特别在空间艺术中,那就是丁寺钟在水彩艺术上
分类:葡京-励志美文

  最近买到一本法文旧书,专论写作艺术。其中谈到“自然”(natural),引用罗马文豪西塞罗的一句名言:It is an art to look like without art.[能看来浑然天成,不着痕迹,才是真正的艺术。] 作者认为写得自然不是无意识的天赋,而要靠后天的学习。甚至可以说自然是努力的结果(The natural is result of efforts),要靠苦功磨练出来。此话固然不错,但我觉得首先要能体会到“自然”的境界,然后才能望这个境界迈进。要爱好自然,与个人的气质、教育、年龄,都有关系;一方面是勉强不来,不能操之过急;一方面也不能不逐渐作有意识的培养。也许浸淫中国古典文学的人比较容易欣赏自然之美,因为自然就是朴素、淡雅、天真;而我们的古典文学就是具备这些特点的。

开幕酒会:2007.11.15, 18:30展览时间:2007.11.15-12.25展览地点:上海多伦现代美术馆(上海多伦现代美术馆 多伦路27号3F展厅)主办单位:上海多伦现代美术馆

The materialization of art sensibility, which hides spiritual pursuit of art idea, is a narrative form of artist Shi Hengbo, which is to present the most essential art by the plan of nature. In the series of, Shi Hengbo paints playthings of his childhood in rose pink and put them in the environment of green birth land Qin Ling, and explores origin of the plan of nature. There exists a paradox in these artworks. Firstly the paradox is reflected in the realm of constitution.engenders a metaphor of the existence pressure via viscous and massive water space painted by the western method. While the distant frivolous and formless mountain adopts the Southern Sect School method of Chinese classical painting, and expresses the optimistic spiritual character of Taoism. Secondly, the paradox presents in his cultural integration of the plan of nature. For example, in his early works series, he installs the Tang Dynasty style stone lion in the South Pole to protect the last pure land of human. The paradox above can be regarded as an explanation of the plan of nature. Moreover, what has been continued in his series The Plan of Nature, the Chinese aspects of paper flight, boat and bird all underlines a complex of Chinese identity of contemporary art. By now, the paradox of art constitute of Shi Hengbo not only comes from exterior visual form of art but also its interior cultural logic. In all, this paradox is extinct art between ideal and reality happened in artworks of Shi Hengbo.

中国的水彩画从西方引进,受英国水彩的影响很大。但中国人凭借自己的智慧和具有的悠久文化艺术传统积累,经过不断的实践,逐渐赋予这一西洋画种以新的特色。而使中国水彩画发出耀眼光辉的,是中国传统美学体系中写意观念在实践中的探索成果。由写意理论申引出来意象说是中国传统的美学思想,也为现代各国艺术家们所关注、所实践。它深刻地反映了艺术创作与欣赏的一些原理,反映了艺术家主体与自然客体、与创造对象、与受众的某些辩证关系。一切艺术创造本身,都免不了包含意象的成分,而意象说则是艺术家们为了充分发挥自己的想象力和创造性所做的一种自觉追求。丁寺钟是在意象创造上有杰出表现的艺术家。

孙振华-深圳雕塑院院长、博士

Xie Aige’s work is trying to illustrate the essence of human nature, getting off all the chains and getting back to the nature, to show the true colors of soul. The works are like building a seemingly lonely castle for soul; however the castle is full of happiness. Within the Chinese Sculpting community, which is a melting pot of many trends – classical, modern and post-modern - Xie Aige is a sculptor who deserves a special place, the sculptures of Xie Aige are very characteristic of her way of life, traditional and modern at the same time, while reflecting her Hunan Province roots, they are shaped in a kind of abstract mould that is yet very modernist. Her creativity is limitless but encompasses mainly women, either sitting in a waiting posture or in faceless freeform groups or playing with a pet. These sculptures are centered on the Chinese women’s condition – somewhat lost between the traditional Chinese culture and the modern requirements of today’s life. Since her beginning, Xie Aige has evolved in the size and shapes of her sculptures but through her evolution, is always consistent with the message she wants to convey through her creations which is about the challenges Chinese women face in our modern world.

