1955年2月14日,，畢加索完成了《阿爾及爾的女人》最終版（O版）時(shí)答友人說(shuō)：“我承傳了馬蒂斯筆下的女性，盡管我還沒(méi)去過(guò)東方,，但那形成了我對(duì)那地方的印象”,。為什么畢加索對(duì)東方藝術(shù)情有獨(dú)鐘呢,？作為東方藝術(shù)工作者，我們懷著好奇心,，觀看了始于10月6日為期100天的安省美術(shù)館(AGO)展出的畢加索藍(lán)色時(shí)期的作品,。

這些畫(huà)作主要聚焦于1901-1906年期間，畢加索創(chuàng)作了以藍(lán)色為主色調(diào)一系列作品,，兼收并蓄了馬蒂斯,、塞尚、羅丹以及包括中國(guó)書(shū)法在內(nèi)的東方藝術(shù)元素,。

On February 14, 1955, when Picasso completed the final version of The Woman of Algiers (O version), he replied to his friend: “I have inherited the women depicted by Matisse. Although I have not been to the East yet, I still have my impression of that place.” Why did Picasso ardently love the Oriental art? As Asian art workers , we attended the Picasso Blue Period exhibition with curiosity at the Art Gallery of Ontario. The exhibition began on Oct. 6, 2021 and will last for 100 days. The paintings are mainly focused on the period from 1901 to 1906 in this exhibition. Picasso created a series of works in blue hue, innovating by incorporating Matisse, Cezanne, Rodin and Asian art elements including Chinese calligraphy.

步入第一展廳,，右手邊的第一幅畫(huà)就是這幅帶著禮帽的男人。年輕的天才畫(huà)家刻意避開(kāi)光亮與深度的感覺(jué),，筆觸粗糲強(qiáng)烈,，帶有東方書(shū)法意識(shí)的線條，勾勒皴擦,，長(zhǎng)畫(huà)線條變化多端,，點(diǎn)面漂浮靈動(dòng),，直線與曲線交織，表現(xiàn)中間男士的硬朗利落,，周?chē)總兊耐褶D(zhuǎn)婀娜形成對(duì)比,。

Stepping into the first exhibition hall, We saw the paitings, the first one on the right is a man with a bowler hat. The young talented painter deliberately avoids the feeling of light and depth. The brushstrokes are rough and strong. The lines with the sense of Chinese calligraphy are outlined and rubbed. The long lines are varied and flexible. The dots and surfaces are floating and elegant. Tough and neat as the gentle man in the center contrasted with graceful ladies around.

《藍(lán)色房間》創(chuàng)作于畢加索20歲左右，是他轉(zhuǎn)型到藍(lán)色時(shí)期一幅很重要的作品,，而從他的畫(huà)中我們也可以一窺年輕的天才畫(huà)家在摸索風(fēng)格的初期是怎么向其他大師學(xué)習(xí)的,。在《藍(lán)色房間》我們可以看到一張Henri de Toulouse-Lautrec創(chuàng)作的海報(bào) MAY MILTON，盡管二位從未相見(jiàn),，畢加索還是在自己的畫(huà)作重復(fù)使用藍(lán),、黃和白色的色調(diào)，以此表達(dá)對(duì)Lautrec的懷念,。

而在畫(huà)面主體的裸體模特在畫(huà)室中洗澡的場(chǎng)景,，模特兩腿站立的姿勢(shì)，手臂環(huán)繞身體,，微側(cè)過(guò)頭的形態(tài),，也能看出羅丹的雕塑EVE的影子。

《藍(lán)色房間》女模特身后白色被子上的褶皺,，畫(huà)中畫(huà)女孩裙子上的痕跡,，都是不同于傳統(tǒng)西方畫(huà)兩個(gè)塊面過(guò)渡形成的線，而是有意識(shí)的,、刻意的創(chuàng)造出來(lái)的有質(zhì)量的線條,。裙袂翻飛起來(lái)讓人想象起有畫(huà)圣之稱(chēng)的吳道子的“吳帶當(dāng)風(fēng)”的韻味。

The Blue Room was created by Picasso around the age of 20. It is a very important work during his transition to the blue period. From his paintings, we can also get a glimpse of the young talented painter’s initial exploration of the style, learning from other masters. In The Blue Room, we can see the poster May Miltoncreated by Henri de Toulouse-Lautrec. Although the two painters never met, Picasso still used blue, yellow and white tones in his paintings repeatedly to express his respect to Lautrec.

