不舍得中國，也熱愛祖國

方時列

在中國美術學院，有不少外國留學生。借中國美院九十周年院慶之機，我采訪了其中的兩位——來自美國紐約的柯偉業和來自俄羅斯莫斯科的卡佳，想聽聽他和她在杭州學習、生活的感受，及其各自對中國文化藝術的理解。

同學的評價是，他比中國人還像中國人

很巧的是，這次我采訪的兩位中國美術學院的留學生，相互之間認識。我先采訪了來自美國紐約的柯偉業，第二天采訪來自俄羅斯莫斯科的卡佳。說起柯偉業，卡佳笑了，說：“他比中國人還像中國人。”

是的。

采訪柯偉業的那天正好是中國美院九十周年院慶的第二天，他很忙，說只能給我一個多小時。所以我先到了，坐在美院南山校區里新開的一家咖啡館里等他。

咖啡抿了一口，他的電話就來了。我站起來，透過新店光亮的落地窗，看到遠處有個穿褐色短褂的小伙，精瘦精瘦的，匆匆地穿行在綠蔭里。

走近，落座。除了發現柯偉業個頭和我差不多外，還發現他的短褂是布的，我當時心里的想法，和第二天卡佳說的真的一模一樣：他比我還像中國人。

接下來，還有兩個細節，我覺得更能說明柯同學的中國味道。

首先，我問他今年多大了。他說：“我是1987年生的，屬兔。”

看到我驚訝的神情，柯同學又補了一句：“我是中秋節那天生的。”

他是1987年10月7日生的。我后來查了一下萬年歷，這天果然是中秋。

然后，我給他我的采訪本和筆，讓他在上面寫下他的英文名。奇跡發生了，小伙子竟然是用握毛筆的手勢握鋼筆的，而且用的是鋼筆尖的那一側，就像用毛筆的側鋒，墨一下子下不來。

我們都笑了。然后我教他把筆轉過來，他這才在我的本子上寫下：Michael Cavayero。

這個姓不太常見。問了一下，柯偉業原來是猶太裔。

2003年，柯偉業16歲的時候，在高中的美術史課上，老師展示了一幅畫《六祖斫竹圖》。

30歲的中國美院博士生柯偉業回憶說，當時他這個16歲的紐約小伙子看到這幅畫時，“有觸電的感覺”。

這幅畫保存在日本東京國立博物館。2007年從紐約大學畢業后，這位有執念的小伙子便追隨這幅畫來到日本，學了兩年木刻浮世繪。大概是意猶未盡，也因為當時日本突然發生地震，他又來到了中國、杭州，來到中國美術學院。

因為，這幅畫，據推斷，極有可能是在杭州畫的。

柯偉業能來中國美院，是有很多方面原因促成的。首先當然是小伙子對藝術、宗教，特別是中華文化的熱愛。2007年他從紐約大學畢業時，就來過中國，當時是作為紐約大學與華東師大的交換生，“柯偉業”這個中文名，就是那時候取的。

機會終于來了。2011年，當時的奧巴馬政府與中國政府推出了兩國文化交流上的一大舉措：人文交流政府獎學金，柯偉業爭取到了這個機會，他向中國美院遞交了讀碩士生的申請，并得到了國畫系教授、博導林海鐘的垂青，被收入到林教授的門下。

一個美國人學中國畫，是需要很大的勇氣的，不要說語言、文化，就連毛筆怎么握也要從頭學起。

剛開始，聽說有一個美國學生要來杭州學習禪畫，林海鐘也嚇了一跳。最終，吸引林海鐘教授的，是這個美國小伙身上的執念。尤其是對《六祖斫竹圖》這幅作品的執念，在美國期間，柯偉業就曾向世界著名的中國美術史專家高居翰教授請教過對這幅畫的理解，雙方有過幾年的電話交流和郵件往來。

如今的柯偉業已在中國美院學習了6年。2015年他碩士畢業的時候，曾作為全體研究生代表發言，當時就詩經佛經地“掉”了一地“書袋”。現在更是了不得，聊天的一個多小時里，他“福報”、“夢幻泡影”什么的張口就來。

有些話，顯然是柯偉業自己的體會，別人說不出來。

比如他說，中國是“和文化”，西方是“愛文化”;中國用的是儒釋道教育，西方用的是“宗教”教育，其實本質上是一樣的，都是“愛”的教育;

比如他說，中國傳統文化是“內學”。真正的“大學問”是從“內心”挖出來的，不是往外求的，是智慧，不是知識;

比如他最后說，畫畫、傳統、宗教，是一不是二。

一個俄羅斯姑娘，為啥來中國學油畫

與柯偉業聊完的第二天，我去中國美院象山校區找卡佳。俄羅斯姑娘漂亮我是有心理準備的，但在杭州春天的暖陽中，看到遠處穿著一件小花連衣裙，如一只蝴蝶般翩然而來的卡佳，我還是忍不住心生贊嘆。