编辑:霍春常

Amidst imagesShao Dazhen

在厦门雕塑家傅新民先生的作品陈列室和工作室里,他的现代雕塑作品,他的工作状态给了我很大的震撼;他饱满而炙热的创作激情,他丰富的材料积累和创作构思,使他的雕塑创作时时处在“在路上”的状态。他对艺术的真挚和虔诚,他作品的多样和高产都足以使他的创作成为中国现代雕塑中一个有意义的个案。特别是当我了解到傅新民先生的从艺的经历和创作背景以后,更加坚定了我对探究这样一些问题的兴趣:在转型期的中国社会,艺术对我们个人生活究竟有着怎样的意义?在一个信息的时代,一个影像的时代,在一个克隆和机械复制的时代,艺术家的手工劳作,还有没有发展空间?在“艺术死了”,市场就是一切的各种嘈杂的喧嚣声中,什么是艺术家安身立命,坚守自己价值标准的理由?有些艺术家的创作也许是面向艺术史,解决艺术史的问题;而像傅新民这一类的艺术家,我以为他们的创作更多的是解决当代人生存意义问题,他们对艺术的热情和坚守表示了一种人生的态度,艺术作为一种生活方式,他们在艺术中,寄寓的是一个人的理想和信念,他们在这样一个精神匮乏的时代里,用艺术这种方式和世界进行永无休止的对话,在这种旷日持久的对话过程中,他们的艺术丰富了他们的思想,提升了他们的想象力和创造力。对于社会,他们艺术创作的意义在于,它们充分昭示出了人的各种可能的生活,而正是他们的工作,使我们这个日益物质化的社会多了一些精神的话题,多了一种思想的激活,多了一种可供选择的生存的智慧。他对材料异常敏感,他具有化腐朽为神奇的能力,他特别具有这样的素质,在人们习以为常的,熟视无睹的日常事物中,发现美,并将他们转化为艺术。他对材料的把握来自几十年对艺术的执著的追求,他最早从事根雕艺术的创作,这个漫长的过程,给了他一种良好地把握材料的自然属性的能力,他的材料的运用总是得心应手,从不显得勉强和生涩,这就得益于他长期与自然材料打交道,形成了对材料的肌理、质感、表现力的充分的了解,而他长期收集、储存的艺术材料,成为他现在也是将来的一笔巨大的财富。木质材料与中国文化有着不解之缘,特别在空间艺术中,中华民族的几千年的历史,形成了对木质材料的独特的审美感受。中国人对木质材料的人工与自然的关系,形与神的关系,巧与拙的关系,文与质的关系,都有着深厚的文化积淀,所以,尽管傅新民在现代雕塑的创作中也吸收了西方现代雕塑的创作理念和方式,但是,他的作品中的中国文化的根性仍然是那样强烈,那样鲜明。更为重要的是,他不仅是一个擅长材料处理的艺术家,他的创作还蕴含了丰富的哲理,这种哲理来自大自然,来自对生活的观察,来自古老的东方智慧。他的作品呈现出来的冲突、对比、穿插、并列、互补、顺应、和谐等各种境界,就充分体现了它所蕴含的思想。著名旅法雕塑家、哲学家、诗人熊秉明先生曾经说过:“有一种精神遗产是不能从书本上得到的,是通过一个活活泼泼的人,一个广博的人格,一个生命的真实经验传下去的,也就是禅宗所谓‘以心传心’的道理。”傅新民正是这样,向生活学习,向造化学习,向传统学习,向西方学习,在博采众长的基础上,形成了他独具面目的现代雕塑艺术。在生活中创造,以创造作为生活,这就是傅新民的艺术人生。

(CLAY, BRONZE, FIBERGLASS)

