精品国产电影99_亚洲中文字幕乱码第二_中文字幕人伦无码_一夲道无码视频在线无码_又黄又爽免费国产视频

石為云根

云起

石出

小滿

（辛丑四月初十）

云起——龐飛作品展

Rising Clouds

Art exhibition of Pang Fei

主辦:蘇州博物館

Organised by: Suzhou Museum

學(xué)術(shù)支持:上海中國畫院

Academic support: Shanghai Chinese Painting Academy

支持機(jī)構(gòu):上?！缎侣劤繄?bào)》

Supported by: Shanghai Morning Post

地點(diǎn):蘇州博物館現(xiàn)代藝術(shù)廳

Venue: Contemporary Galleries, Suzhou Museum

時(shí)間:2021.5.21-2021.7.21

Duration: 2021.5.21-2021.7.21

鳴謝：上?？得t(yī)療科技

Acknowledgment：Shanghai Kangmao Medical Technology Co., Ltd

 《龐飛：墨》序 

文/李小山

　　幾年前，南藝美術(shù)館舉辦以當(dāng)代水墨為主題的展覽。在選擇各地參展藝術(shù)家的時(shí)候，上海的龐飛進(jìn)入大家的視野。他的作品展出后好評(píng)多多。顯然，龐飛并非各類展覽的?？汀Ｗ鳛樯虾．嬙旱膶I(yè)畫家，龐飛的優(yōu)勢(shì)沒有被他自己加以充分“利用”。不過，事物永遠(yuǎn)是一正一反。龐飛失去的東西在自己的創(chuàng)作里補(bǔ)了回來。換句說，一個(gè)專注于自己專業(yè)的人或許會(huì)失去一些什么，同樣，一個(gè)把工夫用在專業(yè)以外的人或許會(huì)獲得一些，終局如何？其實(shí)每個(gè)人心里有一桿秤。千萬別小看這桿秤，一個(gè)人的分量和價(jià)值都顯現(xiàn)無誤。龐飛屬于中生代畫家——這一代畫家的處境頗有些尷尬。前浪尚未退潮，后浪卻又洶洶。所以，龐飛在各種考量之中做了明智的選擇。正如他一再對(duì)我說的，他希望自己的作品能夠做到獨(dú)特、完整和經(jīng)得起推敲。

獨(dú)看云起 136x68cm 2021

　　創(chuàng)作的奧秘很難用語言來轉(zhuǎn)換。創(chuàng)作與理論隔著一道堅(jiān)實(shí)的圍墻。所有對(duì)于創(chuàng)作的解讀僅僅只是一種肢解。創(chuàng)作永遠(yuǎn)是一個(gè)整體，無法切割成好的部分和差的部分。一個(gè)畫家只能畫出他能畫的東西，而不能畫出他想畫的東西——每個(gè)畫家都想成為大師、泰斗，即便就常識(shí)而論，也是小概率的事。龐飛很清醒，也很實(shí)際。他希望自己的作品“經(jīng)得起推敲”，轉(zhuǎn)化成他本人對(duì)作品的反復(fù)的深入的推敲。換句話說，龐飛對(duì)待作品的態(tài)度已到了刻意為之的程度。這是好的。從刻意的推敲到收放自如，這個(gè)過程充滿魅力。當(dāng)下許多操持水墨的畫家存在著塑造和刻畫的短板，美其名曰“意象”“寫意”，其實(shí)不過是草草了事而已。

　　水墨畫的材料功能具有某種誤導(dǎo)性。加上寫意畫傳統(tǒng)的流弊，許多畫家放棄了精雕細(xì)刻的路徑，一頭扎進(jìn)不求形似、逸筆草草的泥潭。請(qǐng)注意，我的意思并不是把精雕細(xì)刻奉為圭臬。很多時(shí)候，一個(gè)畫家的造型能力和刻畫能力無疑是一種表征，說明其回旋的空間更為廣闊，成就自我的可能性更大。因而，我主張龐飛繼續(xù)深入“推敲”。創(chuàng)作是沒有終點(diǎn)的。平庸的的畫家全倒在半路上，早早繳械投降——這就是為什么有那么多的畫家的藝術(shù)生命如此短暫的根源。而出色的畫家從來沒有盡頭，他們追尋過往、當(dāng)下和未來。他們著迷于未知的東西，在沒有路的地方走出了一條路。

