生於山西省太原的畫家張越，曾先後求學於中央美術學院，中國藝術研究院，一直保持著純真浪漫，執著灑脫的心性，她的工筆人物畫創作詮釋著傳承與創新的融合之完美，表現出了一個女性藝術家所特有的靈氣。通過提煉轉換中西、古今傳統中的形象，她用隱喻、象徵、寓言式的手法構築了一幅幅以古典文本與當下生活為題創作的新作品。她的作品既散發著西方宗教繪畫的神性，又有東方古典肖像的精妙，充分運用超現實等手法來詮釋與表達主題。
Zhang Yue, a painter born in Taiyuan, Shanxi Province, has studied at the Central Academy of Fine Arts and the China Academy of Art. She has always maintained a pure and romantic, persistent and free spirited nature. Her meticulous figure paintings interpret the perfect fusion of inheritance and innovation, expressing the unique spirit of a female artist. By extracting and transforming images from both Chinese and Western traditions, as well as ancient and modern traditions, she has constructed new works based on classical texts and contemporary life through metaphorical, symbolic, and allegorical techniques. Her works exude both the divinity of Western religious painting and the subtlety of Eastern classical portraits, fully utilizing techniques such as surrealism to interpret and express themes.
張越的探索與創新首先表現在圖式上。她的早年作品中往往是背景與人物共現，這時期的作品中古典因素的影響較多，構圖往往是前後呼應，比如《蘇幕遮》中蓮蓬與衣服上的荷花相映，《常相思》以《虢國夫人遊春圖》為背景與題目相合，很巧妙地表現出一個現代人對傳統文化的思索。在這些作品的構圖中，可以看出張越已經將西方點線面的構成因素加入了其中，使得她的作品不同於完全意義上傳統的工筆劃。
Zhang Yue’s exploration and innovation are first manifested in the schema. In her early works, the background and characters often coexisted. During this period, classical factors had a greater influence on her works, and the composition often echoed back and forth. For example, in “Su Mu Zhe”, the lotus canopy and the lotus flowers on her clothes complement each other, and in “Chang Xiang Si”, the background and theme of “Guo Guo Guo Lady’s Spring Tour” are matched, cleverly expressing a modern person’s contemplation of traditional culture. In the composition of these works, it can be seen that Zhang Yue has incorporated the elements of Western dots, lines, and surfaces, making her works different from traditional meticulous drawing in the complete sense.
從《解語花》系列開始，張越將畫面圖式有意趨於簡潔，色彩表現的更單純。張越近期的作品已經完全拋卻了背景，畫面中女性那曖昧的眼神加上無法言說的體態，展示出空靈、如夢如幻的意味。 而這種對都市女性的描繪，正表達了張越對當代社會思索后的觀點。
Starting from the “Jieyu Hua” series in 2007, Zhang Yue intentionally tended to simplify the visual patterns and express colors more simply. In recent times, Zhang Yue’s works have completely abandoned the background, and the ambiguous eyes of women in the picture, combined with their indescribable body posture, display an ethereal and dreamlike meaning. And this portrayal of urban women expresses Zhang Yue’s views on contemporary society after reflection.
她的筆下色彩渲染的方法，在一幅畫中可以體現出數種，比如勾線渲染加罩染、寫意中常用的暈染並存，形成有收有放、有緊有松的效果，猶如一首低吟的優美的歌。近來的描繪已突破了技法與程式的「拘束」，由以前的「彩色」變向與「單色」、「灰色」，跟現代向當代的色彩轉向趨勢相吻合。
Her methods of color rendering can be reflected in several ways in a single painting, such as using hook and line rendering with shading, and combining commonly used blending in freehand brushwork to create an effect that is both restrained and relaxed, tight and loose, like a beautiful song softly sung. Recent depictions have broken through the constraints of techniques and procedures, shifting from “color” to “monochrome” and “gray”, in line with the trend of modern to contemporary color shifts.
張越的藝術追求具有純形式的意味和唯美的特點，並在其中融入了女性的思考視角，使她的作品充滿了溫馨和靜谧的氣息。從早期的表現古典的優雅女性，到現今的“時尚女性”。“美”是一條主線，穿住了一個從繼承傳統、思索傳統到將傳統與當代語境恰如其分結合的境地，從對古典美轉向了對“時尚”的思索。她以其特定的表現形式，進行女性內心世界的刻畫，通過對自我性別和生命意義的認識，講述著有關女性、審美、情感、生命的真實狀態。
Zhang Yue’s artistic pursuit has a pure formal meaning and aesthetic characteristics, and incorporates a female perspective, making her works full of warmth and tranquility. From the early expression of classical elegant women to today’s’ fashionable women ‘. “Beauty” is a main thread that embodies a state of inheriting tradition, contemplating tradition, and appropriately combining tradition with contemporary context, shifting from classical beauty to contemplating” fashion “. She portrays the inner world of women in her specific form of expression, telling the true state of women, aesthetics, emotions, and life through understanding her own gender and the meaning of life.
新宗教作品是她近年來階段性的創作，儘管圖式上稍有變化，但仍沿續了之前的精神主線，物欲崇拜下人類的迷惘，精神救贖的迫切性仍然一以貫之。她選擇了兒童面孔，作為自己最重要的藝術表達。 在她筆下，兒童時常身著華麗的服飾：精緻、典雅、華貴。與兒童的服飾以及精細的工筆手法營造的背景氛圍相悖論的是，兒童的面孔中呈現出了一種不協調的悲鳴狀態。
The new religious works are her phased creations in recent years. Although there have been slight changes in the schema, they still follow the previous spiritual mainline, the confusion of humanity under the worship of material desires, and the urgency of spiritual redemption remain consistent. She chose children’s faces as her most important artistic expression. In her writings, children often wear elaborate clothing: exquisite, elegant, and luxurious. Contrary to the background atmosphere created by children’s clothing and intricate brushwork techniques, there is a discordant state of mournful cries in children’s faces.
對時間的重組和不同元素的拼貼，是張越繪畫的另一個重大特徵。 不同情境與時空下的物件，被藝術家組合在一個畫面之中，即使它們呈現出了明顯的對立。她將圖像的視角投注在華麗與憂傷的孩童人物之中，用時代的符號去整合金幣、香奈兒，聖經等元素。更多是對當下生活的反思，頗有為時代雕刻形象的意味。
The reorganization of time and the collage of different elements are another significant feature of Zhang Yue’s paintings. Objects from different contexts and time and space are combined by artists into one picture, even if they present obvious opposition. She places the perspective of the image on the glamorous and melancholic child characters, integrating elements such as gold coins, Chanel, and the Bible with symbols of the times. More importantly, it is a reflection on current life, with a sense of carving images for the times.
More about 張越:
Photo courtesy of the artist 張越