然而造化的理念已渗透到了石珩伯骨髓,成为石珩伯的艺术行为方式。正如石珩伯所说:《造化》系列是我继《守护》和《迁徙》系列之后创作状态调整的一个重要阶段,也是自我修炼的一种方式。我想再回到原点, 感受造化对艺术本身的后坐力,吸收自然的能量。石珩伯作品《造化希翼5》,对自然能量有了不同一般的诠释:一个粉红色的纸飞机在一个纯静的、变化当中的的天然水气形成的云团中徜祥,而石珩伯却把它看成是天然造化的原境。由此我们看到了石珩伯天然造化的原境是动态的、天然的。世俗生活的物累让我们失去了天然的本真。人的性灵被抽空后只剩下了维持千人一面的欲望皮囊,石珩伯试图在找回人的性灵时理想与现实的挣扎,变成了石珩伯有关天然造化话题的悖论形式的梦魇。作品《造化幽梦》,一个代表祈福的纸鹤出现在大瀑布幽深的底部,粉红色的纸鹤游弋的坦然与被吞没的危险,带来了视觉的温馨与紧张,这又是一个石珩伯式的悖论式。实际上纸鹤本身就是一个虚幻的梦想与虚拟的身份。但是在石珩伯眼中,他就是孔子所喜欢的畸人。一个天然的人。这个天然的人时时处在危险之中,还怡然自得。石珩伯善于营造一种如梦如幻的绿色的意境。层层叠叠的水波与水气在阳光下形成的晕斑里有一个粉红色的纸鹤。美轮美幻的画面如同绿宝石一样让人着迷。然而却隐藏着无限的杀机。这就是石珩伯艺术的清醒与无奈。

Chinese watercolor, introduced from the West, has been strongly influenced by the British school. However, with our own wisdom and history-long art tradition, we have kept on trying and, gradually, added new features to the western artistic genre. That which gives Chinese watercolor a distinctive flavor is the fruits of applying the concept of freehand brushwork coming from the traditional Chinese aesthetic system. The school of imagery, extended from the conception of freehand brushwork, is our conventional aesthetic principle. Presently well practiced by many contemporary artists of different nationalities, the school of imagery suggests with depth several rationales of artistic creation and interpretation, and also the dialectic relationships between artists as subjects and nature as object, and between artists and their audience. All kinds of artistic creation cannot be isolated from elements of imagery, which represents artists conscious pursuit in exerting fully their powers of creation and imagination. In such artistic creation, Sizhong is one of those who have attained great achievements.

Art is His Life

学术顾问:肖小兰策 展 人:武 树

Art, as an existence form of natural man, employs the plan of nature which contains multiple connotations as the kicks power. The plan of nature in one circumstance means the creator of nature, and also refers to the nature itself. Zhuang Zhou counts the nature as furnace, and the plan of nature as the craftsman to smelt the whole world. Once upon a time when Du Fu in his youth climbed up to the top of the Tai Mountain, he was convulsed in a feeling of eternal endowed to Tai Mountain created by the plan of nature. And who can endure his art exploration and creation with eternal in space and time? Hereby, Zhuang Zhou let himself become a butterfly and then enter his dream of life. But the human, who has thirst for blood, destroys themselves by his instinct. However, resistance to the instinct of massacre stays to art imagination of materialization.

Like many other contemporary artists, Sizhong made his first appearance in the fine arts circles by focusing on representational depiction of natural objects. His earlier representational watercolors presented distinctive sentiment and verve, and thus were well-received in the circles. In spite of this, he did not cease on what he had achieved. Having steadily imbibed elements of abstractionism, Sizhong emancipated himself from fetters of depicting natural objects, and turned to creation of imagery, conveying his feelings, emotions, impressions, and memories. Undoubtedly, watercolor innovation allows of many routes, and taking the route of abstract expression is not all. Representational watercolors have their own space to flourish in so far as they communicate artistic conceptions. Sizhongs later artistic exploration does not necessarily mean that he belittles representational depiction and techniques. It is the internal experiences and impulses in his tasting of and reflecting on nature that motivates him to make new exploration. Moreover, that which inspires his desire of creation is also attributable to his understanding of artistic modernity and his enchantment with the traditional brushwork.