太行深處 180x210cm 2017

　　曾經(jīng)，我撰文探討水墨畫在當(dāng)代的種種困境及生存策略。許多年后，我看到水墨畫逐漸形成了一個(gè)閉環(huán)。在這樣的閉環(huán)里面，一切熱鬧變成了自嗨行為。而且，這一閉環(huán)具有致命的誘惑：自我循環(huán)和自我印證詮釋了結(jié)構(gòu)性體系的存在方式，它是獨(dú)立的，自足的，排他的。我不喜歡舉所謂的成功者為例，以證明什么途徑是對(duì)是錯(cuò)。創(chuàng)作是非常個(gè)人化的事情，標(biāo)準(zhǔn)掌握在誰手里？我想沒有人能夠僭越時(shí)間這個(gè)唯一的權(quán)威。某種程度上，每個(gè)畫家都是自身的主宰，無需聽命于任何個(gè)人和群體。但是，說起來容易做起來難。在龐飛身上，折射著這個(gè)時(shí)代的共性。以馬克思的說法，人只能在歷史提供的條件下創(chuàng)造歷史。在這一點(diǎn)上，我和龐飛是一致的。龐飛不奢望奇跡降臨，他相信一分汗水一分收獲。他也相信自身內(nèi)部的才華和爆發(fā)力，只要方法得當(dāng)，天賦終究可以挖掘出來。

　　前不久，龐飛告訴他將在蘇州博物館舉辦他的個(gè)展。在他而言，這是一個(gè)重要節(jié)點(diǎn)。總結(jié)過往，是為了開拓未來。把以往作品完整地展示出來，不失為一個(gè)機(jī)會(huì)，既能夠檢視自己多年的積累，與各位同道分享；也可以從中找出增加部分或減少部分的辦法。我想強(qiáng)調(diào)，這個(gè)辦法并非聽取誰誰的意見，以落入邯鄲學(xué)步的窘境。或許恰恰相反，眾說紛紜，倒是龐飛樹立信心的基礎(chǔ)，擁有更加堅(jiān)定的自我取向?；氐角懊嫠?。龐飛善于推敲，善于刻畫和造型。觀賞他的作品經(jīng)常會(huì)被畫面中的細(xì)節(jié)所吸引，所打動(dòng)，顯示了作品的耐看和深度。龐飛的主題是山水畫——眾所周知，山水畫作為傳統(tǒng)的中堅(jiān)和主流，聚集了多少天才的心力?？梢哉f，山水畫是一種最完備的系統(tǒng)。當(dāng)代畫家對(duì)待山水畫的方式，無非兩種：要么繼續(xù)傳承，要么以破而立。龐飛做過不少實(shí)驗(yàn)，在此過程中，他破除了條條框框、陳規(guī)陋習(xí)。因?yàn)?，在他的觀念里，山水畫傳統(tǒng)不是金科玉律，畫家的當(dāng)下感受和領(lǐng)悟才是第一義的。

洪谷 200x98cm 2007

　　龐飛的作品具有比較明顯的辨識(shí)度，我在很多場合都說過，完美的作品具備三個(gè)要素：獨(dú)特、難度、完成度。將三個(gè)要素集積于一身，只是極少數(shù)畫家的專利。龐飛試圖避開山水畫的俗套，卻仍受限于山水畫的對(duì)象——山水的自然生成和自然景觀。這是一個(gè)悖論。龐飛的辦法是把畫面高度風(fēng)格化，設(shè)計(jì)出一種他心目中的山水畫圖式。龐飛理想里的山水畫圖式不是古人所謂的“胸中丘壑”，而是被概括、裁剪和整理過的畫面。在這樣的畫面中，山水畫的對(duì)象性被他設(shè)計(jì)出來，設(shè)計(jì)的妙處是個(gè)人意愿得以強(qiáng)化，盡量不受或少受套路的干擾。況且，龐飛運(yùn)用繁復(fù)的制作過程，一遍一遍，直到完成。所以，作品的辨識(shí)度產(chǎn)生了，同時(shí)也順暢地避開了“筆墨”的問題。筆墨官司自古至今沒完沒了。爭來爭去，無非是畫地為牢。最終應(yīng)了一句俗話：田螺殼里做道場。龐飛設(shè)法繞開它，在夾縫中求生，邊摸索邊前行，竟闖出一條路來，不得不說是他的明智和遠(yuǎn)見。

