水墨新语 New Tales of Ink

2016.8.6-2016.9.18


| Artist

梁缨、曾健勇、张天幕、李军、祝铮鸣、李关关、王濛莎

Liang YingZeng JianyongZhang TianmuLi JunZhu ZhengmingLi GuanguanWang Mengsha

开幕时间| Reception

2016.8.6周六| Sat. 16:00

展览时间| Duration

2016.8.6-9.18

    | Venue

·凯旋艺术空间 Triumph Art Space 


水墨新语


水墨,是有着千年悠久历史的中国传统绘画形式。近些年,随着人们社会生活与审美文化的变化,艺术界也兴起了一股有着强烈个人风格、绘画语言新颖,或讲究古典主义审美、淡雅沉静格调,亦或西化奔放、自由烂漫的新水墨之风,此次参展的七位艺术家便是其中的佼佼者。


梁缨,1961年生,女承父业,现任北京市黄胄美术基金会理事长、炎黄艺术馆常务理事。梁缨的画,用笔用墨都相当自由奔放,笔墨对于她的意义就在于直抒心境。梁缨特别擅长从细微处入手,《七贤》《两只雏鹰》《何处觅三英》《灿烂鸡翅》,便是从任伯年和父亲黄胄的作品画起,尝试动物在画面中被放大之后的张力感,简洁明快,有着出人意料的兴味生机。《墨池鱼化龙》《天王与老牛》,则是梁缨从石窟壁画出发对佛教和神鬼怪力,天马行空的个人体悟。此批新作的宣纸,还是三十多年前父亲黄胄先生送给梁缨的老纸,故纸新作,水墨新语。


曾健勇、张天幕,是一对同样出生于1971年的艺术家伉俪。曾健勇在人物画和山水画方面,都有创造性的个人建树。他的黑领巾、大队长系列塑造了新时代的中国少年面孔。此次参展的《耕读者》和《狩猎者》,则是曾健勇成功塑造的具有时代象征感的成年人 “东方新面孔”现实标本,被社会及家庭规训所界定身份的男人和女人,怀揣着逃逸归隐的强烈意愿,悬浮图式被赋予双重性隐喻。山水画《诸野》出自“礼失而求诸野”,是曾健勇关于山水画当代性的解读,重新观察自然,回到古人的起点,从传统构图出发创造出现代人心中所向往的山水之美。张天幕早期作品呈现的是童话里的梦幻世界,有些不知所措的小女孩仿佛身处精灵世界,被拟人化的花草、小兽和小鸟包围,甜美、单纯。张天幕的近作,依旧延续了之前超现实主义风格的画风和纸上坦培拉的技巧,然而,画面的戏剧性变得更加富有想象力,此前绘画中扮演辅助性角色的花草、鸟兽成为了画面的主角,有了更现实的诉说力量感。


李军、祝铮鸣、李关关,都毕业于中央美术学院。李军,1978年生于山东,学生时代既以生动的水墨“狗托邦”系列成名,现任教于天美。在李军看来,狗从来不单单只是动物,它们和人类一样有自己的情感和命运,有自己的家族、血统、出生、性别、长相、名字和生活,有着自己的喜怒哀乐。《肖像-Dogs》系列中,李军以宠物狗作为画面的载体,依靠水墨自身的特性,用一种别样韵味的水墨语言将他对宠物狗的凝视逐一地展现,建构了一个前所未有的、意蕴丰富的宠物狗世界。《Face To》系列,表现的则是动物间对视的关系,雖然面面相對关系却错综复杂五味杂陈。李军虽然一直在描绘各种“狗”的形象,但何尝不是在力图表述人类生活的现实百态。祝铮鸣,1979年生于浙江,擅画神圣端严的设色工笔半身肖像。祝铮鸣迁想妙得所塑造的人物肖像,既有佛造像的古典风范,又有“哥特式”的宗教精神建构,既是祝铮鸣强化了的自我精神诉求,也体现了她“对画中人,灵性内在的一种专注”。祝铮鸣的每张画都有各自独立的情境,画完一幅,她都会暂告一个段落,再开始新的酝酿。《一须臾》,祝铮鸣想要营造的是“空谷闲云、幽隐自得、清风徐来”的意境,《安晚》则表现了“夜静谧、心无挂碍”的意境。李关关,1982年生于山东,喜欢画马,两次个展都以马为主题,一个是2012年的《以梦为马》,另一个便是2013年在艺凯旋举办的《关驹-李关关个展》,2014年更是在马年和新水墨年的双重利好背景下以别具一格的独特“马一角”造型被业界广泛认识和喜爱。李关关所描绘的是一种走失的状态,这种隐秘、脆弱、散漫的神游状态,通过笔墨在绢上缓缓呈现出的“马”传达出浮躁世风以外的安静情绪。尽管历史上画马的名家不胜枚举,李关关的马,低吟浅唱,喜空好静,含蓄而温润,柔软而强大,自有一种畅游异度空间的纯粹和洒脱气质。


王濛莎,1983年生,年龄最小的参展画家。钱绍武评价说,王濛莎的画“好的不得了,好的没法说。她能把自己的心情愿望淋漓尽致地捧到你面前,她的技巧都从心中流出,就是情感的流动。所以真挚,动人,不可重复,不依傍人。”王濛莎所塑造的画境,密集而蓬勃、微小而温暖、祥和而烂漫,犹如一个当代摩登女性心中与梦里的蓬莱仙境。《雪塔》《玉边》,这组新作是王濛莎对“微物之恋”的呈现;《春深深》,一派欣欣向荣的早春景象,是王濛莎对红尘现实达不到的一个宣泄和释放;《彼岸花》系列,营造出的则是一个玄幻的时空,飘逸,未知,形而上,是对宇宙、未来、生命的不可知与憧憬。


新水墨是个正在发生的课题,画家还在成长变化中,好画在脑中、在笔端,不知不觉就流淌到纸上、绢上,呈现在眼前。这是一个充满了无限与惊喜的未知精神世界,诉说着同时代的不同心语与故事,令人欣喜,值得期待。

-----------------------------------------


New Tales of Ink

The water and ink, as a traditional form of Chinese painting, has had a history for as long as more than a thousand years. In recent times, new styles of ink painting have evolved in phase with the changes in social lives and aesthetic culture, boasting of a highly individualized and novel language, be it elegant and quiet following the classical tradition, or carefree and innocent associated with the western characteristics. The seven participating artists have been the leading figures in this field.


