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Preface_艺术家资讯_雅昌新闻,贾方舟_艺术家资讯

时间:2020-05-03 16:12来源:新萄京5588017
王璜生将自己的第一个综合性的个展称之为后雅兴,并且征求我的意见。我最初的反应是,这与他在中央美术学院美术馆做的超有机展一样,新颖倒是新颖,但阐释起来可是相当费劲。

王璜生将自己的第一个综合性的个展称之为后雅兴,并且征求我的意见。我最初的反应是,这与他在中央美术学院美术馆做的超有机展一样,新颖倒是新颖,但阐释起来可是相当费劲。不过看了他的大部分作品之后,我对这个展览主题倒是十分认可的,因为他的作品与超有机展的作品不一样,并没有那么深奥难懂。

那天下午,天还未暗,初识的我们就着素茶和香烟漫游了一个下午,第一次的采访我简直认定了林晓明就是一个极端的防御型人格,我甚至害怕因为年轻言语的冲撞让敏感的林晓明耿耿于怀。但事实上,第二次在酒精、音乐和一些大家都熟识的同类人的催化下,他一扫第一次的闷骚和内敛,开始进入一种其乐融融的欢兴场面。酒后他狡黠的处世逻辑和愤世嫉俗的情绪都开始释放,并且迅速进入自己的状态中,这时我脑海里对他只有唯一的印象这是个饱经世事,直来直去的纯爷们。

李海旺准备出画集,邀我写序。看过画集编排,作品充实,足以体现他十多年来的探索历程。画集共分盛焉、天籁、人体三个部分。三个部分的内容分别是历史、自然与人。正好从不同侧面展示出艺术家精神世界的完整。

萄京5588017com,Li Haiwang was ready for publishing his album and invited me to write the preface. After seeing the layout of the album, I found that the work was rich enough to reflect his ten years of exploration. This album consisted of three parts: prosperity, music of nature and human being. The contents of the three parts indicate history, nature and human beings respectively, demonstrating the integrity of the artists spiritual world from different aspects.

说到雅兴,雅俗之辩不可不察。雅在古代文献中的意思是标准和规范,《毛诗序》谓,雅者,正也。言王政之所由废兴也。《荀子荣辱》篇谓,君子安雅,所谓正人君子,即正而有美德者谓之雅。雅兴即高雅的兴趣,古人认为雅人深致,即风雅的人才有深远的意趣。而中国古代文人最喜欢的雅集,是指文人雅士吟咏诗文,议论学问的聚会。雅集一词源于中国文化史上著名的西园雅集。北宋年间,苏轼、苏辙、黄庭坚、秦观、李公麟以及僧人圆通、道士陈碧虚等人会于驸马都尉王诜府邸西园,写诗作文,品茶寻韵。另一个著名的文人雅集则是晋代王羲之在《兰亭序》里所记载的兰亭雅集,暮春之初,群贤毕至,流觞曲水,游目骋怀,其言行诗文之雅为一时之盛。

林晓明,一个体制内外游刃有余的艺术家,一个受人敬重的高级环境设计师、微观世界观察家,一个玩乐的手艺人,一个浑身带着痞子气息的生意人。

自新世纪以来,海旺一直不厌其烦地画他的荷塘。2008年的欧洲之行,使他对古代建筑发生兴趣,于是回来后去了平遥,希望也在那个保存完整的古城里找到灵感。结果是晋商的历史引发了他的创作冲动。那些至今依然完整地保留下来的镖局、票号、钱庄、账房、汇票深深吸引了他,这些具有厚重的历史感的文化符号,一下子把他带入曾经称雄国内商界五个多世纪的晋商时代。山西商人以自己的经营之道所获得的成功令人瞩目。生意兴隆通四海,财源茂盛达三江,是他们的自我写照。晋商的经商原则是以义制利,充分渗透着儒家文化的精神。因此,明清山西商人的成功,就在于他们有这样一种文化精神的支撑,这种精神被史家归纳为集进取精神、敬业精神和群体精神为一体的晋商精神,这种精神也贯穿到晋商的经营意识、组织管理和心智素养之中,也可谓是晋商之魂。

Since the new century, Li Haiwang has been taking the trouble to paint his lotus pond (music of nature series). After the European tour in 2008, he took interested in the ancient architecture. So he went to Pingyao hoping to find the inspiration in that well-preserved ancient city. The result was that the history of the Jin-merchant sparked his creative impulse. Those well-preserved Chinese security companies, exchange shops, money shops, treasurers and drafts all deeply attracted him. All of a sudden, these cultural symbols with a heavy sense of history led him into that Jin-merchant era, which had dominated the domestic business circle for more than five centuries. The achievements made by Shanxi merchants were tremendous based on their own business principle. The booming business and abundant wealth help you go everywhere and have lots of friends was their self-portrait. Their business principle was driving interests with justice, fully reflecting the spirit of the Confucian culture. Therefore, the success of merchants in Ming and Qing Dynasties was attributable to the fact that they had the support of such a cultural spirit, which was summarized to Jin-merchant spirit integrated with enterprising spirit, professional dedication and community spirit. This spirit throughout the sense of business, organization and management and mental quality of Jin-merchants, can also be described as the soul of Jin-merchants.

