成为石珩伯作品《造化》的一种悖论的哲学生存的方式,可以说是对这一当代女性艺术现象的细致诠释

金沙澳门官网,  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。

Museum hours: From Tuesday to Sunday (10:00-17:00) and closed on Mondayv

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.

“A Peaceful Nature”

中国哲人理想与现实冲突会让自己保持天然造化的清醒与无奈。孔子的学生颜回对老师说自己忘掉了仁义礼乐,忘掉了自己的形体,离开了智能容入了大道。孔子赞赏道:随大道而化就没有了常态。天然造化是一种非常态的文化现象。守住天然造化的非常态是石珩伯的艺术理想。而石珩伯理想与现实冲突的文化焦虑成就了他的关于造化主题。按照石珩伯的说法,他的艺术的造化是一个修炼过程,也是一个艺术原点的回归过程。如果说艺术原点是天然的造化,那么石珩伯已经做到了。成为造化的人是人中之人,亦为君子,更为天然之人。石珩伯便是。而石珩伯的天然造化是否能让自己的艺术发现与创作具有一种时间与空间的永恒?石珩伯说他正在路上。

Opening time: 15th November 2007 from 6:30pm until 9pm

2010-4-19

If we have an overlook at the contemporary art world, the female artists
group has already become a dynamic force which nobody can neglect. Their
art works return to the real nature of art itself, which is different
from the struggling towards the non-sexual art as it was before. Their
works are getting less and less sharp and adventuring, but with more
nature, yet more purified and abundant. Meanwhile, the female artists
become more and more active and lovable. They watch the world by using
their unique view, more precise and more tender and sensible. Thus the
truth of life are embedded, the nature is described as it is. This is an
important development of the contemporary female art, yet it enriches
the contemporary female art history. The upcoming “A PEACEFUL
NATURE—-XIE AIGE’s SCULPTURE WORLD
” exhibition, held at Shanghai
Duolun Contemporary Art Gallery
during 2007.11.15 ~11.25, maybe
considered as an exhibition which well interprets the contemporary
female art phenomenon.

艺术情感的物化是艺术家石珩伯艺术的一种叙述方式。而情感的物化却隐藏着石珩伯艺术理念的精神诉求:天然的造化是艺术最本质呈现。在石珩伯一组题为《造化》系列作品中,把自己儿时梦想的玩具如纸飞机、纸船、纸鹤作为为画眼,放到自己出生的秦岭的自然景观里,成为石珩伯作品《造化》的一种悖论的哲学生存的方式。画面通体的绿色或山或水,其中,作为造化物的粉红色的纸飞机,纸鹤击水、游弋、滑翔、神游一个脆弱而又执着的粉红色的梦想,开始了它跌荡起伏的天然造化原点探寻。石珩伯的造化理念形成的视觉画面的悖论式,首先体现在它艺术的构成上。作品《造化怀谷》,粘稠而厚重的水面空间采用的是西洋绘画的方法,成为生存的负压的一种隐喻。而远处的山轻薄而虚渺,采用的是中国古典绘画的南宗画派的平淡天真的手法,草草逸笔,把中国胸怀若谷的老庄文化中达观与乐天的精神气度表现出来了。石珩伯作品中的文化整合来自它对造化的把握与运用。如石珩伯早期的《守护》系列作品,将唐代陵墓的石狮置换到南极或秦岭的太白山,特别是石狮采用的中国红,代表着大中华的民族情感,守护着人类的最后一块净地。画面的构成呈现出的悖论是造化的一种言说方式。而《造化》系列作品的文脉没有断。画中粉红色的纸飞机、纸船、纸鹤中国元素的运用,凸显当代艺术中国身份的情结。但是作为造化物的纸飞机,纸鹤等物质形态与水的物质形态构成的矛盾,又带来了石珩伯艺术梦想的不确定性。至此,石珩伯艺术构成的悖论式,不仅来自它的外部艺术的视觉样式,更来自它的内部的文化逻辑。归根结底,石珩伯艺术的悖论式,是理想与现实的冲突在石珩伯作品中最后的绝响。

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孔子喜欢畸人。一次孔子的学生子贡问孔子什么是畸人?孔子说畸人就是异于世俗而合于天然的人。孔子把天然的人比作天的小人,人的君子。在孔子看来,天然就是天道,而天道异于人道。奇形怪异的万物自然生长是天道,而整齐划一的生命秩序来自于人道。人道的险恶在于戕杀人性。人在天道面前微不足道,然而能成为一个天然的人也是一种造化。自然造化的人,是天的小人,是人的君子。可见人是敬畏于天的。古人面对生死感叹道:伟大啊造化!庄子认为,生和死都是一种天然状态的再生形式。这种再生形式的过程就是一种造化。而艺术本质就在于对人的天然形态造化的钟爱与探寻。

To live a tranquil and natural life is like to pursue a virtue, since
our inner nature often gets diversified by the daily worldly matters.

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.

谢艾格的艺术作品是细致的呈现了人们的精神本质,去掉所有的枷锁,回归自然,表现本质的心灵境界。作品中充满着思考的模式以及生活的方式,还多少有些满矛盾色彩,作品犹如给心灵筑建一个看似孤单的城堡,却城堡里充满了快乐.她的主要灵感来自于她自己的生活方式以及思考人性的精神回归.不同的是在谢艾格的作品还有一种纯朴和谐的宁静正与我们如今这个忙碌而表面化的人性形成对比。谢艾格与其作品从不受外界的影响,也没有借助任何模特去塑造那些形象,然而她和材料、人性精神、作品形态形成了一种互为和谐的优美的视觉和心灵感受.

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。

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