在浮游的前衛運動中，意大利畫家與收藏家查農（Carlo Zanon, 1889-?）在巴黎、上海、東京之間曾起了一定的作用。這位多年旅居巴黎的「威尼斯」畫家，雖在法國和意大利名聲平平，但進入中國的現代主義藝術流變，卻扮演了奇特的角色。從1928年至1937年，他的展覽和創作活動在媒體中頗為顯赫，贏得上海等地畫壇的高度重視。值得注意的是，其切入點不在引入巴黎前衛畫家的實踐，而是通過收藏中國古畫和日本浮世繪，漸次形成他所追求的繪畫風格，由此對中國的畫壇和藝術界形成意想不到的廣泛影響，特別是對國畫家黃賓虹繪畫探索的重要啓示。為此，本文就查農在華的展覽和創作活動，著重討論其收藏中國古畫對於介入中國前衛藝術運動的若干問題。
Carlo Zanon (1889-?) was an Italian painter and collector of guhua (ancient Chinese painting), who played an intriguing role in the art circles of Paris, Shanghai and Tokyo during the so-called floating Avant-garde movement in East Asia. Born in Schio, in the Veneto region, Zanon frequently stayed in Paris, but today he is not well known either in Italy or in France. However, his involvement in modern Chinese art was rather extraordinary. From 1928 to 1937, the art he exhibited and created in Shanghai caught the attention of the mass media in that city and elsewhere. Interestingly, Zanon's approach to modernism did not follow the examples of the avant-garde artists of Paris, but instead he painstakingly sought to develop a new painting style through collecting and studying guhua as well as Japanese ukiyo-e. Zanon's artistic approach exemplifies an alternative modernity embodied in the transformation of traditional Chinese art. Its effect on the development of Chinese painting was significant, helping to consolidate the self-confidence of guohua (national style painting) artists such as Huang Binhong (1865-1955). This paper will address the issue of modernity in East Asia by retrieving records of Zanon's exhibition and art creation in the 1920s and 30s in order to define the intriguing connection between the collecting of guhua in Europe and avant-garde movements in China.