Liang Ying, born in 1961, has followed her father’s career as director-general of Beijing Huangzhou Art Funding and managing director of Yanhuang Art Museum. In her paintings, Liang Ying uses brush and ink to express her feelings and emotions in a forceful and unrestrained manner, approaching her subjects with delicate strokes, as is demonstrated in such works as Seven Sages, A Coupe of Eyas, We Are The Three Heroes of Three Kindoms, Brilliant Rooster Wings. She starts with works by Ren Bonian and her father, and tries to capture the tension of enlarged animals with brisk, simple and unexpected vitality. Dragen Fish in The Inkwell and Old Oxen and The 

Caturmaharajakayikas, Liang Ying models on paintings on the grottos and imbues in them her personal, fantastic understanding of Buddhism, gods, spirits and their supernatural power. Notably, the rice paper used for the new group of works was given to Liang Ying by her father over thirty years ago, and a contrast is thus made between old and new by creating a new language of ink on the decades old paper.


Zeng Jianyong and Zhang Tianmu are a married couple of artists, both born in 1971. Zeng Jianyong has made remarkable contributions to figure and landscape paintings, reshaping the image of Chinese teenagers in the new era with his ‘black scarf’ and  ‘Leader of Young Pioneers.’ In this exhibition, Zeng Jianyong portrays realist models of new oriental faces in his symbolically epochal adult figures with Farming-Reading and The Hunter, in which men and women, identified by social and familial catechism, entertain a strong longing to escape into recluse, and the relief imaging is endowed with double metaphor. Pure Nature, a landscape painting whose title derives from the analects of Confucius that the great truth should be sought among the people in case of loss, stands as his translation of the modernity of shanshui (mountains and rivers) paintings. He returns to the primal perspective of the ancients and creates a shanshui beauty longed for by the moderns in traditional compositions. In contrast, early works by Zhang Tianmu present a dreamlike, innocent and sweet fairy tale in which little girls, somewhat dazed, are placed in a world of spirits, personalized flowers, cubs and birds. Her recent pieces, while maintaining the surrealism and paper tempera technique, further dramatizes her images with a richer imagination, and reinforces her narrative by starring the formerly complementary flora and fauna.


Li Jun, Zhu Zhengming and Li Guanguan are all graduates from Central Academy of Fine Arts. Li Jun, born in 1978 in Shandong Province, became famous for his vivid ink painting Dog Utopia series in his youth and is now teaching at Tianjin Academy of Fine Arts. In his view, dogs are not merely animals; they have their own feelings and destinies, they come in their own appearances, genders, they come from different families and heredities, and they have their own names and emotions. In his Portrait Dogs series, Li Jun constructs an unprecedented world of pet dogs with rich connotations through a detailed representation of his gazes in a distinctive ink language dependent on the features of the medium. The Face To series, on the other hand, reveals the complex relations between the gazes of the animals. The images of dogs are also reflections of the realities and lives of human beings. Zhu Zhengming, born in 1979 in Zhejiang Province, makes his mark in the grave and divine painting of refined busts, celebrating the classical elegance of Buddhist portrait as well as the Gothic construction of religious spirit. Her highly creative paintings reinforce her own spiritual quests and her focus on the inner being of the figures portrayed. Independent of each other, her paintings enjoy individual atmospheric context as Zhu Zhengming would try to generate new themes every time one piece is finished.  A Moment structures an empty valley with floating clouds and breezes soft, while Peaceful Night represents a world of serenity and untrammeled heart. Li Guanguan, born in 1982 in Shandong Province, focuses her two solo exhibitions on horses—Horse as Dream in 2012 and GuanJu, Li Guanguan Solo in 2013 hosted by TriumphArt. In 2014, the year of horse and the celebration of new ink paintings, her unique image of Ma Yi Jiao won broad recognition and admiration in the field. Her horses, lost in their hallucinated status of mystery, fragility and freedom, express an attitude of quietness in her interpretation of ink on the silk canvas, distinguishing themselves from the other numerous painted horses with an unbridled air of purity and quietude, soft yet powerful.


Wang Mengsha, born in 1983, is the youngest artist in this exhibition. She wins approval from the respected sculptor and calligrapher Qian Shaowu, who said: “Her works are frankly moving and cannot be duplicated in the sense that they are all her heart-felt wishes and emotions created in ways flowing naturally from her heart.” Wang Menghsa builds a scene comparable to a Shangri-La fairy land dreamed by a modern lady; it’s at once vital and crowded, minute and warm, amiable and bright. The new double works of Snow Tower and Jade Edge represent her love for the petit objects. Deep Spring unleashes her sense of unattainability for the reality with its blossoming early spring landscape. The Flower Over The Coast creates an illusory and metaphysical space and time zone, conveying her unknowable desire for the cosmos, future and life.


New ink paintings are still in the progress of growth; it’s a world filled with infinite surprises and exploration. Remarkable paintings will always come before our eyes carrying with them various stories from the same era worth waiting for.