按照我的理解,后雅兴也就是雅兴之后。在今天,古代文人的这种雅兴是否还能继续?王璜生的作品,其实不是提出问题,而是表达出他对于今日社会、人生、艺术的态度。在我看来,这种态度,就是走出传统水墨画中那种文人的诗意,直观视觉艺术的真实图像,在更具视觉要素张力的图像结构形式中,寻找今人的精神家园。

人总有不同的价值观,有的人创造社会财富,有的人创造心灵财富,才情不够的话,就像我这样寻找到自己的人生趣味然后蝇营狗苟的度过残生。林晓明被周围的人评价为一个执着的艺术家,用林晓明的话说执着是成功必须的东西,因为执着才能成为艺术家。其实我们都相信,人生总是需要有些偏执和执着的。现实和梦想,中间只隔着一堵墙,大部分的人无法做到推到它,于是选择投身于热火朝天的庸俗生活中。但林晓明在近五十年的人生中,却始终坚持在精神世界里餐风饮露

海旺在这组作品中,通过晋商商号的一些史籍和文献资料,以及沉郁氛围的渲染,尽力把观者带入那段盛极一时的历史记忆之中。因为这段历史是他作为一个山西人的骄傲。正是山西人,用他们的智慧在中国的金融领域开了先河。因此,海旺的这组作品,不只是在纯粹美学意义上的探索,更具有招魂的意义和直面现实的针对性。试想,今天我们在那些官商勾结、以掠夺地下资源暴富的煤老板那里,哪里还有晋商精神的一点影子?

In this collection of works, Li Haiwang was trying to lead the viewers into that flourishing history through some historical records and documents of firms established by Jin-merchants and the rendering of the gloomy atmosphere, because, as a person of Shanxi, he was proud of this period of history. Shanxi people took the initiative in Chinas financial field with their wisdom. Therefore, Li Haiwangs works were not only the pure exploration in the aesthetic terms, but also had the meaning of evocation and direct realistic pertinence. Lets look at those coal bosses colluding with businessmen and becoming rich by robbing underground resources, where could we find the shadow of Jin-merchant spirit?

作为一个水墨画家,王璜生出于绘画世家,早在1980年代就已经显示出他对于写意水墨的爱好与才能,当然他的早期作品并未出脱于当时流行的写意水墨,并且也有较强的写生意味,描绘性的现实生活物象成为其表现主体。但是真正使王璜生的艺术得以升华,还是他进入专业创作机构广东画院以后,纵观那时以来王璜生的艺术创作,大体可以分为三个阶段。

艺术,天生的偏爱

天籁是海旺延续多年的一个系列作品,一年四季变化丰富的荷塘成为他的创作母题。每次面对荷塘,他都会有新的感受,新的想法,新的表达欲望。因此,他虽然画了那么多以荷塘为主题的作品,却不感到重复,因为他总能找到一个新的角度对这个母题做出新的阐释。让你感到,千变万化的荷塘有取之不尽的美:线条的美、色彩的美、形式结构的美、意境的美不同的作品展示出不同的情调:或清新、或明丽、或萧疏、或凝重、或灿烂天籁之音,天籁之景,艺术家在这里获得一方尽情抒怀的天地,也让他的观众尽享自然的美好。

Music of nature was a series of his works which he had been paining for many years. The variable lotus pond all the year round was his creative motif. Each time he looked at the lotus pond, Li Haiwang would have new feelings, new ideas and new desire for expression. Therefore, though he had drawn so many works with the theme of locus pond, he didnt feel the repetition, because he could always find a new angle to illustrate the motif. You would find the ever-changing lotus pond had inexhaustible beauties: the beauty of lines, the beauty of color, the beauty of form and structure and the beauty of artistic conception, etc. and different works demonstrated different tones: fresh, bright and beautiful, desolate, dignified or brilliant, etc. The music of nature, the scene of nature, here the artist could gain access to a land to express his feelings and his audiences could enjoy the beauty of nature.

第一个阶段,是90年代早中期他在广东画院时期的创作。这一时期王璜生的创作,主体是画行云、流水、草屋、星座、屏风等,概言之,画天地万物及其相互关系。以天地为代表的系列作品,表现了气势礴大的中国文化,着重于画面小空间与大千世界的沟通。通过对假山石、园林、花木的描绘,进而触及画家的心灵,使人在精神世界中拥有万物,与宇宙相通。这一时期,他的作品具有杯中乾坤,俯仰天地的宏大胸怀。

林晓明的艺术人生开启之路绝不是十七岁那年的雨季,某个姑娘悄然出现,于是他便坚持作画的俗套故事。但事发也很简单,和大多60时代出生的孩子一样,刚开始接触绘画都是从临摹小人书开始。只是林晓明是幸运的,每一个天才的出现都需要培育的土壤,而那时的林晓明正是得到了大人们极大的鼓舞和引导,才悄然打开了人生艺术的密码,让画画成为林晓明一生的偏爱。

