西的艺术主张，深受印象派以及塞尚、马蒂斯、毕加索等绘画的影响。 1948年，他赴法深造。初到巴黎，他的画作仍是对生命记忆的表达。1951年，他在瑞士见到保罗·克利的原作，顿悟中华优秀传统文化的创造性转化的潜能。他以甲骨文、青铜器铭文为灵感，用想象的书符创造形体，营造空间。

Zao Wou-Ki’s art embodies Chinese and Western cultural traditions. He received traditional Chinese education and calligraphy training from childhood. In his early years, he enrolled at the Hangzhou National College of Art, where he embraced the artistic principles of Lin Fengmian and Wu Dayu, blending Eastern and Western influences. In the meantime, he was deeply influenced by Impressionism and paintings by Paul Cézanne, Henri Matisse, and Pablo Picasso. In 1948, he went to France for further study. When he first arrived in Paris, his paintings were still expressions of memories of life. However, in 1951, while in Switzerland, he saw the original paintings of Paul Klee, leading to an epiphany about the creative potential of traditional Chinese culture. Inspired by oracle bone script and bronze inscriptions, he used imaginary characters to create forms and space in his paintings as compositional elements.

2．融会共生A Synthesis of Chinese and Western Art

我力图表现运动，不论迂回缠绵，抑或风驰电掣，我想借着对比色或单色的多重震颤让画面跃动起来。 —— 赵无极 I sought to express movement, its slow, haunting motion, or its dazzling flashes. I wanted to make the surface of the canvas vibrate thanks to contrasts or the multiple quivering of a single color. — Zao Wou-Ki

1957年，赵无极在美国旅行时，结识了纽曼、罗斯科等抽象派画家。抽象表现主义扩展了他的绘画视界。1958年起，他不再为作品命名，而是以作品完成的日期命名。 20世纪60年代，他从形象和字符中解脱出来，以表现主义的狂飙涂抹响应草书的笔势与章法，将自己抛入绘画之中。至此，他的创作逐渐演化为一场肉身与画布搏斗的行动，在自发性的书写挥洒中，逐渐生长出抽象山水意象。

In 1957, while traveling in the United States, Zao Wou-Ki became acquainted with abstract artists such as Barnett Newman and Mark Rothko, which broadened his painting horizons. Starting from 1958, he no longer gave a title to his works, only marking them with their creation date. In the 1960s, he liberated himself from images and characters, embracing the gestural freedom of Abstract Expressionism, responding to the brushwork and rhythm of cursive calligraphy. He immersed himself in his paintings, turning the act of creation into a physical battle with the canvas. Through spontaneous and expressive brushwork, he gradually cultivated the imagery of abstract landscapes.

3．如镜他山Stone from Another Mountain

我画我的生活，但也画一种不可见的空间、梦想的空间。在那里，人即使处于各类矛盾力量构成的不安中，也永远感到和谐。 —— 赵无极 I paint my own life, but I also try to paint an invisible space, a dream space, a place where one always feels harmonious, even in the turbulent form of opposing forces. — Zao Wou-Ki

20世纪70年代初，在生活困顿之时，赵无极受到朋友亨利·米修的鼓励，重拾了赴巴黎后一度被他遗忘和警觉的水墨画。 1972年，他回到阔别24年的祖国，故国的山川风物激活了深植其内心深处的中国传统艺术精神。 在水墨滋润的物象生发中，在油彩流动的呼吸节奏中，他的绘画融入了一份东方意蕴。在愈发自由的创作中，西方与东方、力量与静观紧密融合。

In the early 1970s, when his life was a struggle, Zao Wou-Ki, with the encouragement of his friend Henri Michaux, rediscovered the ink painting, an art form he had once been wary of and even ignored when arrived in Paris. In 1972, Zao Wou-Ki returned to his homeland after an absence of 24 years, where the landscapes and scenery of his homeland awakened the spirit of traditional Chinese art deeply rooted in his heart. Among the objects arising from the nourishment of ink, and the breathing rhythm of the flowing oil colors, his paintings absorbed an Eastern essence. His paintings increasingly embodied the close fusion of Western and Eastern influences and the interplay between strength and contemplation.

