美术大师鸿韦的摄影创作《沉思的重量》表明的情绪和文化是多维度的。慈善、坚硬的创作质感以致微微泛青的高岭古铜黑首先招人人心获得自然的古雅和力量。《沉思的占有率》富含后生可畏种深沉的当然心情,就像是自然的干后分歧的树皮经常的肌理暗暗表示了赫赫有名的时刻概念,粗细不黄金时代的裂痕同偶然间显现着生命经过自然凶恶核实之后依旧具备的最为的拉力。美术师用陶土来显现自然,表达生命,由此大家能够在本来的、以致老大的当然表层中心获得大器晚成种年轻的、坚韧的活力,而生命本人又展现着自然的心腹和吸重力。

多伦多农林外贸学院 李伊晴

孟买工业大学 李伊晴

The Art Institute of Chicago Yiqing Li

  自然,建筑、人文大家从《沉凝的占有率》中读到的内容太多太多。意气风发件美貌的艺术品是有很强地放出心理的技巧,区别观众心里的长久的纪念与细致的情义能够因它而自由。《沉思的轻重》在表达美术大师观念心理的还要,也显现着观者的内心世界。

Mr. Michael King, the president of the French Fine Art Academy, said
that Hongweis sculpture clearly reflects contemporaneity of Chinese
sculpture. There is an Eastern philosophical mood running through
Hongweis sculpture. Although he was educated and are still working in
New York for months annually, Hongwei keeps a profound connection with
Chinese culture. He does not simply create abstract art works that
Western art world upholds. Rather, he endeavors to explore the sculpture
materials and forms that can best convey Chinese thoughts in a
contemporary way. His work employs the Western artistic methodologies
and techniques yet retains and reflects the Eastern philosophies.

  在《沉思的份量》中,每叁个头像都含有静默沉凝的神情,但稳重观察,每四个思量的神色又轻微不一致:有向下审视自己的宁静,也会有向前平视世界的淡定。那么些文章带来大家自塑像的以为到,有音乐大师自己解读的征象。就美术大师来说,《沉思的分量》诉说着家和回忆。从乡亲到都城,再到London,再到巴黎鸿韦平昔在措施查究的征途上提升。但鸿韦平昔都封存着早就生活过的地点的回想。《沉凝的重量》色调仁慈、挨近大地,就如也保留着前期的家的慈爱和平安。但《沉思的轻重》所要表明的人文情绪并不仅仅于此,它的款式和内容也还要反映了艺术家对全人类智慧和长时间历史的尊严的寻思。

Hongwei is one of most excellent Chinese young artist practicing today.
After graduating from the Sculpture Department of Central Academy of
Fine Art, Beijing, he studied ceramic art at the School of Art and
Design of Alfred University, New York. Currently, he divides his time
between Beijing and New York. His sculpture and ceramic works were
exhibited in New York City, Beijing, Huston, Philadelphia, Paris, and
many other cities. In 2013, Hongwei was selected to be the youngest
member of International Academy of Ceramics in Geneva, Switzerland. On
the occasion of the 2014 New Year celebration, his sculpture Weight of
Meditation was exhibited at the Carrousel International Fine Arts
Exhibition in the Museum of Louvre. Meanwhile, Hongwei was awarded with
Taylor Prize by French Fine Art Academy. Most recently, Hongwei was
invited to join Taylor Foundation in France.

  及其贴近自然的高岭土材质与东方古板宝塔式的协会让大家相当的轻易将《沉凝的份量》这组油画与建造联系在协同。自下而上、依次降低的人数像从花样上临近最原始的格局造型建筑。建筑需求黄金时代砖生机勃勃瓦的储存,从发现地基、建造框架,直到最终改过的装点,这种由尾巴部分底蕴稳步演化积累的长河轻易了人类沉稳、凝重的学问进度。《沉凝的分量》就像是建筑平日,镇定谦逊的派头贯通整个创作。大家犹如能够从这样的款式中品读出美术大师想要表达的历史观:纵使在这里么三个这么正视时间功用的社会,艺术专门的学问如故要保全稳健、坚定的步子,书法家无近便的小路可寻,只可以依赖积水成渊的艺术修养。《沉思的轻重》是画师长久储存艺术感悟之后的结果,而非纯粹的灵感所为。鸿韦对华夏书法深有心得。由大而小、自下而上的陆人头像表明的是意气风发种固定上升的矛头,它使大家能自由联想到三番五次稳步有升、不断压缩的人口像一向延伸至Infiniti的长空。正如中黄炎子孙民共和国书法艺术所追求的笔断意不断,《沉凝的重量》纵然在截至在第多个头像处,但文章暗中表示的人类文化上升的趋向却是恒久、不可终止的。

Looking back through his works, Hongweis art has a dimension of
self-inspect. Studying and working in New York provided him with a
different experience that allowed him to deepen the exploration of the
self. As Hongwei said, he felt lost in a different culture when he
firstly came to New York. He needed to find a self-identity in a
different culture. He created a large number of self-portraits in
different forms, such as When Logic Is Sleeping, Between Conscious and
Subconscious, Pray. All of these works are full of contemplative mood,
leading us to see his interior world. By creating the work Ego? ,
Hongwei posited himself into the whole nature and universe to think who
and where he is. For Hongwei, making portraits is a way of thinking
about himself and the world.By Weight of Meditation, he expresses his
attitude toward society: although we are living in a society where
people regard working speed as a credo, artists have to keep a steady
step. At least, art requires patience instead of short-cuts.