　　重復(fù)一句老生常談，藝術(shù)沒有進(jìn)步，只有演變。沒有誰能夠超越古人，超越傳統(tǒng)。古人和傳統(tǒng)早已經(jīng)造就輝煌。該做的應(yīng)是力爭不被古人和傳統(tǒng)所制約，所遮蔽。我曾與龐飛談到，如果一個(gè)畫家獲得與古人、與傳統(tǒng)比肩的資格，那他一定是開創(chuàng)了屬于他自己的天地。這片天地越大，他的成就越大。因此，我寄希望于龐飛，不要左顧右盼，不要停止腳步。我知道他對(duì)自己抱有信心。同樣，我相信許多人和我一樣，也抱有信心。

2021·4·7

Forewords

A few years ago, an exhibition of modern Chinese ink paintings was held at the Art Museum of Nanjing University of the Arts. When we were selecting participating artists, Pang Fei from Shanghai came into view. His works received a lot of accolades after the exhibition. It was apparent that Fei was not a frequent participant in all kinds of exhibitions. As a professional artist at the Shanghai Chinese Painting Academy, Fei has not fully “exploited” his own advantages. Yet there is always the other side of the coin – Fei found what he might have lost in his work. In other words, when an artist who focuses solely on his art loses certain things, and another person who spends less time on art captures certain opportunities, what would be the final result? Everyone could in fact make their own judgement. This is how the real value of an artist would be measured. Pang Fei is among the generation of mid-aged artists – a generation currently in an awkward position. The previous generation were still well-respected, and a new generation has already built their popularity. And Fei has made a correct and smart choice. Just like what he repeatedly told me, he wanted to make sure that his works are unique, complete, and could stand up to scrutiny and critique.

It is difficult to translate artistic creation into words – theories and real creative practices are completely separated. All interpretations of art are compartmentalized. An artistic creation can only be considered as a whole, as there is no way to separate the good and the bad parts. A painter can only paint what he could, not what he wants to paint – every painter wants to become the maestro, a low-probability event by common sense. Fei is very much sober and pragmatic. His goal to “stand up to scrutiny”, has transformed into his repeated “deliberation” of his own work. Fei’s attitude towards his work is very critical. This is good. The process of going from scrutinizing his own work to creativity without boundaries is serious yet charming. There are many ink painting artists right now who promote moody abstract works, but it was only because of their lack of technical training, they simply finish their work in a sloppy way.

The material function of Chinese ink painting is misleading to some extent. With the drawbacks of traditional freehand work, many painters gave up on drawing out meticulous details of the objects, and became careless in accurately reflect the objects’ forms, and casual brushwork. Please note that I do not see that being meticulous is always the right way. Yet an artist’s capabilities of depiction and shaping are often telling indicators of their potential to maneuver and achieve more. This is why I fully support Fei to continue deliberating. There is no end to artistic creation. Mediocre painters go halfway and give up early, which is why many of their artistic lives are so short. Great painters never see the end point. They review the past, the present, and the future. They are obsessed with the unknown and make a path where there is none.

Quite a while ago, I wrote about the difficulties that traditional ink painting faced and proposed strategies for that to survive in the contemporary times. Years later, I see an enclosed loop forming for traditional ink painting – where all excitements were created and consumed among the same group of people in the loop. This loop, at the same time, is deadly attractive, as it is a structured system of self-fulfilling prophecy – it is independent, self-sufficient, and exclusive. I do not like to take successful cases as examples to prove what is right or wrong. Artistic creation is very personalized, and therefore who could set the criteria? I don’t think anyone could overstep the sole authority of the time. Every painter is the master of his or her own to some extent, and he or she answers to no one else. It is easier to say than to practice, however. The character of our time is reflected in Pang Fei. According to Karl Marx, man can only create history, under the condition offered by history. I agree with Fei in this regard. Fei does not wish for a miracle, and he believes in no sweat no gain. He also believes in his talent and energy – which can eventually be discovered over time, with the right method.