4．无限生机Infinite Vitality

每当清晨走进画室，即使光线灰暗而阴郁，留在画架上或放在地上的未完成的画，总是给我再拿起画笔的力量。 如果颜料已经干了，我就可以重新试着再创造各种虚与实，感受到余生的气力，抒发从未弃我而去的绘画的幸福。 —— 赵无极 Every morning, when I enter the studio, even if the light is dim and somber, the unfinished paintings left on the easel or lying on the floor always provide me with the strength to pick up the brushes again. If the paint has dried, I can attempt to recreate various illusions and realities, feeling the vitality of the remaining years and expressing the happiness that painting has never abandoned me. — Zao Wou-Ki

2000年以来，赵无极的绘画与自然的联系愈发密切，重启带有形象含义的画作题目。《向我的朋友亨利·米修致敬》展现了光华初现、万物生长的意蕴。从抽象到山水气象，再回到写生，在“绘画的幸福”中，他晚年的作品氤氲化醇、生机无限。 赵无极始终抱持对绘画的忠诚，最后一幅油画《18.03.2008》，让我们与他一道，浮现记忆中西湖“平静水面上空气的流动”，在风的吹拂中体验生命的圆融。

Since 2000, Zao Wou-Ki's paintings have become more closely connected to nature, leading to a revival of artworks with figurative titles. Homage to My Friend Henri Michaux embodies the emergence of radiance and the flourishing of all things. From abstraction to landscapes and back-to-life drawing, in the "happiness of painting," his late-life art exudes richness and boundless vitality. He remained loyal to painting, and his final oil painting, 18.03.2008, allows us to join him in recalling the "flow of air on the calm surface of West Lake" and experiencing the harmony of life in the presence of the wind.

5．如诗如画As Poesy as Painting

水彩是一种奇妙的工具。颜色在水中的淡释给我一种极其自由的感觉。 诗歌与绘画本质上相互关联，两者都彰显着生命的精神之力。 —— 赵无极 Watercolor is a wonderful medium. The way colors diffuse in water gives me an incredibly free feeling. Poetry and painting in nature are interlinked, conveying life.
— Zao Wou-Ki

赵无极的水彩画与油画创作互为印证。2007年4月9日，赵无极用水彩颜料重拾写生创作。山海花木在律动的笔触中幻化氤氲，水彩画成为他最后的绘画幸福。 赵无极自1949年起不断实验版画创作。本特别单元精选赵无极与亨利·米修、勒内·夏尔、克劳德·罗伊等西方文人共同创作的版画书，以绘画与诗歌的互文关系，直陈画家的诗心，呈现其对生命的体悟。

Zao Wou-Ki’s watercolors and oil painting creations mutually validate each other. On April 2007, Zao Wou-Ki returned to paint from life using watercolor pigments. Within the rhymic strokes, mountains, oceans, flowers, and trees transformed into ethereal forms, making watercolors his last happiness of painting. Since 1949, Zao Wou-Ki continuously experimented with lithography. This section showcases lithographs and books collaboratively crafted by Zao Wou-Ki and esteemed writers like Henri Michaux, René Char, and Claude Roy. The intertextual relationship between paintings and poems will directly express the painter's poetic heart and present the realization of life.

6．成为无极Becoming Wou-Ki

其实，谁能了解，我花了多少时间来领悟塞尚和马蒂斯，然后再回到我们传统中我认为最美的唐宋绘画？ —— 赵无极 Indeed, who knows how much time I've spent on Cézanne and Matisse before a return to the paintings of the Tang and Song Dynasties, which, I think, are the most beautiful in Chinese tradition.
— Zao Wou-Ki

1985年，赵无极应邀重返母校举办“赵无极绘画讲习班”，传授绘画实践与洞见，对中国当代绘画、艺术教育产生了独特贡献。 本单元通过文献、纪录片影像等，以他艺术人生的重要时刻及事件，呈现可信、可爱、可敬的赵无极及其艺术世界。 在跨越两个世纪的艺术河流中，赵无极以世界的眼光观照两个传统，开拓出一条大道无极的绵延之路。