倘使在不精通美术大师的图景下看《沉凝的重量》,我们很难明确那组作品一定是根源东方美术师之手的。那组头像有东方人模糊的面孔,也可以有东方古板的古塔格局。每种头像的神采在竖起的塔形构造下显得卓殊安静谦逊,传达出东方人特有的精深。可是,在空间表明与资料选择方面,《沉凝的轻重》却反映了书法大师对今世摄影的深究。圆形底部和三角形肩膀使得整组文章的基本形精短清晰。美学家特意将肩膀横向拓宽,由此扩展了上空。细心端详,歌唱家将各样头像的嘴与鼻之间的相距减弱,进而缩短了有的空间,使头像更兼具全体性。同有时间,音乐大师用自上而下互相叠合的形体为整组作品创制了负空间,在布局严厉的著述中穿插了一丝松弛感。

就壁画材质来讲,鸿韦用烧制陶土作为油画材质,那反映了美术大师对现代油画材质的英勇尝试。鸿韦将自个儿对陶土材料的知道与现代摄影语言将结合,在格局媒介方面查究更加多的恐怕。早在中央美院上学时期,鸿韦已开首尝试利用不一致的资料来做人物水墨画,比如铜、木头、不锈钢、以致冰。鸿韦在美利哥研究陶瓷艺术时开采了烧制陶土作为今世摄影材料的独本性。烧制陶土的进程本人蕴涵相当的大的不鲜明性。美术大师在烧制陶土的进度中是不只怕精准地决定陶土的颜料和纹理的转换,只可以依靠经历和感到在自然程度上把握这种转移以高达和谐想要的机能。鸿韦正是在此种不断的考试、希望和欢欣中心拿到烧制陶土作为油画材质的异样魅力。这种永久地处变化的但又能被自身所感知的神妙的长河也刚刚适合了主意的当代性重视进程和尝试、重申个人经验。正如自由表演的民谣同样,音乐家不可能预见下三个创作中会有啥的上佳和惊奇,因为从没提前预制的国有国法,美学家根据的是即时的激动和对浓烈作育的对艺术的敏感性。鸿韦就是在调换的、不分明的进度中窥见和培养本人特别的议程语言。在《沉思的轻重》中,慈祥、坚硬的小说材料以致略略泛青的高岭青绿首先使大家体会到自然的古朴和才具。就像是自然的干后分歧的树皮平时的肌理暗暗提示了显明的小时概念,粗细不少年老成的裂痕相同的时间也显示着生命经过自然无情核算之后依然有着的可是的拉力。美术师用陶土来表现自然,表明生命。由此我们得以在原本的、以至老大的当然表层品读出风姿罗曼蒂克种年轻的、坚韧的活力,而生命本人又表现着自然的绝密和魅力。鸿韦的摄影创作的现代性在于他由此对章程的直觉来大胆地使用新的水墨画质感并使其拿走了印象,以此捕捉、记录和发挥友好的资历和清醒。

Weight of Meditation is an installation-based sculpture. Seven portraits
are stacked vertically, with each getting smaller as going up. This
multiplied triangular form has symbolic connection with Eastern ancient
pagodas, creating a sense of weight and containment. Each portrait has a
blurred Eastern face and meditative expression, evoking the Taoist
concept of Dao Fa Zi Ran, which means that through meditation, man can
internalize the nature. In order to fashion an ideal form that implies
an advancing trend of meditation, Hongwei deliberately prolonged the
horizontal lines of the shoulders and narrowed down the distance between
the mouth and the nose of each portrait. His meticulous work on space
and volume reveals the influence that the rigorous training of Eastern
and Western academy has had on his art. ThroughWeight of Meditation,
Hongwei pays homage to the philosophy of Chinese calligraphy, which
emphasizes that thoughts go beyond tangible materials. This installation
work ends at the smallest portrait, but its triangular and increasing
trend create a sense of eternity, which alludes that the meditation and
wisdom of human are far from the end.

