国庆黄金周水墨精神展隆重开幕

2008年10月3号上海大学美术学院99创意中心的水墨精神展隆重开幕,这次展览由上海大学美术学院马琳博士担当策展人,隆重推介8位当代水墨画家以及他们的优秀作品。他们分别是:

丁蓓莉 毛冬华 叶     李  岗   李戈晔 佘  松 郝孝飞 熊明非

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

在经历过一段有关海边风景的绘画与摄影的体验之后,丁蓓莉这几年的创作,开始逐渐将她对水天相接的风景的理解,扩展到一个更为宏阔的境域。她的视线不停地在“水——天”之间和“地——天”之间转换,在这样的一种转换中,我们不但可以看到连绵空的山景,还能看到晨雾浓重中,隐晦幽暗的都市楼群。但我们同时也会发现,丁蓓莉所使用的画面策略,还不仅仅是对这种转换的关注,她对实体的暗影、轮廓以及处于游历状态的水汽的兴趣,要超出其他。弥漫于山体之间或都市楼群中的水汽,不但形成了画面低缓迷茫的色调,而且由于其不停游动的特征,在巨大的山形体量中,同时也形成了一种悠远、凝重,低调、务实的气质。
After the experience of painting and photograph about seaside, the creations of Ding Beili which were about the understanding of horizon have been expanded to a wider area. Her visual angle was changed between water - sky and land - sky ceaselessly. In the process of this converting, we can see not only the long sweep of the mountains in the heavy fog but also the office blocks of metropolis permeated the mountain massif. However, we can find that the strategy of frame which was used by Ding Beili is aimed to the interests of shadow, outline and water vapor which is under the unbound state. The water vapor which permeated the mountain massif or the office blocks of metropolis forms not only the hazy hue but also the temperament of remote, dignified, low-pitched and pragmatic in the large mountains because of the character of floating.
 
 
 
毛冬华的帘笼系列作品,是她于极简构图作品中较为洗练、纯粹的一种。这也是她这几年竭力探求的方向之一。毛冬华的这种画面素材选取,具有很强的象征性与隐喻特质,帘子和笼子直接应对了典型的中国古典文化。同时这种素材的选择也在含蓄、内敛当中,体现出一种柔性的美学意味,这或许与她的女性身份以及个人对生活的理解有一定的关联。她的这一系列作品的创作,经历了两个阶段,首先是以帘子、笼子和鸟三者构成画面主题;其次当她将鸟从笼中移去的时候,画面随即呈现出了另外一个层面的隐喻状态,画家于此将一种观念的思考,带入了她的创作,使得画面更加的纯净。
The artworks of curtains and cages presented by Mao Donghua are the purely one in his paintings of foolproof composition. It's also one of the directions she is looking for. The choice of this matter has a powerful symbolism and a character of metaphor. Curtains and cages match the traditional Chinese classical culture directly. Meanwhile, the choice also shows flexible esthetics. Maybe it is because her female identity and the understanding of life by herself. This series artworks come through two stages. The first stage is that the themes of pictures were composed by curtains, cages and birds. Secondly, when she removed the birds from the cages, the paintings display the state of metaphor in another level immediately.  The painter brings his thinking into his creation and makes the pictures more purity.
 
 
 
叶芃近来一直在思考如何在新的创造中保持传统美学品格的问题,他对于禅语的诠释以及他对幽深曲折主题的偏爱,呈现于他的花卉作品中,即是一种出于禅悟的幻化与淡定,尤其表现在他有关于荷花的描绘,简洁中充满曼妙的灵性。他重视形而又不拘泥于形,在形似中更注意确立自己的态度,表达自己的主观意念和感情。他的花鸟画作品既有宋画的严谨,又兼元画的潇洒。画面清新淡雅,同时又融入浑厚、深邃的意境,显得清雅厚重,独具风貌。同时,叶还注重对作品背景的处理,并赋予其特定的环境颜色。通过这些色调的处理,不仅使作品与传统形式拉开了一定的距离,同时更增加了作品丰富细腻的色彩情感,达到了华尔不浮,淡而有致的效果。
Ye Peng is thinking how to keep the traditional character of esthetics in his new works recently. His annotation of Buddhism and preference of zigzag theme are showed in his artworks of flowers. His paintings of lotus are filled with spiritualism. He values shape but not make it too formal. He pays more attention to establish his own atitude base on the similarity in shape and shows his own ideas or emotions. His flower-bird works not only have the preciseness of drawing which was presented in Song dynasty but also have the pizazz of drawing which was presented in Yuan dynasty. Meanwhile, Ye Peng also pays attention to deal with the background of painting and gives its colors of surroundings specifically. Through treatment of hue, the artworks of Ye Peng are away from the traditional form. The artworks were achieved the level of luxury through adding colourful emotions at the same time.
 
