湖山相映，友谊相连。2019年，是浙江省与日本静冈县建立友好关系37周年。由浙江省文化和旅游厅指导，浙江美术馆主办，日本静冈县政府支持的“浙江·静冈文化艺术交流——柳泽纪子版画作品展”在杭州3月开展。此次展览共展出艺术家80余件／组作品，其中包括2018年的部分新作《动物语言》系列。

我的快乐与我的光荣

柳泽纪子（日本版画家）

        浙江美术馆在中国现代美术界占有中心式的位置。这次能在这里举办展览，展示自己漫长的艺术生涯中的足迹，是我的快乐，也是我的光荣。在此，特向浙江美术馆应馆长等相关人士表示诚挚的谢意。

        我出生在位于日本地理中心的静冈县浜松市的浜名湖畔。因为与故乡自然环境的先天关联，我的作品中，有许多都是以水为主题的。当然，这些与辽阔的中国大地上的名胜之地、荣登联合国教科文组织自然文化遗产名录的西湖，是不能类比的。一直在作品里述说湖水情怀的我，有幸能在西湖之滨举办个展，相信大家能够理解我心中的特殊感慨。

        听说浙江省杭州市曾是南宋的首都所在。在明代，有一位叫雪舟的日本画家来中国留学，称自己想学的是南宋时代的作品，因此是在昔日的南宋之地完成了学业，而不是在北京。我很崇敬雪舟，从年轻时起，就对他的这种想法深怀同感。如今我有幸能在这里举办个展，仅就对日本具有代表性的画家雪舟的这份敬重而言，也使我感到格外的喜悦。我希望大家能理解我的这种心情。

        最后想说的是，大家都知道，浙江省和静冈县自1982年起就建立了友好合作关系，其期间有过许多的往来交流项目。近期的则是在前年，在静冈市曾举办了展示中国版画家作品的“湖山胜概展”，激起了很大的反响。

        我自己曾于 2016 年在上海半岛美术馆举办过个展，这次的展览也是那次个展的延伸。有缘参与文化艺术的交流，我深怀感激之情。为了感恩，我也将为未来浙江省与静冈县友好交往的发展，尽自己的微薄之力。

编后

雪舟（1420～1506） 日本画家。名等杨，又称雪舟等杨。生于备中赤浜（今冈山县总社市）。曾入相国寺为僧，可能随同寺的山水画家周文学过画。作品广泛吸收中国宋元及唐代绘画风范。后被维也纳世界和平大会通过决定公认他为世界文化名人。

性别或年龄是她看世界的角度

浙江美术馆副馆长　应金飞

        今年，适逢浙江美术馆开馆的首个10年。回顾历程，展示浙江现当代版画的多重样态和东方水印千年之魅的场景，与日本、美国、保加利亚、捷克等国家及我国港台地区进行版画交流的生动片段，历历在目。在这一时间节点举办柳泽纪子女士的版画作品展，不仅进一步延续了中日版画交流的传统，增进了两国友谊，更反映了我馆对“公共性、开放性、多元性”学术宗旨的践行和追求。

        柳泽女士的作品富有生命张力，“情爱、欢乐和死”贯穿于她寓言式的笔调中，神思飞扬而不乏沉静，怀想浪漫而不失峻严。性别或年龄对她而言不是表达的制约，而是观看世界的角度。

        视觉艺术往往执着于表现“人的面部”，以求揭示出皮相之下人的本质。柳泽女士则不动声色地将画中人物的面孔或头颅置换为兽类，甚至直接剪除了这一标志性的存在，这与其说是对复杂而混沌的人性矛盾的规避和逃逸，不如说是试图从混乱、残酷的“牲人”现实中努力辟出一方安置健全生命的精神天地，从中建立起新的生存秩序。

