三种空间

日期:2019-11-19编辑作者:资讯中心

谛听心声

王璜生多年的绘画表达的是两种相异而又相关的视觉情境,一种是由建筑形象片断构筑出来的有空间感的情境,一种是由处在空间的花木形象形成的有时间意味的情境,这在表象上呈现了他的艺术旨趣,也即对于生命事物的关注,而在深层次上,则透露出他的人文情怀,那就是对于事物常态和异态倏忽转换这种本质的体验与关切。

I always deem Mr. Cai Xiaohua as a professional painter, i.e., painting is his life. The title implies two meanings: his works are simple; and he simply persists in. He always reminds me of several persistent painters who seemingly forget the fads and buzzes in the art with a slow pace but who eventually surpass their time and leave their contemporaries far behind them.

我画天地悠然

在天地这个系列中,王璜生运用了许多南方建筑的符号,它们在画面上的构成方式不是建筑的实存状况,而是画家依据自己心里感怀或者情感节奏表达出来的意象。概而言之,王璜生笔下的天地是与他在粤东这个南方地带生活经验有关联的世界,作品中的空间通常具有向纵深发展的深度,但通常又是被阻隔而形成的空间片断的组合。他用有控制的亚灰色调的墨色渲染出空间的氛围,造成恍惚中身临其境的效果。古语中曲径通幽的景致在他的画面里变为了曲境通幽的山水,如是一位梦游者所经历的空间感受。

It is not difficult to categorize the Cai Xiaohuas works into a certain artistic chronology; however, a predicament embodied in his works is unique and single. As a professional painter, he is acquainted with the painting language, painting form, style of writing and the like; particularly, he is such a rigorous painter who advocates the delicacy of the painting that his painterly work is of great enticement. However, his recent works are caught in anti-painting, which makes people feel perplexed. He almost completely eliminates the trace of painting, but he is really painting there.

我总觉得,画画是谛听心灵的回声。心灵像一个飘浮的钟,在时间的维度,在穿越着历史和现实的空间,有时被一阵风吹响,声音在旷荡深幽中飘出,清脆而沉逸,引来似有若无的回响。屏心息气,谛听这种回响,在画面的墨韵笔意、结构形态中感觉这回响,传达这回响。

与天地系列在内容上相异的是他的悠然系列。他作花木,与已有的传统和当今各家的视角不同。他取的是花木在荣衰的生命周期中的意态,画的是花木于大自然空间中的整体状貌,这就画出了一种别有新意的花鸟。在这个过程中,王璜生一方面是寻求古意的,他丰富的古典诗词修养和自幼而为的诗词创作使他自然地将诗意词兴带入了绘画的笔端,在花木的笔法和墨色上都委婉细丽,满幅动态摇曳,清影如斯。另一方面,他要表达的是自己超尘避世的向往,这就使他总在观察自然的基础上积累素材,成竹于胸,下笔之际表达的是想象中和意念中花木的整体仪态与意境。

This is a gorgeous trap elaborately created by him, which does not play a trick on others, but in which he jumps himself. He is in a quiet and bright predicament.

不知是我有意去选择和标示天地悠然这一表现题材,还是老屋、云水、回栏、斜柱,撞击着我飘浮的心灵,由是我一而再、再而三地画着,企求画出曾经有过的一阵阵回声。

欣赏王璜生的这两种作品的最好方式是把它们叠印起来在我看来,这两类作品的空间意味是可以相接的,甚至是彼此互生、相互浮现的,似乎这样,才可以获得对他的创造的领悟:他的艺术处在静观与冥想之间,处在热切地观照与回忆性的叙述之间。由此我也感到,他的这种创造方式还与他的现实工作经历与经验有关。作为一个美术馆的馆长,他在业界是一位资深者了,他对当代艺术的了解、研究以及他在广东美术馆主持、策划、实施的许多当代艺术项目,给了他对空间的独特感知与体察。他的心理乃至思维的特征使其不可避免地浸染了空间的感受,这个空间既是视觉的,又是文化的。他的绘画似乎都是在回忆、缅想与关切、体察的交织状态下完成的,先验性的怀想催生了画面中的历史意味,而当下性的感受则使形象充满直接诉诸视觉的魅力,因此,他的作品具备了优雅的格调和绵延的气韵,也具备了描绘性的古典传统和幻想抒情的现代表现气质。

This is called Paradox which enables me to think what Socrates says, I know that I know nothing. Certainly, that he knows nothing means that he knows everything. Whereby, the predicament created by Cai Xiaohua can be interpreted into Im drawing but Im drawing nothing.