 
佘松人物画的特点主要来自三个方面:一是他对画面主题的选择,时尚杂志封面女子是他这一主题的素材来源,这给他的画面带来了风尚的美感;二是他常在画面上将线条的表现降低到最小的可能,而极力彰显以重彩填涂的小块面分割画面的技巧,这使得他的画面构图具有了一种迷离飘忽的视觉张力;三是他对视象的幻化处理,在他的画面中,一般我们很少看到较为清晰的人物面相,这种模糊的处理方式,可能应和于他对人物服饰的重彩块面上的考虑。佘松常将他对这些封面女子的描绘,认作他对古往今来留存于人们记忆中的文化幻象的探寻。虽然佘松将风尚女子的幻象与传统士大夫的幻象,都认作极为类似的文化想象之两种,但我们更有理由期待他对于二者冲突的表现。
The characters of figure drawings presented by She Song come from three fields: one is the choosing of theme. Cover girls from the fashion magazines are the resources of this theme. It brings him the fashional beauty. The second character is that he usually keeps the display of lines to a minimum. Meanwhile, he makes an utmost effort on the skill of cutting up the frame in using the small squares which are filled with heavy colors. It makes his compositions of the pictures have a visual tensility which is erratic. The last one is his dealing with dreamlike vision. We can hardly see the figure in his artworks. He maybe caters to the consideration of heavy colors in using this kind of misty mode. She Song regards the painting of cover girls as the discovery of cultural illusion which was remained in the memories of people since time immemorial. Although She Song thinks the fashional women and the traditional scholar-bureaucrat has the similarity on cultural imagination, but we have more reasons to looking forward to the contradiction of them both.
 
 
李岗画面中的力量感,与他对火山这一独特主题的选择有着很大的关系。传统的山水画通常偏向于描绘混沌状态的自然景观,从而达到再现人文思想的目的。李岗的主题与此截然不同:如果说传统山水画钟情于山体表面的混莽与悠远的话;那么李岗的山水画则更多的将精力投注在对山体内部结构以及火山爆发后的肆虐残象的呈现。这就在一个全新的维度上,使得李岗的山水画被归入当代山水画的语境与表达空间当中。李岗的火山主题具有着多重的力量感,既有酝酿积蓄的沉静状态,也有爆发后所袒露出来的动荡、肆虐,还有火山凝固后幻化出的绚烂与奇屈。李岗将一种自然的运动力量赋形于艺术的视野中,无疑与当下的时代心理达成了某种暗合。
The powerful perception in the paintings of LI Gang has a closer relationship with the choosing of volcano by him. In order to reappearance the general thinking, the traditional landscape painting prefers to describe the natural landscape which is in the chaos state. But the theme of LI Gang's painting is quite different from it. It is to say that the traditional landscape painting focus on the remote and chaos of the surface of mountains with great passion, then the landscape painting of Li Gang pay more attention to the display of the internal structure of mountains and the sight after the volcanic eruption. It makes the landscape paintings of Li Gang be selected in the situation of contemporary landscape painting at new latitude. The theme of volcanic presented by Li Gang has the character of multiple powerful perception, not only the quiet state of brewing but also the unrest after breaking out, even the floweriness after the volcanic congealed. Li Gang puts the natural force into the art vision. There is no doubt to be linked with the modern mind at present.
 