In 1985, Zao Wou-Ki was invited to return to his alma mater to host the "Zao Wou-Ki Painting Workshop," which taught his painting process and insights, uniquely contributing to contemporary Chinese art and art education. This section presents the documents, documentary images, and more, giving the credible, beloved, and respected artistic world of Zao Wou-Ki at significant moments and events in his artistic life. Spanning two centuries in the river of art, Zao Wou-Ki, with a global perspective, observed two traditions and carved out an infinite path in the world of art. 展览组织架构

主办单位 中华人民共和国文化和旅游部 中国文学艺术界联合会 浙江省人民政府

特别支持 法国驻华大使馆 中国驻法国大使馆 中国驻瑞士大使馆

承办单位 中共浙江省委宣传部 中国美术家协会 浙江省文学艺术界联合会 浙江省文化和旅游厅 浙江省教育厅 杭州市人民政府 中国美术学院

策展单位 中国美术学院美术馆 赵无极基金会

协办单位 法国驻上海总领事馆 法国文化中心 佳士得

总顾问 许江 金一斌 多米尼克·德·维尔潘

总策划 高世名 弗朗索瓦兹·马尔凯-赵

策展人 余旭鸿 杨·亨德根

策展组 马楠、吕亭瑶、薛佳音、亚瑟·德·维尔潘、夏商周、露迪雯·科蒂埃

借展方 蓬皮杜艺术中心，法国巴黎 法国国家造型艺术中心，法国巴黎 赛努奇博物馆，法国巴黎 新加坡国家美术馆，新加坡 香港艺术馆，中国香港 香港M+博物馆，中国香港 中华艺术宫，中国上海 苏州博物馆，中国苏州 德基艺术博物馆，中国南京 弗朗索瓦兹·马尔凯-赵以及相关收藏家

支持单位 浙江省委省政府接待办公室 浙江省公安厅 浙江省人民政府外事办公室 杭州海关 浙江省社会科学界联合会 浙江省文物局 浙江省档案馆 浙江广播电视集团 浙江日报报业集团 中国银行浙江省分行 中共杭州市委宣传部 杭州市上城区人民政府 国家电网杭州供电公司 华侨控股集团

鸣谢单位 巴黎大皇宫暨法国国家博物馆联合会 法国国家视听研究所 中国香港康乐及文化事务署 保利香港拍卖 中国嘉德 苏富比 FAC艺术文化基金会 索卡艺术中心 季丰轩 安盛天平财产保险 赫龙国际艺术品运输 华协国际珍品 羊大低反玻璃 赛尔富照明 雅昌文化集团

展览工作组

藏品管理 张素琪、赵怡、窦亚杰、高原、沙涓

展览执行 蔡可成、王剑红、刘根群、张耀玮、金晓依、蒋梁、赵一璇、金天、冯宇纯、李计亮、杨千叶、程兆禾、王旭镐、宋征宇、王怡航、竹妤婷、陈浩楠、陶德安

行政统筹 柯金锋、陈瑜、李都金、陈如福、郑恒慧、郑斯奇、陈燕芹、王宇峰、韦海洋、章维镇、丁剑锋、陈国柱、臧志成、王建英、严侃、李红艳、孙洁、周爽、张顺仁、朱羚、廖垣、陈卫青、倪玲、马颖、王娜

外事协调 周地亮、钱飞瑛、夏倩、卓旻、胡昊华、张蕾

宣传推广 徐元、方舟、刘杨、申博、胡心云、胡清盈、刘培旭、傅江杰

视觉设计 袁由敏、陈铮、栾嘉辉、江航

空间设计 任天、谢天、林为依、寇树国、林亦睛

Hosts: Ministry of Culture and Tourism of the People's Republic of China China Federation of Literary and Art Circles The People's Government of Zhejiang Province

Special Supports: Embassy of France in China Embassy of China in France Embassy of China in Switzerland