天地悠然应该是一个古老而永恒的哲思,东方人的哲思最高境界往往落在天人合一上,天地悠然,天地是物,悠然是人的心理体验,陶渊明悠然见南山成了哲思和境界的永恒坐标。因此,可以说,天地悠然这一境界是永恒而非个体心理的。人的个体心理往往是在集体无意识中被模塑被铸炼而成,在一些颇自命的个性中,其潜在因素不过是一种公共的个性而已。

范迪安 中国美术馆馆长

The reason why Socrates also is a very persistent person does not lie in that he is a there philosopher. In my opinion, he looks more like an artist (His father is a sculptor, and he studied and was engaged in sculpture). He loves predicament. It does not mean that he intentionally says some strange words, and is infatuated with the fast knot at the cost of his life. Therefore, he seems to be relieved and enables the future generations of people to get in chaos.

也许,我画天地悠然也只属于这种公共个性而已。没有理由要为这公共个性标榜出太多的意义。我只想认真地画出自己心声的回响,在画的过程中谛听这清脆而悠远的音色。

2006年初冬谨识

2413 years ago, Phaedo described that his teacher talked about the soul with his students before his death: when soul is combined with the flesh and migrates to the other world, it is not pure and is always polluted by the flesh; thereby, we must relieve the soul from the flesh to obtain complete freedom; and the soul which is taught in such a manner only cannot be killed, blown by wind and disappear when being away from the flesh, so that no fear is generated.( (Platos Phaedo) translated by Jiang Yang)

中国人的哲思其实是凝固在任何存在着的事物中,就如中国的古代建筑,由墙、柱、梁、瓦所分割出来的独立空间往往代表着一种独特的哲学意味和美学概念。房笼虽小乾坤大,不足回旋睡有余,从小的空间通连大的宇宙,从行为的局限到思维的无边,超越局限,自足自乐,超越形而下而寻求形而上的满足,这可以说就是中国文人的精神特性,从某些方面讲,这特性可称之为精神实用主义,精神的超越和满足是相对于物质世界的局促和无可奈何的。据说多年前有位西方学人想到中国寻找息心宁性的安静,他的朋友劝他说:中国现在哪有一片安宁的净土,到处又脏又乱又噪。学人笑言,在脏乱噪中能体验到心灵的安静,这才是真正的息心宁性。

Three Kinds of Space: Wang Huangshengs World of Perception What have been expressed in Wang Huangshengs paintings in many years, are two different but related visual situations; one is a spatial situation constructed by fragments of building images, another is a situation of sense of time constructed by flowers and plants in the space. His artistic interest as well as his attention paid to life and things are represented on presentation level while in a deeper level, it is his humanistic emotion that is revealed, namely his experiences and care for the essence in the normal state of things and the transient changes among different conditions.

Therefore, we are often caught in all kinds of paradoxes like art and anti-art, content and form (whether the form without content exists or not, and vice versa) and painting and anti-painting. It is almost defined that the art is to create or express the predicament called Dualism in the theory of philosophy, conflict by the classicist and tension by the modernist.

在天地悠然系列中,我企求表达的正是这种超越空间局限的渺远,表达心的渺远和安详,表现一种文化体验的韵味。

In the Heaven and Earth series, Wang Huangsheng adopted a lot of symbols of buildings from southern part of China; the composition way they are on the picture is not the real condition of the buildings, but imagery represented by the artist based on his inner mood or rhythm of emotion. In one word, the heaven and earth under Wang Huangshengs brush is a world associated with east Guangdong province which is a southern area of his own living experiences; the space in the works usually possesses a increasing depth but is often combination of spatial fragments produced when being separated and blocked. He coloured the atmosphere of the space with well controlled inferior grey tone and produced the immersive effect like being in it by oneself. The scenery of a winding path leads to a quiet seclusion in ancient works became landscape with a winding place leads to a quiet seclusion in Wang Huangshengs paintings, like the spatial sense experienced by a nightwalker.

However, the final paradox in Cai Xiaohuas works is not in his painting but basically comes from the predicament of the philosophers life.

1996年6月广东美术馆

His Carefree series is different in content from the Heaven and Earth series. He has a different angle of view from both the existing tradition and other art masters of today. He chose the mien of flowers and plants in their life cycle with both bloom and decay, to draw the whole appearance of them in the large space of nature; thus he painted a kind of flower and bird with new conception. During this process, Wang Huangsheng is on one aspect pursuing ancient taste, his rich cultivation in classical poem and his poem creation started from his childhood enabled him to bring poetry naturally into the brush strokes in painting and both brushwork and ink colour in his painting of flower and plant featured delicate, vivid, fresh and clean. On another aspect, what he want to express is his yearning for going beyond the noisy world, thus, he always collects materials upon observing the nature and has a good accumulation in his mind; when he presses the brush on the paper, it is the overall manner and perception in his imagination and mind that is painted.

