英國畫家勞裏的工業英國畫作(多圖)

British artist LS Lowry's paintings of industrial, working-class Britain brought him popular fame in the UK. Yet his works have never been the subject of a solo exhibition abroad - until now.

英國畫家LS 勞裏的畫作描述了工業時代下的、工人階級的英國，因此在英國名聲大噪。然而，他的畫作從來沒有單獨在國外展覽，但如今不是了。

LS Lowry, with his depictions of everyday northern life, is one of Britain's best loved painters. Popular he may be, but since his death in 1976, there have been accusations that the British art establishment has turned its back on him, finding his subject matter too working class.

LS 勞裏的畫作描述了北方民衆的日常生活，他因此成爲英國最受追捧的畫家之一。儘管他爲人喜愛，但在1976年去世後，就有傳言稱英國畫界把他拋在腦後，稱他的作品的“工人階級”味道過了頭。

There's been public pressure for major galleries to do more to celebrate him and last year the Tate Britain put on a Lowry show. But remarkably, for such an icon of modern British art, no solo exhibition of his work has ever been held outside the UK. Until now. A collection of Lowry paintings is being shown at an exhibition in Nanjing in eastern China.

大型美術館若想慶祝他的作品，是要頂着公衆的壓力的，泰特博物館去年辦了一場勞裏的美術展。但值得注意的是，即使對於這樣一個現代英國藝術的標誌性人物，他的個人展出也僅限於英國國內。但如今不是了。在中國東部的城市南京，勞裏的組畫正在展覽進行時。

Lowry's canvases depict a side of British life that's now gone. The one above, Mill Scene, from 1965, is reminiscent of many of his paintings, with its smoke stacks and hurrying crowds of workers.

勞裏的畫作裏所描述的那些英國人的生活景象已經遠去。上邊的一張圖是米爾辛1965年的作品，讓人想起了他許多的舊作，裏邊畫着林立的煙囪和疾行的工人們。

Lowry's subject matter may now be Britain's past but it is, of course, very much a part of China's present day. This is a photograph of one of Beijing's train stations ahead of Chinese New Year when millions of migrant workers flock away from their factory production lines and head home.

如今看來，勞裏的主題描述的是英國的過去，然而，當然了，很大程度上是中國的現在。這張圖展示的是北京站以及成百萬的外來務工人員在農曆春節返鄉的景象，他們從工廠的生產線裏解放了，返鄉了。

The exhibition came about following the chance meeting of Xiao Lang, a Chinese art consultant, and Andrew Kalman.

中國美術顧問的小浪和安德魯卡曼偶遇使得畫展得以成行。

Kalman's father, Andras, was a private gallery owner in Manchester and a close personal friend of Lowry. He agitated for British art institutions to promote Lowry's work overseas, but no solo exhibition was ever held outside the UK in either his or the painter's lifetime.

卡曼的父親安德拉斯是曼徹斯特的一傢俬人美術館館主，和勞裏的私交甚好。他呼籲英國美術界向海外推廣勞裏的畫作，但是在安德拉斯或是勞裏的有生之年，勞裏的個人畫作始終未在英國以外的地方展出。

The curators hope Lowry's paintings will resonate with Chinese audiences because they will see echoes of their own economic development and the problems it causes.

美術館長們希望勞裏的畫作可以讓中國的觀賞者產生共鳴，因爲他們可以在這些畫裏看到自家的經濟發展及其帶來的問題。

Detail from Bargoed, 1964

巴格德港口寫實，1964年作

Xiao Lang points to notorious pea-souper smogs of Lowry's day and the swathes of grey and white in Lowry's paintings.

小浪提到了勞裏時代的惡名遠播的滾滾黃霧，還有勞裏畫作裏一條條灰和白的色帶。

"First of all the white sky," she says. "We have air pollution issues in China so the sky colour will definitely resonate with Chinese audiences."

小浪說：“首先是灰濛濛的天，因爲在中國我們有空氣污染的問題，所以天空的顏色絕對會讓中國的觀衆產生共鳴。”

Detail from Salford Street Scene, 1959

索爾福德市街景寫實，1959

Lowry was not a political painter and this is not socialist art. He was, after all, for most of his working life, a rent collector.

勞裏不是一個有政治傾向的畫家，這些畫作也與社會主義無關。畢竟，他的一生中，大多出時間都用來收房租。

But there is great affection for his subject matter and his very painting of it suggests a deep respect for the working communities that he was surrounded by.

然而，他的題材仍受到廣泛的喜愛，他的最好的畫作傳達出對身邊的工人羣體的濃濃的敬意。

Rising Street, undatedThe people Lowry painted, like so many Chinese migrants today, were doing hard work for little pay.

勞裏畫筆下的人們就像是許多如今的中國外來務工者，做着苦工，掙着小錢。

Detail from Salford Street Scene, 1959

索爾福德街景寫實，1959

Detail from Rising Street, undated

萊辛大街寫實，日期不詳

Cai Su Yun, a street cleaner in Nanjing stands in front of her favourite picture in the exhibition - Rising Street. She likes the dogs. "It's nice that he painted working people," she tells me. "Do you feel a connection?" I ask. "Everywhere, we're all the same," she says.

蔡素雲，南京的一名道路清潔工，站在他最喜歡的展畫——萊辛大街前。她喜歡狗，“他畫了工作的人們，畫的真好。”她對我說。“你感覺到自己和畫的關聯嗎？”我問，“關聯到處都在，我們簡直是一模一樣。”她說。

Some see in Lowry's decades of work, not a depiction of industrial strength, but a bleak portrayal of long industrial decline. Alongside the parallels with the present, Chinese audiences may well find hints and warnings about the future.

勞裏的幾十年間的畫作，在一些人看來，描述的並不是工業盛世，而是黯淡而長期的工業蕭條。今日與昨日相比，中國的觀衆也許很容易找到未來的跡象和啓示。

Wasteground, 1940

荒地，1940

The exhibition at Nanjing University of the Arts runs until the 16 December 2014.

南京大學的這次畫展的展出截止日期到2014年12月16日。