文章 Articles-《与大师同行—所见及所思》展览前言

2015年4月12日

与大师同行签名册-01

与大师同行

在艺术的历史不断向前发展的同时,社会、技术、思想等一直伴随其一同前行。大多数人们观察世界的角度和态度,都不会被严谨记录。但是,绘画艺术家却是幸运的,因为他们有另外一种语言——即绘画,是一种极为抽象却有效的沟通方式。如果他们的技术娴熟,观点独特,同时又非常幸运,他们就有可能成为那段历史的代表人物和记录者。尤其,艺术家的敏感性和洞察力成为推动这个社会进步的一支独特力量。他们也许不会直接推动经济或工业的进步,却不断刷新着创造力和想像力。这便是今天英国学者Ken Robinson所倡导的人文教育的重要性,他认为从小培养丰富的创造力和不拘一格的思考能力,是一切其他能力的基础。

于是,当我们回头观察和思考绘画艺术家们的“纸上习作”到底是什么的时候,也许可以换一个角度。它们是思想的图纸,代表着美学和科学共建的过程。它们是思想第一次变为现实可见的“物”的呈现。它们重要,就在于那是一切思想被图像化记录的第一步。除了构图,笔触、材料、透视等与技术娴熟息息相关的条件之外,主题更新和情感的表现力则是其进步的象征。

回到我们现在所处的环境,地理和人文坐标皆位于中国,同时期中西方文化的独立发展和相互影响、交融是我们关注的重点,其艺术价值和社会意义皆积厚流光。中国古典文化对于诗、词、画有着明确界定。认为诗是抽象画,画是具象的诗。如此说来,它们都具有阅读性、逻辑性和风格。尤其是中西方古典绘画的创作风格(来自于艺术家)和观赏角度(来自于观众),值得仔细学习和推敲。尤其是今天,当西方绘画技法、艺术史以及艺术理论,对全球艺术家都形成深刻影响的时候,我们希望能够提供一种新的视角和美学观,尝试去解读和交流不同的价值体系。比如西方的几何构图和黄金比例,以及东方的留白和写意,到底它们有着严谨的划分,还是相互渗透?这些风格的背后到底是因为宗教的影响,还是自然环境的造就?更甚者,它们对于当代艺术的启发性和局限性是什么?当全球文化如此交融、混杂、跨界,过量的信息每时每刻都充斥着我们的大脑,我们如何去认识自己,解读自己的文化成为每个独立个体的艰巨课题。

因此,《与大师同行》这个展览是一次提着灯笼的行走,大师习作的背后是他们人生态度的写照,每一副作品都是他们漫长人生道路上的一个短暂片段,也是他们丰富人生经历中一秒的映射。重要的是让观众看到时间和空间被急剧浓缩后所形成的一道文化风景。每个观众都是自由的,可以带着自己的问题去寻找内心的答案。

李诗

2015年4月

Dancing with Virtuoso

As the history of art marches on, societies, technologies and ideologies are always keeping pace. The perspectives and attitudes of the vast majority of observing the world are not documented with good precision. However, artists are lucky, for they have another language—drawing, an extremely abstract yet efficient way of communication. If they are skilled and original, given luck, meanwhile, they can probably become representative of a piece of history as well as its recorder. In particular, the sensibility and perspicacity of the artists form a distinctive power that pushes our society forward. They might not give impetus to economy or industry in a direct manner, but they unceasingly freshen human creativity and imagination. This is the significance of humanistic education advocated by Ken Robinson, a British scholar who deems it the foundation of all other abilities to cultivate inspirational ingenuity and unconstrained elaborative faculty from childhood.

We may therefore change the viewpoint as we look back and reflect on what artistic drawing exercises on paper are. They are blueprints of ideas, representing the process of jointly constructing aesthetics and science. They are the debuts of ideas transformed into practically visible “objects”. They are of importance, as they are the primary step of ideas being transcribed graphically. In addition to terms closely bound up with skills, such as composition, brushwork and material, the renovation of themes and expression of emotions are symbolic of the progress they make.

Back to the environment where we are placed, China is the geographic and cultural location. The independent development of and the interrelationship between contemporaneous Western and Chinese cultures is the focal point of our attention, of which the artistic value and social significance demonstrate a merit for the posterity to bask in. Chinese classical culture has explicit definitions of poetry (shi and ci) and painting. A poem is esteemed as an abstract painting while a painting the embodiment of a poem. They, then, both possess readability, logicality and styles. The styles of creation (which rest with the artists) and the angles of appreciation (which rest with the viewers) of Chinese and Western classical drawing, in particular, are worthy of being studied and deliberated upon. Especially today when the Western artistic techniques, art history and art theory are having a profound influence over artists across the world, we aspire to proffer a new perspective and aesthetic viewpoint and try to decipher and converse with varied value systems. Between the Occidental geometrical composition and golden ratio, for example, and the Oriental negative space and freehand brushwork, is there an unequivocal divide? Or do they interpenetrate? Is it a religious influence or a natural attainment beneath those styles? Furthermore, how do they enlighten and restrict contemporary art? Now that the global culture has got so blended, hybrid and cross-disciplinary, our brains are overloaded with superfluous information at all times; how we shall acknowledge ourselves and comprehend our own culture has become an arduous problem for every individual.

Accordingly, the exhibition Dancing with Virtuoso is a walk illuminated by the shimmer of exemplars. The master drawing exercises mirror their attitudes towards life; every work marks a temporal fragment of their lengthy life paths as well as portrays one second of their bountiful life experiences. It is to let the audience see the cultural scene made by sharply condensed time and space that matters. Every viewer is free to carry their own questions in quest of their inspirational answers.

 

Shi Li-Sanderson

Executive Chairperson, YUAN Museum Preparatory Committee

April 2015

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