        此外，她那片段、叠置的图层语法，腐蚀、干刻和拼贴并举的自由抒写，以及不断转换的内外场景，不断深化着她所特有的“优雅的抗衡”意味——抒张性灵，直面危机，消弥差异，度量万物，垂怜弱小，释放思虑，隐匿关联，感应实存，等等。作为异国的观者，我们因语言沟通不便，反而更能够激发视觉的感受力，并据此加以解读和记述。

        去年，柳泽女士来杭州考察展览场地时曾赞叹世界遗产西湖胜景的优美，对将在西子湖畔举办的个人展览抱有深深的期待。在这一愿景实现之时，我祈愿一切都如她的艺术追求一般，为构建人与生存环境的良好关系、构建国际间长久和平的交往关系而有所贡献。

Japanese Printmaker Exhibits Her Art in Hangzhou

In celebration of the 37th anniversary of the friendly relations between Zhejiang Province and Shizuoka Prefecture, Japan, Zhejiang Art Museum hosted an exhibition of prints by Norico Yanagisama, a Japanese printmaker of international renown, born in Hamamatsu, a city in Shizuoka. The exhibition lasted from February 28 to March 19, sponsored by the cultural authorities of Zhejiang and supported by Shizuoka Prefecture Government. The exhibition featured over 80 artworks by the Japanese woman artist.

Gender or Age: Clues about Her Worldview

Ying Jinfei, vice curator of Zhejiang Art Museum

On the occasion of the tenth anniversary of Zhejiang Art Museum in 2019,  the Norico Yanagisama art exhibition carries on the cultural exchanges between Chinese and Japanese printmakers, enhances the friendship between of the two countries, and features the museum’s academic pursuit of commonality, openness, and diversity.

Yanagisama’s prints focus on love, happiness and death in a style of fables. The works highlight passion and serenity, romance and rigor. Gender and age are not a restraint on her expression, but serve as a window on the world. Unlike some artworks that explore the essences of humanity under the surface of facial expressions, Yanagisama’s prints deliberately remove human faces, in a bid to create a spiritual world where a new order of life is possible. We can understand her art confronts crises directly, endeavors to dissolve differences, measures everything, offers sympathy and empathy, inspires one to think, hides correlations, and reaches out to feel realities. Though we don’t speak the language she speaks so that we can’t talk with her in depth about her art, this language barrier enhances our visual sense and makes us see more and understand better.

My Pleasure and Honor

Norico Yanagisama

I am pleased and honored to hold my exhibition at Zhejiang Art Museum, which plays a central role in China’s modern art. I would like to say thank you to Mr. Ying and other people for this opportunity to show my long art career and footsteps.

I was born near Lake Hamana in Hamamatsu, a city in Shizuoka. Thanks to the natural beauty of my birthplace, many of my artworks feature the theme of lake water. Of course, Lake Hamana doesn’t stand a chance to compare to West Lake, a UNESCO natural and cultural site, but I believe you can understand how I feel as an artist who depicts lakes in artworks when I hold this exhibition with the West Lake just a stone’s throw away.

I know Zhejiang housed the capital of the Southern Song Dynasty. In the Ming Dynasty of China, a Japanese artist named Sesshu came to China in a bid to study the artworks of the Southern Song. He therefore completed his study in the land of the Southern Song instead of Beijing. I admire Sesshu and shared his preference when I was young. Having my exhibition here shows my respect to Sesshu, a representative artist of Japan. This adds to my pleasure. I hope you can understand my sentiment.

We all know that Zhejiang and Shizuoka have had friendship and cooperation relations since 1982. During this period, there have been many exchange programs. Two years ago, Shizuoka City hosted an exhibition of Chinese prints titled Landscape. The exhibition was well received.

I held a solo exhibition at the Peninsular Gallery in Shanghai in 2016. This exhibition in 2019 is an extension of the one in 2016. I feel grateful for being able to engage in cultural exchanges between the two countries. I will continue to contribute all I can to the development of friendly exchanges between Zhejiang Province and Shizuoka Prefecture.