I think that Cai Xiaohua is exclusive and ambitious and has a sharp intuition on painting. But, he seems to resist biological existence with spiritual existence. The overflowing spirituality always tries to break through the body skin; and in the seemingly simple and quiet picture, a suppressed force is surging, which is a tension of heart and is a struggle between heart and body.

Heaven and Earth

The best way to appreciate these two kinds of artworks by Wang Huangsheng is to overlap them-in my mind, the spatial meaning of these two kinds of works can be connected and even mutually reflect and promote one another. It seems that only in this way could one acquire a good realization of his art: his art is between close view and meditation, between passionate reflection and reminiscent narration. Thereupon, I also feel that this creation approach of him is related with his work experiences in reality life. As the director of an art museum, he is very professional and senior in the art circles; his comprehension and research of contemporary art as well as his role in many contemporary art projects in Guangdong Museum of Art as organizer, curator and executer, have given him special perception and observation upon space; while his psychological as well as thinking characteristics has inevitably given him the sense of space, which is both visual and cultural. It seems that all his paintings are finished in the state in which memory, recall, favor and experiences are interwoven; transcendental yearn generated the historical sense in his painting, while the contemporary sense made the images full of direct visual charm. Therefore, his works have elegant taste and sustained flavor, together with the classical tradition in painting and modern expression temperament in fantastic and lyric expression.

At length, painting becomes a spiritual upbringing to remove the dirty body, and desires, bitterness and joy, even intellectuality can be given up, so that a simple and clean existence is obtained; and thus, our life is free, and the eternal life is gained.

Listening to the Voice of Heart My painting series Carefree Heaven and Earth

Fan DianDirector of National Art Museum of ChinaIn early winter of 2006

I always feel that painting is listening to the echo of heart. Heart is like a floating bell in the dimension of time and in the space passing through history and reality. Sometimes, it is blown by a gust of wind and its sound wafts from the boundless deepness and quietness, crisp and elegant, attracting echoes which are faintly audible. Listening to this echo with peaceful heart and breath, and feeling and conveying this echo in the ink rhyme and stroke charm, Im transmitting it with the structure and pattern of picture. I dont know whether it is Im intending to choose and mark the expression subject of Carefree Heaven and Earth or the old house, cloud and water, zigzag railings and oblique column are striking my floating heart, I paint again and again in trying to depict the waves of echoes once appeared.

Carefree Heaven and Earth is an ancient and eternal philosophical thinking. The highest state of oriental philosophical thinking often lies in integration of heaven and man. In Carefree Heavn and Earth, heaven and earth is the matter and carefree is mans psychological experience. Tao Yuanmings catch the sight of the Southern Mountain freely becomes the eternal coordinates of philosophical thinking and realm. Therefore, it can be said that the realm of Carefree Heaven and Earth is eternal rather than individual psychological. The individual psychology of man tends to be molded and casted in collective unconsciousness. In some rather self-proclaimed personalities, its potential factor is no more than a public personality.

Perhaps, my painting of Carefree Heaven and Earth also just belongs to this kind of public personality. There is no reason to flaunt too many meanings for this public personality. I just want to gravely paint the echo of my own hearts voice and listen to this crisp and distant timbre in the process of painting.

The philosophical thinking of Chinese people is actually solidified in any existing things such as the ancient Chinese architecture, the independent space separated by walls, columns, beams and tiles represents a unique philosophical meaning and aesthetic concept. There is a large universe in the small house which doesnt have enough room for moving around but enough for sleeping. Connecting the small space to the big universe, from the limitations of behavior to the boundlessness of thinking, surpassing the limitations, being self-sufficient and self-entertaining, transcending physics and seeking the metaphysical satisfaction can be seen as the spiritual characteristic of Chinese scholars. In some ways, this characteristic can be called spiritual pragmatism. The transcendence and satisfaction of spirit are relative to the constraint and helplessness of the material world. It is said that years ago, a Western scholar wanted to seek the quietness for heart resting and temper appeasing in China, but his friends discouraged him that there was not a single strip of peaceful pure land and everywhere was dirty, chaotic and noisy in China. I would, with a smile, say what other people said that experiencing the quietness of heart in dirty, chaotic and noisy world is the real peacefulness of mind and spirit.

In the Carefree Heaven and Earth series, what I seek to express is the remoteness beyond space limitations, expressing the remoteness and tranquility of heart and displaying a charm of cultural experiences.

Wang Huangsheng

At Guangdong Museum of Art on June, 1996

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