贰零壹壹年11月二12日,中华夏儿女民共和国水墨美术大师鸿韦在法国卢浮宫国际展上信赖其小说《沉思的分量》荣获本届法兰西卢浮宫国际展油画类最高奖项Taylor大奖。鸿韦受到高卢雄鸡前美术家组织主席Bella尔先生的欢愉接见,并由法国美术家协会主席Michelle金亲自颁奖。鸿韦的摄影文章受到了西方艺术界的万丈认可,Michelle金先生表扬说:鸿韦的摄影刚强地表现了中中原人民共和国版画的现代性。

Between Eastern Philosophy and Contemporary Art Yiqing Li

During the past eight years, Hongwei experimented with various art
materials, ranging from steel and wood to clay and glass. He eventually
chose fired clay to makeWeight of Meditation. Through this work, he gave
two conflicting qualities to clay: solid and soft. The matte and dry
surface looks like pieces of cracked tree bark that experienced years of
air seasoning. There is a strong sense of time involved in this
condensed surface. While, the veins of varying thickness run cross the
dry and hard surface, leaving long strips into the surface and creating
a sense of looseness as well as softness. These two qualities blend in
the faces of portraits harmoniously and naturally, which demonstrates
the artists mastery and use of fired clay. Hongweis deep understanding
of clay came from his repetitive practices of firing clay. The process
of firing clay is highly uncertain and full of random elements. It is
impossible for people to accurately predict the change of clays colors
and textures as it is being fired. The artist can only subtly perceive
the change based on his experience and immediate perception. It is in
constantly changing process, Hongwei captured a full range of feelings
about this material: warm, volatile, natural, hard, soft, etc. His art
creating process seems to be an improvisational Jazz music, in which he
cant know what is going to happen and what surprise awaits him. This
reveals a crucial feature of contemporary art in which process and
experiments are prioritized over the final products.Generally, clay is
considered as a traditional art material, but Hongwei gave this old
material with innovative forms and ideas, making it interpretable in a
contemporary way.

鸿韦是一人老奸巨猾的水墨画家、陶瓷乐师。鸿韦接收了中西方双重文化的指引,其雕塑创作《沉凝的轻重》清晰地发挥了世界文化融为生机勃勃体背景下的中华夏儿女民共和国油画的现代性。从当中央美术大学油画系结业后,鸿韦在陶瓷艺术领域排行第意气风发的U.S.A.London州阿尔弗列德大学艺术设计大学初阶了对烧制陶土的钻研美利坚独资国国际陶瓷艺术协会副主席温o海格比在议论纷纭鸿韦的文章时说道:艺术很须要后生可畏种庄严的文化评判的要素嵌入在那之中,更经常地是生龙活虎种缺少深度的,不安的言语与天堂相连。在此一方面,鸿韦的作品展现了他由此水墨画创作来一而再一而再再而三东西方语言的技巧。非凡的艺术文章是能够超出文化、被全体分歧文化背景的人所联合赏识的。

由此《沉思的轻重》,鸿韦付与烧制陶土生机勃勃种平和的、松弛的、富有诗意的半空中组织。头像上粗细不一的裂痕生动地阐释了烧制陶土自个儿所富含的时日概念。粗燥的、温暖的、与中外紧凑联系的烧制陶土在这里组小说中展现煞是古朴和纯真,那也传达了音乐大师在创作《沉凝的份量》时所付与的实在的考虑。杰出的艺术品是悟性高度调节下的感性表现。烧制陶土进度中的对不常性的管理和再次创下立显示了音乐家对雕塑和陶土文化的深入精通。由此,鸿韦的油画创作胜过文化差别、守旧与历史观的边境线,向大家显示今世摄影的性情主义。

鸿韦在身体油画本事和用大器晚成种具有更正的办法对自塑像的历史观搜求之间,获得了明确的平衡。他使泥土形成了神秘的,具有诗意构造的形象,这种优质的松弛感,暗中表示出了其茁壮的洞察力。他的创作极度,通过直觉,追随对资料的拍卖和选择而赢得的印象,来捕捉对私家阅世深切的民用深入分析。鸿韦的水墨画文章,让我们回看起在世界性的视觉背景下的神州金钱观文化,从而开创了对本身的解读。他的著述清晰地阐释了超越守旧的,观念的,文化的分界。

在某种程度上说,那个文章依旧带来大家自塑像的认为,美学家对各种头像的神气表明都通过了精心的探讨,每一个头像的神采略有差别:有向下审视本身的寂静的眼神,也是有向前平视世界的淡定的目光。这揭示出了美学家本身内心情绪的神妙变化。这么些自塑像固然有音乐大师自作者解读的迹象,可是从空中、布局来观察整组小说时,自塑像所要表达的意思早就不那么首要了。自下而上、依次降低的人头像展现了意气风发种更引人深思的情义,向上依次叠合的头像就像暗中表示了黄金年代种人类文明长久上涨的样子生龙活虎种大家得以极度想象的上涨。乐师对空中的无比搜求以致对头像神情的精准把握使得文章满含意气风发种融汇东西方文化的气度。使得全体东西方文化血脉的人都能透过与小说面前碰着面包车型客车触及来找到存在内部的能够解读的源委。优良的艺术品总会有黄金年代种强大的放出技能和吸收接纳本事。《沉凝的分量》释放的是美术大师对东西方艺术的浓郁感悟以致对自个儿深沉的思维,同期选拔了来自区别文化人的俯拾正是解读。由此,使得音乐家和著作本身更是助长。

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