前一天，在微信聯系的時候，我對卡佳說，我明天開車來，你到時候發個定位給我。結果當天下午她就發來了美院象山校區南門口的定位，這應該是她路過校門口的時候發的，這樣，她第二天就不用特意跑去校門口定位。

所以，我覺得卡佳是個聰明、認真的姑娘。

我們走出校門，去不遠的地方找一家安靜的咖啡館。看得出卡佳對這一帶很熟悉，她告訴我前年這塊地方還很冷清，就是這一年熱鬧起來的。“我很喜歡這里”，她說。然后又說了些杭州的氣候，她說莫斯科要么是冬天，要么是夏天，不像杭州，有四季，她喜歡。

于是我想起一個笑話，說杭州不是四季如春，是春如四季。卡佳顯然聽過這個段子，哈哈地笑著，引來許多路人的目光。

我覺得這個姑娘活潑開朗，一定有好多朋友。于是找到一家小店坐下后就問她。她開心地說，是啊是啊，我有很多朋友，特別是中國朋友。

照例，我請卡佳在我的采訪本上寫下她的俄文名：Ekaterina Rodina。

“卡佳這個名字好記。”她說。

卡佳在中國美院油畫系讀研究生，師從油畫系主任何紅舟教授，今年就要畢業了。看得出在杭州的這三年她過得非常開心，“我可以在這里學習、生活，和藝術家聊天，喝茶，看展覽，聽講座。”卡佳說了一堆她的日常，在她興致勃勃地表達對中國美院的熱愛的間隙，我問了她一個我從一開頭就想問的問題：

“俄羅斯人學油畫，為什么要來中國呢？”

我覺得這個問題大概很難回答，可卡佳很輕松地接了過去：“因為我喜歡中國啊。”

“那你怎么不學中國畫呢？”

“中國畫太難了。”

然后卡佳說了中國畫與油畫相比更難的原因：“油畫可以改，畫國畫卻沒有犯錯誤的權力，一筆畫錯，就廢了。”

這個原因，我覺得說得通，而且，應該是專業的回答。

其實中國的油畫受俄羅斯影響很大，比如說，在1955年，俄羅斯油畫家、藝術教育家馬克西莫夫來中國辦了一個講習班，這個班叫“馬訓班”，在中國當代藝術史上非常有名，中國當代的油畫家，很多都是從那個班出來的。

馬克西莫夫的油畫藝術與教學，就成了卡佳的研究生畢業論文題目，她回莫斯科的時候，在當地圖書館和資料室，翻閱了很多與之有關的材料。

卡佳是個愛學習的姑娘。她和我說，她從小就是個另類的孩子，只要給她一支筆一張紙，她就能畫上半天，很安靜。

初中、高中，卡佳讀的都是莫斯科的美術學校。上大學之前，考慮到就業，她聽從父母的建議，上了莫斯科國立設計技術大學。不過聰明的卡佳自有打算，在拿到大學的碩士學位之后，她緊接著就去了莫斯科國立大學亞非學院拿出了中文的雙修學位。

“不過中文實在是太難學了！”卡佳說。一開始她認為自己只要一個月就能學會，后來覺得要一年，再后來覺得要三年。雖然現在中文真的已經說得挺好了，但卡佳依然認為中文學無止境。然后她舉了個例子。

前一天晚上，她和幾個朋友出去聊天，在路上看到一個字，“中國朋友也不會讀。”她說。

我也很想知道是個什么字，就又把我的筆和采訪本遞了過去，卡佳寫了下來：

仝

“這個字讀‘同。”我說。不過從卡佳寫下這個字的熟練程度看，她昨天晚上回到宿舍，一定做過功課。

在采訪柯偉業和卡佳的最后，我問了他們同樣一個問題：

畢業以后，你有什么打算？

柯偉業說，他會找一份能在美國和中國之間來往的工作，因為他不舍得中國，也熱愛祖國。

卡佳說，她已經找到工作了，在杭州，當老師——老師有假期，她可以趁假期的時候，回自己的祖國。

我覺得，這可能是在中國美院學習過的國外留學生的一個普遍心態。當然他們愛自己的祖國，但也不愿離開這個他們生活學習得很快樂的城市——杭州。他們最希望做的，就是用自己的所長，用自己的切身經歷，做一些文化交流上的事情。

“文化是這個世界的橋梁。”柯偉業說。

卡佳說，今年六月她畢業的時候，會請媽媽來杭州。因為從前她在資料上看到西湖、看到靈隱寺的時候就覺得太美了，現在竟然真的可以在西湖邊、靈隱寺里寫生，“就像在天堂一樣！”她說。

China Academy of Art， located in the capital city Hangzhou of Zhejiang Province， has many international students. I interviewed two of them to learn about their life in Hangzhou and their understanding of Chinese art and culture.