Organizers: Publicity Department of the CPC Zhejiang Provincial Committee China Artists Association Zhejiang Provincial Federation of Literary and Art Circles Zhejiang Provincial Department of Culture and Tourism Zhejiang Provincial Department of Education Hangzhou Municipal People’s Government China Academy of Art

Curatorial Institutions: Art Museum of China Academy of Art Zao Wou-Ki Foundation

Co-organizers: Consulate General of France in Shanghai Institut Français de Chine Christie's

General Advisors: Xu Jiang Jin Yibin Dominique de Villepin

General Planners: Gao Shiming Françoise Marquet-Zao

Curators: Yu Xuhong Yann Hendgen

Curatorial Team: Ma Nan, Lu Jade, Xue Jiayin, Arthur de Villepin, Xia Shangzhou, Ludivine Cottier

Lenders to the Exhibition: Centre Pompidou, Paris, France Centre national des arts plastiques, Paris, France Musée Cernuschi, Paris, France National Gallery Singapore, Singapore Hong Kong Museum of Art, Hong Kong, P.R.China M+, Hong Kong, P.R.China China Art Museum, Shanghai, P.R.China Suzhou Museum, Suzhou, P.R.China Deji Art Museum, Nanjing, P.R.China Françoise Marquet-Zao and all the private collectors

Supporters: Reception Office of the CPC Zhejiang Provincial Committee and Provincial People's Government Zhejiang Provincial Department of Public Security Department of Foreign Affairs of Zhejiang Provincial People’s Government Hangzhou Customs District P.R.China Zhejiang Federation of Humanities and Social Sciences
Zhejiang Provincial Cultural Relics Bureau Zhejiang Provincial Archives Zhejiang Media Group Zhejiang Daily Press Group Bank of China (Zhejiang Branch) Publicity Department of Hangzhou Municipal Committee of the CPC Shangcheng District People's Government, Hangzhou City, P.R.China State Grid Zhejiang Electric Power Company, Ltd. Overseas Chinese Holdings Group Ltd

Acknowledgements: Réunion des musées nationaux - Grand Palais Institut national de l'audiovisuel Leisure and Cultural Services Department, Hong Kong P.R.China Poly Auction Hong Kong China Guardian Auctions Sotheby’s FAC, Foundation for Art & Cuture Soka Art Center Kwai Fung Hin AXA Group Helutrans Artmove Huaxie Int’l Fine Art YangDa anti-reflective glass SELF Lightning Artron Art Group

Exhibition Team:

Collection Management: Zhang Suqi, Zhao Yi, Dou Yajie, Gao Yuan, Sha Juan

Exhibition Execution: Cai Kecheng, Wang Jianhong, Liu Genqun, Zhang Yaowei, Jin Xiaoyi,Jiang Liang, Zhao Yixuan, Jin Tian, Feng Yuchun, Li Jiliang ,Yang Qianye, Cheng Zhaohe, Wang Xuhao, Song Zhengyu, Wang Yihang，Zhu Yuting, Chen Haonan, Tao Dean

Administrative Coordination: Ke Jinfeng, Chen Yu, Li Dujin, Chen Rufu, Zheng Henghui，Zheng Siqi, Chen Yanqin, Wang Yufeng, Wei Haiyang, Zhang Weizhen，Ding Jianfeng, Chen Guozhu, Zang Zhicheng，Wang Jianying，Yan Kan，Li Hongyan，Sun Jie,，Zhou Shuang,，Zhang Shunren，Zhu Ling，Liao Yuan，Chen Weiqing，Ni Ling，Ma Ying，Wang Na

Foreign Affairs Liaison: Zhou Diliang，Qian Feiying，Xia Qian，Zhuo Min，Hu Haohua，Zhang Lei

Promotion and Publicity: Xu Yuan, Fang Zhou, Liu Yang, Shen Bo, Hu Xinyun, Hu Qingying, Liu Peixu, Fu Jiangjie

Visual Design: Yuan Youmin，Chen Zheng，Luan Jiahui，Jiang Hang

Spatial Design: Ren Tian，Xie Tian，Lin Weiyi，Kou Shuguo，Lam Yik Ching Gigi