And in the central scene where the nude model takes a bath in the studio, the posture model stands on her legs with her arms wrapped around the body, and her heads lightly turned sideways, indicating the influence of Rodin’s sculpture Eve.

The wrinkles on the white quilt behind the female model in The Blue Room and the traces on the girl’s dress in the post are all different from the lines formed by the transition of two blocks in traditional Western painting. They are consciously and deliberately created with high quality. The fluttering dress makes us imagine the charm of Wu Daozi, who is known as the painting saint of “Wu belt as style”(A traditional Chinese painting method to depict clothes).

畢加索曾說(shuō)“因?yàn)橄氲娇ㄋ_吉瑪斯, 我才開(kāi)始使用藍(lán)色,?！睋从训碾x去，巴黎浮華下的冰冷,，他對(duì)自己猶疑,，不確定可能都是藍(lán)色時(shí)期沉悶的主調(diào)。這時(shí)的畫(huà)作也能看出馬蒂斯的影子,。20歲出頭的畢加索在貧民窟關(guān)注著現(xiàn)實(shí)的困苦,，他描繪社會(huì)底層的各色人物，這些人瘦骨嶙峋,，被社會(huì)拋到邊緣,，卻依然自由而有尊嚴(yán)地活著。這時(shí)候人物身上的衣褶,，背景中海浪波濤的線條,，都有了比之前更深的表達(dá)，這些線條沉悶,，愁苦,，也是當(dāng)時(shí)畫(huà)家的情緒,。

Picasso once said, “I started to use blue hue because of the thought of Casagemas”. The death of his best friend, the icy coldness under the glitz of Paris, and the doubt to himself might be the dull theme of the blue period. The shadow of Matisse can also be seen in the paintings at that time. In his early 20s, Picasso was concerned about the hardships of poor people in the slums. He portrayed various figures from the bottom of society. These people are skinny, thrown to the edge by society, but still lived with freedom and dignity. At that time, the pleats of the characters and the lines of the waves in the background had a deeper expression than before. These lines are dull and sad, which maybe also the mood of the painter.

1904年，畢加索從巴塞羅那回到巴黎,，他遇到了費(fèi)爾南德,，愛(ài)情的滋潤(rùn)讓畢加索飽受摧殘的心重?zé)ü獠剩屗麖娜松莫q疑困頓中解放出來(lái),，藍(lán)色致郁的屏障被打破了,，他的調(diào)色板上逐漸出現(xiàn)了鮮亮的顏色——畢加索的創(chuàng)作過(guò)渡到下一時(shí)期：“玫瑰時(shí)期”。而在這次展出的為數(shù)不多的粉色時(shí)期作品,，兩幅裸身女子梳著長(zhǎng)發(fā)的作品格外引人注目,。

And in 1904, Picasso returned to Paris from Barcelona, where he met his first lover Fernand. The nourishment of love rejuvenated Picasso’s torn heart and liberated him from the quagmire of life. The blue barrier was broken, and bright colors gradually appeared on his palette—Picasso’s creation entered the next transitional period: the rose period. Among the works in the rose period exhibited this time, two naked women with long hair are particularly eye-catching.

本次展覽的壓軸之作（上圖）,，懸掛在展廳正中,。畫(huà)中女子卷曲的長(zhǎng)發(fā)，線條短促蜷曲,，排布亂中有序,，展現(xiàn)了畢加索駕馭線條非凡能力。不禁讓我們想到50年后（1956年）,，他和張大千會(huì)晤時(shí)說(shuō)：“假如我生活在中國(guó),，我一定是個(gè)書(shū)法家，而不是畫(huà)家”,。

我們觀賞此展時(shí),，深感沐浴在120年前的“東風(fēng)”中，作為生活在北美的東方藝術(shù)工作者,，倍覺(jué)任重而道遠(yuǎn),。

The finale of this exhibition (as above) is hung in the center of the exhibition hall. The woman in the painting has long curly hair. The lines are short and curly, and the arrangement is chaotic and orderly, showing Picasso’s extraordinary ability to control strokes. We can’t help associating this with what Picasso said 50 years (1956) later when he met Zhang Daqian: “If I live in China, I must be a calligrapher instead of a painter.”

When we watched this exhibition, we felt deeply bathed in the “East Wind” 120 years ago. As Asian art workers living in North America, we still have a long way to go.