 
 
李戈晔的绘画似乎从来都不曾属于过那种风尚美学的范畴。她的绘画总是带有一种深邃的人生玄思在里面,技术的炫耀反而被置于一个相对次要的地位,以使绘画免遭平庸的戕害。她的绘画是属于内省的那种,并且常常与哲理相连。李戈晔常将人生比作一条川流不息的大河,而她则不停地将人生的各种滋味沉浸糅合在这流水当中。因而,在她的画面中,我们所能看到的都是满眼的河水以及漂浮于水面的众生。人生的轻与重,孤独与寄托,迷失与茫然,漂泊与落定,乃至于依靠与大爱,等等,都在有声而无息当中,幻化为人世的浮尘。从这个角度来说,李戈晔对风尚的偏离,其实也从一个相反的道路,阐释了当代人的生存状态与观念演变。
The paintings of Li Geye never belong to the category of faddish esthetics. Her artworks always contain deep worldly thinking. So the splurge of technique has been put to a subordinate position as to aviod the criticism of mediocrity. Her paintings reside in the range of self-reflection and usually connect to the philosophy. Li Geye often compare life to the flowing river. And then she puts differents taste of life into this flowing river ceaselessly. So the river water and lives floating above the water filling our eyes from her drawing. Life, light or heavy, lonely or inner resource,lost or ignorant, stable or not even anchor or love has melted into the floating dust of life. Looking from this angle, the fashional departure by Li Geye illuminates the life state of modernist and notion developing from an opposite way.
 
 
 
郝孝飞曾将自己有关当代水墨的探索,看作一个大的文化境域中视觉想象的重要部分,为此,他不遗余力地在宣纸上构建着属于自己的具象水墨图式,从而实现着自己对于经典人物画文脉的突破。然而,单就郝孝飞作品所呈现的视觉语言来说,尽管他常竭力将古人所说的“写心”、“写意”认做他美学追求中的一种,但他在具象水墨人物画上的语言创新,以及他对抽象表现水墨的偏离,这些都在一定程度上,使得他在水墨人物画的当代转换中,增加了对于当下语境的切入与渗透。他的这种努力,表现于他的画面的,即是将水墨语汇的空灵效果,整合进他的虚拟想象空间,在成就他的视象人物画创作的同时,也收获了一条纯化思维的美学之路。
Hao Xiaofei regards the discovery of contemporary Chinese painting by himself as an important part of visual image in a large cultural condition. It is for this reason that he draws the representational painting picture on the rice paper, so that he can fulfill the breakthrough of classical character painting. However, in term of the visual language which is showed by Hao xiaofei's artworks, although he regards the 襂nnermost and enjoyable?which was said by the ancients as the pursuit of esthetics, but the innovation of language on character painting and the departure of nonrepresentational painting makes him increasing the interpenetration of current situation in the contemporary converting of character painting. He integrates the effects of painting language into his virtual space through his hardworking. It is successful for his creation of visual character painting as well as for finding a way of esthetics which purify the thinking.
 
 
 
熊明非的作品通常与生活中的各种趣味紧密相连。与诸多以写意画擅长的画家不同的是,他将个人对趣味的表达,锁定在了工笔重彩绘画一路上,这使得他的绘画具有了某种直观性与写实特征。为了尽可能地将这种趣味的传达与传统拉开距离,熊明非借鉴了当代卡通以及动漫绘画中的某些技巧,从而赋予了传统工笔绘画以更多灵动的机趣与童真。从熊明非最近的作品创作来看,他显然是想在一个全新的境域中,对经典工笔绘画语言做一些个人的理解与超越。他于此所使用的一个策略是将经典图式与当下诸多的流行图式一起,认作纯粹的视觉元素,然后他再将这些视觉信息重新组合进他表达趣味这个主题上,从而形成自己的图式语言。
The artworks presented by Xiong Mingfei have a close connection with several interests in life. Different from the artists who are good at painting in the impressionistic manner, Xiong Mingfei puts his interests on the way of dark color. It makes his drawings have a character of intuitionism and realizeise. In order to pull away from the tradition as possible, Xiong Mingfei uses some techniques of modern cartoon as reference. Therefore, the traditional painting with meticulous detail is given more interests and innocents. Looking from his last artworks, he wants to achieve a higher level on classical painting with meticulous detail absolutely. So the strategy he used is to form his own scheme language through resets the classical scheme and fashion scheme.

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