In the artworks exhibition room and studio of Xiamen sculptor Fu Xinmin, his contemporary sculptures and his state of working gave me a great shock. His zest for art creation and the rich accumulation of art materials and creation ideas keep him always in a state of “on the way” in sculpture creation. His sincerity and piety for art and the diversity and prolificacy of his works all make him a unique artist in China’s contemporary sculptor circle. Especially after I got to know Fu Xinmin’s art experience and background of his creation, I am more interested in exploring the answers to these questions: What is the significance of art to our personal life in such a transitional period of China’s society? Is there still any room for the development of artists’ manual handwork in such an age of full of information, images, clone and mechanical duplication? In the noisy uproar that “art is dead”, market is everything, what is the reason for artist to hold his ground and stick to his artistic pursuit and personal value?Some artists’ creation may be directed to the history of art and solving the problems in art history, while for artists like Fu Xinmin, I feel that their art creation is more about exploring the significance of people’s life in the modern society. Their enthusiasm and perseverance for art express a sort of life attitude. Art has become a lifestyle for them. They place their ideals and beliefs in art. In such a spiritual deficient age, they use art as a way to keep a ceaseless dialogue with the world, and in such a process, their art enrich their thoughts and enhance their capabilities of imagination and creation. For the society, the significance of their art creation is they fully show the diversity and possibilities of people’s lives. And their work provides some spiritual topics, an activation of thoughts and optional life wisdom in such a daily materializing society.Fu Xinmin is very sensitive to materials. He has the ability to turn waste material into something miraculous. He can discover the beauty in the daily ordinary things which people usually get accustomed to or turn a blind eye to, and transform them into art. His years of root carving experience trained him to possess a great command of the natures of different materials. He always applies the materials with high proficiency, which is attributable to his long-term contact with natural materials. He has fully understood the texture, nature and expressive force of different materials. The materials he has collected all the way from the past have become a big fortune for him at present and in the future. Wooden material has an indissoluble bond with Chinese culture. Especially in the spatial art. History of several thousand years of Chinese nation has formed the unique aesthetic experience to the wooden material. There is a profound cultural accumulation in Chinese people’s understanding of the relationship of craftsmanship and nature, form and spirit, skillfulness and clumsiness in wooden material. Therefore, although Fu Xinmin’s contemporary sculptures have taken in the concept and method of western contemporary sculptures creation, the Chinese culture root in his works is still so strong and distinct. What is more important is he is not only an artist who is good at dealing with materials but also an artist whose works have rich philosophy, which comes from the nature, the observation of life, and the ancient Oriental wisdom. The states such as conflict, comparison, inserting, parataxis, mutual complementing, conformance and harmony in his art works are the embodiments of artist’s thoughts implied. The sculptor residing in France, philosopher and poet Xiong Bingming once remarked, “There is a kind of spiritual legacy which is not available from the books. It can only be passed down by a fresh person, a living personality, a real life experience, which is the so-called ‘passing heart by heart’ in Zen Buddhism.” This is just what Fu Xinmin is doing. He learns from life, from the tradition, from the West, taking in the strengths of all and forms his own contemporary sculpture art style. To create in life, to live in creation, this is the art life of Fu Xinmin.

NEW FEMALE ART SERIES EXHIBITION:

Confucius prefers freak. Once Zi Gong, a disciple of Confucius enquires about what freak is. Confucius answered that freak is person who are different from secular but accord with nature. Confucius compares the natural person to base person of God and noble one of mans world. For in looks of Confucius, the nature itself is the ways of Heaven which is differ from the ways of Man. The natural development of the strange and odd is the ways of Heaven, while the neat and uniform life order created by man is dangerous for it kills humanity. All this expose man before the ways of Heaven as negligible. Therefore, man hold in awe toward the Heaven. Zhuang Zhou regards both life and death as a natural way of revival, in other words, the plan of nature. Nevertheless, the nature of art is fondness and exploration to man under the plan of nature.

For all artists, two qualities are the most valuable: one is creative invention, and the other professional integrity. Sizhong possesses both. Therefore, there is good reason for me to value highly his current creation and expect as well with unwavering confidence his even brighter future.

――Random Thoughts on Fu Xinmin’s Contemporary Sculptures

本文由葡京游戏大厅发布于葡京-励志美文,转载请注明出处:特别在空间艺术中,那就是丁寺钟在水彩艺术上

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