Fei told me that he will hold his solo exhibition in Suzhou Museum. This is an important milestone for him, summarizing the past and developing the future. Putting his works completely in exhibit is also an opportunity to review what he had accumulated in the past years, share with fellow painters, and find ways to add something new or take something out from those works. I wanted to emphasize that this is not to take someone’s advice – as it would be awkwardly inauthentic. On the contrary, it will become Fei’s way of strengthening his own confidence with different opinions on his work. He could then have a much firmer and clearer orientation in art. As I have mentioned, Fei is very good at deliberation, at depicting details and forms. Viewing his works, one will often be attracted and touched by the details in the images – enduring and deep works. Fei’s theme is landscape. As we know, landscape is the mainstream in traditional Chinese painting, which has enjoyed many generations of talents and efforts. We could say that Chinese landscape is the most complete system. Our contemporary artists could only treat landscape in two ways, continue inheriting the tradition, or break the boundaries and build a new one. Fei has done many experiments. He had broken rules and bad habits in the meantime. In his view, the traditional rules in landscaping is not absolute truth, and the artist’s feeling and mood are the most important.

Pang Fei’s works are easy to identify. I have said in many occasions that perfect art pieces need to fulfill three criteria: uniqueness, difficulties, and completeness. There are very few artists who could achieve all three. When Fei tries to avoid the stereotypes in landscaping, he still is limited by the objects in his work: the natural view of the mountains and the water. It is a paradox. Fei’s solution is to make the image of his work highly recognizable, with an ideal design of landscape art. It is not what our predecessors called “gullies in your mind”. It is a highly abstract, organized image, that was designed to show a strengthened personalized style, with no, or very little, interference from the routine. Fei’s painting process is very complex. This is how his works become identifiable. It also allows Fei to avoid too many arguments about his achievements in ink and brushwork – an argument in the world of Chinese painting that has been non-stop for centuries, that has only trapped everyone in it. Fei skirted around it and found a new path by feeling his way forward. A very wise move.

At the risk of repeating a cliché, there is no improvement in art; there is only evolvement. No one could go beyond the tradition or transcend the achievements of our ancestors. What we should do, is to strive for new achievements, avoid being restricted and blocked by what our ancestors had done. I told Pang Fei once that if any artist could eventually qualify to be compared with the ancient masters and the tradition, he or she must have created and developed a new area of his or her own. The bigger the area is, the more achievements there are. I would encourage Fei to continue charging on his path without hesitation. I know that he has confidence in himself. And I believe that many others are confident of Fei as well, just like me.

Li Xiaoshan

April 7th, 2021

設(shè)計(jì)總監(jiān)：鄭邦謙

展覽地址：

　　蘇州博物館

　　江蘇省蘇州市姑蘇區(qū)東北街號(hào)

*請(qǐng)自行前往，停車選擇周邊停車場（拙政園停車場）

 非蘇州號(hào)牌請(qǐng)?zhí)崆耙惶焐觐I(lǐng)“姑蘇通”通行證

 展覽詳情敬請(qǐng)關(guān)注“海上水墨”公眾號(hào)

（HAISHANG-INK）

姑蘇通

海上水墨畫院

版權(quán)與免責(zé)聲明：

【聲明】本文轉(zhuǎn)載自其它網(wǎng)絡(luò)媒體，版權(quán)歸原網(wǎng)站及作者所有；本站發(fā)表之圖文，均出于非商業(yè)性的文化交流和大眾鑒賞目的，并不代表贊同其觀點(diǎn)和對(duì)其真實(shí)性負(fù)責(zé)。如果發(fā)現(xiàn)有涉嫌抄襲或不良信息內(nèi)容，請(qǐng)您告知（電話：17712620144，QQ：476944718，郵件：476944718@qq.com），我們會(huì)在第一時(shí)間刪除。