Michael Cavayero

The appointed time： the day after the 90th anniversary of the academy founded on March 16， 1928. The appointed location： a newly-open café upon Nanshan Campus of the academy. While setting up the interview， Michael said he was busy and wasnt able to give me more than two hours. I was at the café ahead of time and saw him approaching the café in a hurry. Dressed in a cotton shirt， he looked energetic and lean， reminding me of comment about Michael by another international student： he was more Chinese than his Chinese classmates. The comment rung undoubtedly true when I heard him say he was born in 1987， the year of rabbit and upon the Moon Festival.

I gave him my notebook for him to write down his passport name. To my surprise he held the pen in the way people hold a Chinese brush-pen. Naturally， ink didnt come down. We laughed. He turned the pen and held it in the normal way and wrote his name.

He was from a family of religion in New York. His China story has something to do with his religious background. In 2003， the 16-year-old viewed ， a painting about the sixth abbot of a famous Zen sect in China， in his high school art history course. The teenager felt electrified at the sight of the Chinese painting. The original painting is housed in Tokyo National Museum， Japan. In 2007， Michael came to Japan to study Japanese art. He stayed there for two years. He left the island country for Hangzhou， China after the 2011 earthquake off the Pacific coast of Tōhoku.

He visited China after his graduation from New York University in 2007 as an exchange international student at East China Normal University. In 2011， he applied for a government scholarship for graduate study jointly issued by China and USA. His application was approved.

His graduate advisor was Professor Lin Haizhong. The professor was surprised to learn that an American student intended to pursue Zen painting at the academy. But if the professor had any misgiving， he didnt have any after learning more about Michael. Back in the United States， Michael approached James Cahill， a professor specialized in the history of Chinese art， for information upon this painting. The two kept in touch through phone and email for years. Michael has been at the academy in Hangzhou for six years now.

He spoke at the commencement ceremony on behalf of all graduates. He amazed everyone by citing lines from? and Buddhist mantras. While we chatted at the café， many words and terms he used were from Buddhism classics. Apparently， he made his observations and formed opinions of his own through his unique perspective. He pointed out that Chinese culture emphasized harmony whereas the culture in the west focused upon love. He said that Chinese education was basically built upon Confucianism， Buddhism and Taoism whereas， in the west， religion played a critical part. However， he observed that Chinese culture and western culture were identical in nature： both emphasized love. He said that Chinese traditional culture pursued the knowledge of the mind. All the big ideas came from within; it was wisdom; it was not knowledge. He noted that painting， tradition and religion could be considered one.

Michael said he wished to find a job that would enable him to travel between China and USA. He loves both his motherland and China.

Ekaterina Rodina

The next day I met Ekaterina Rodina in a café near Xiangshan Campus of the academy. We had small talk about the weather of Hangzhou. She said all her friends called her Katya， short for Ekaterina. She laughed a lot. So I asked if she had a lot of friends. She indeed has a lot of friends， many of them are Chinese.

Katya is a graduate student under the tutelage of Professor He Hongzhou， the dean of the Oil Painting Department. She is to graduate in June 2018. She concluded she had a good time for the past three years in the city： her regular agenda included a lot of things： studying， chatting with artists， sipping tea， visiting exhibitions and attending lectures.

I asked why she， a Russian， came to China to pursue a graduate course on oil painting. I thought she might find the question hard to answer. She replied without any hesitation： “Because I love China.” I was curious. “Why dont you study Chinese painting？” “Chinese painting is too difficult，” she commented. “You can make changes in oil painting， but you dont have any chance to make corrections in Chinese painting. One mistake and the whole painting is ruined.” I thought it was a professional judgment.

Katya studied art in high school and college. Upon graduation， she took a Chinese course. At first she thought she would master the language in a month. Then she decided it would take her a year. Later she wanted to master it in three years. She spoke pretty good Chinese， but she thought she had a long way to go.

Her graduate paper was about Konstantin Maksimov （1913-1993）， a prominent socialist painter in Moscow after 1940. He is best known for introducing China to the socialist realism style of oil painting. From 1954 to 1957， at the request of the Chinese government， he lived in China and taught master classes. Many Chinese painters of modern times were from the master classes he taught. When she was back in Moscow for vacations， she visited local libraries and researched upon the artist.

Katya said she would be a teacher in Hangzhou after her graduation. She got an offer already. A teaching job， for her， meant she would have long vacations to visit Moscow. Her mother would come to visit her in Hangzhou in the upcoming summer. “Living in Hangzhou is like living in paradise，” she commented.

Both Michael and Katya said that they wanted to do more about cultural exchanges.