这批作品在表现上大体采用两种手法:一种是比较地道的油画语言,以色彩和光影的表现力取胜;另一种是融入了传统水墨以墨色和线形为主的表现特征。荷塘本来就是传统绘画的常见主题,许多大师在这一领域都有极为出色的表现。海旺在表现荷塘的过程中所体现出来的审美趣味无疑与这些传统大家有着割不断的联系。但他并没有在表面上模仿传统水墨图式,而是更注重形式感和结构感,更注重画面的整体氛围和情调的营造。

In the performance, these works adopted two methods generally: one was an idiomatic painting language, winning by the expression power of color and light; another was combined with the traditional ink dominated by the performance characteristics of ink color and lines. The lotus pond had always been a common theme of traditional paintings and many masters had made remarkable successes in this field. The aesthetic tastes reflected Li Haiwangs works of lotus ponds were undoubtedly connected with these traditions. However, he didnt imitate the traditional ink schema, but paid more attention to the sense of form and sense of structure, paid more attention to the overall atmosphere of the painting and the creation of the tone.

第二个阶段,1990年代后期至新世纪初,王璜生主事广东美术馆。这一时期,他为广东美术馆的事业发展呕心沥血,投入很多时间,没有更多的时间专注于大幅创作,转而创作了一批小幅的花卉作品。这个后来被定名为悠然的系列作品多为彩色的小作品,其中透露出他努力走向抽象、运用笔墨更加不拘一格,关注的重点是表现对象的抽象性关系。王璜生笔下的花瓶,和现代生活有关系,其潇洒自由的表现、着重于笔、水、纸诸中国画元素的探索。王璜生笔下的画面点划披离,落英缤纷,高扬一种自由无拘的精神。

80年代初期,林晓明在安徽求学时意外认识了国画名家若泉先生,他开始意识到用筷子的黄皮肤人首先要掌握水墨的技巧。受其影响,林晓明开始研究国画,并大量的用绘画来记录自己的生活。不过那时候画画对林晓明来说只是填补他孤独内心必要的填充物而已,他只是专注的做一件他喜欢并且擅长的事情来打发时间。

人体部分是海旺教学的副产品。他在长期教学中不免要给学生做示范,做范画的过程正好使他获得了画人体的机会,也使他通过人体获得表现人的机会。海旺的人体大多带有速写的性质,这可能跟他做范画有关。但也正因为时间短,才体现出他迅速把握对象的能力,他的人体大多画得简洁生动,富有生命情调,不像是摆出固定姿势的人体模特,而是一个偶然瞬间出现的人体姿态。这些画得轻松自如的作品,似乎更能体现海旺的艺术才情。

Human part was the by-product of Li Haiwangs teaching. In his long-term teaching, he inevitably gave students the demonstration. This process just gave him the opportunity to draw the human body, thus to display the body. His human body usually had the nature of the sketch, which may be bound up with his demonstration. However, the short time could reflect his ability to quickly grasp the object. The human in his painting was drawn concisely and vividly, full of life character. Unlike a human body model with a fixed posture, it was a human body posture appearing accidentally. These free and relaxed works seemed to better reflect Li Haiwangs artistic talent.

第三个阶段,王璜生于2009年调入中央美术学院,任职中央美院美术馆馆长。这一时期,由于对中西现当代艺术的广泛接触,视野开阔,他的水墨画艺术进入一个广泛的探索时期,既有前两个时期风格的深入与延续,也开始向更加纯粹性的现代水墨艺术过渡。最引人注目的,是王璜生开始超越前期作品中那种对笔、墨、色、线综合性的均衡表现,转向对水墨艺术基本元素的深入研究,这一探索的结果,是王璜生笔下一批以线条为特色的作品的诞生。这批作品的线索可以追溯到2008年-2009年王璜生画过的树木枝条。这批作品虽然保持了中国水墨画的笔韵,但具有很强的现代视觉形式。我个人是非常喜欢这批作品的,它们具有美国画家波洛克作品中的那种行动性,从作品的观看过程中,观众可以感受到艺术家的激情以及绘画时的速度感。

林晓明是个聪明的男人,这不仅仅是说他学生时代的成绩优异,而是在于他成年后能很清楚的知道自己的人生道路应该如何选择,知道现实世界和灵魂领域是永远的平行存在,在国内的环境下他无法选择成为一个纯粹的艺术家。但他从不放弃绘画,即使妥协也要从事和艺术相关的工作。

三年前,一场飞来横祸使海旺终止了画布上的劳作,在生命线上痛苦挣扎,但回到画布上的信念终于使他支撑下来,即将告别这场突如其来的厄运。在疗伤期间,他还拖着病腿去了青海,画出一批风景。正是对艺术的挚爱,赋予他坚忍不拔的精神,使他有望继续攀向艺术的高峰。

Three years ago, an unexpected disaster made Li Haiwang suspend his painting and struggle on the lifeline, but the belief of returning to the painting career supported him and he was about to finish this sudden misfortune. During the healing period, he went to Qinghai with his sick leg, drawing a number of landscapes. It was the love of arts endowing him with the indomitable spirit that helped him continue to climb to the peak of art.

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