竹上馆记,生活与创作

2020-04-26 08:28栏目:奥门金沙手机娱乐网址
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  在大千世界里,人类只不过是一群聚居于地球表面的小千领域。

  In the spring of 2005, I visited Ningbo along with Ai Xuan, and Wang Yidong. Wu Wei drove us around in his orange car. At that time, Wu Wei gave me the strong impression that he was young, kind, and absolutely obsessed with the pursuit of art and had a clear artistic direction. At that time, he had completed his advanced studies in oil painting at the department of the Central Academy of Fine Arts, but his works did not seem to be aligned with any set of college rules. Wu Wei used refined brushwork, pastel shades and clear color graduations to imbue his paintings with vitality, exhibiting his own Jiangnan refreshing taste. Mainly his subject matters are still life, simple but elegant. After 2005, we have had the opportunity to meet every year, and our works have also participated in exhibitions together. In recent years, his works often appear in art magazines and at important art exhibitions. Now, compared to before, Wu Weis disposition has not changed, but his works can be said to be more mature. For me, the works of Wu Wei mutation impression is in the 2010 Times Cup - China Youth Realism Art Exhibition, his work De Chirico Square 1 participated in the exhibition and won the award for excellence. The composition in the painting is complete, using rigorous modeling, the use of black and grey colors is considered to be very good, and especially the characterization of the face and hands, great detail but not cumbersome. In this work he chose de Chirico works as his background, the background seems to be with the people who appear in front of a space, but the backgrounds perspective and light direction show that the background and characters are not in a space. It appears visual and has a sense of dislocation. In this painting, Wu Wei uses portrait works to convey that de Chirico works are empty and mysterious; he creates an originally ordinary portrait and endows it with more ideas and greatspirit. This is the charm of Wu Weis oil painting, and I like this kind of obvious allegorical works. I always have an idea for each creation. I think a good piece of art is one that makes viewers move beyond the image itself, and it is not that the idea of more is better, but within the value of the work, there should be some original thoughts, and a very good control of the overall scale, and it is this that stirs the viewers emotions.

  春花秋月,千古吟咏。而襟怀各属,只眼别具者,盖性灵器宇之迥然有自也。凡人人殊,凡物物异。花即花,此或其本来,花非花,此或人之移情寄之焉。是故有草木竹石寓诸君子之谓也。少俨兄胸次夷旷,情致高朗,精丹青,亦谨于丹青。操业若此,遂由鲁而京,于荣宝斋画院教授为业。少俨酒豪,余亦喜饮,而豪远逊,酒兴共酣而声气相投,未数日已类神迹交契十数载矣。想见缘之一字有不可言说之妙。因嘱余名其室,余亦乐而受之。其所居为层楼之上,下有疏竹,萧然一碧,遂以竹上馆名焉。竹之为物,虚其心,实其节,偃仰不屈,风雨自砺,四时同颜,群立不倚,或可谓君子之色也。入其室,次序井然,器用多旧物。少俨云:物以用重,养气益重。四壁花木鱼鸟之属,则少俨之心迹也。工以意,逸以传情,笔致劲爽,风神远出,令人见之即生挂于吾家壁上观之想也。几间置一琴,此少俨挚友也。泠泠七弦,丁丁一木,寄傲何须箫管,神会宜有元音,指拂焦桐,江湖自远,目送飞鸿,林泉愈近。当此,少俨化为琴,抑或琴化为少俨,不知也。凭窗一望,满园花木滋荣,生气叠溢,畅神无已,天外云卷云舒,任运自流,了无滞碍,此即少俨之神思乎?

  天地间、自然界,究竟是环境改变了人类,抑或是人类改变了环境?相信,这是一个千古无法寻找到答案的问题。

  Historically there is no shortage in the use of fables and stories in realistic painting. In many famous masters of the European and Italian renaissance, master painters such as Botticelli, Da Vinci, Titian, Durer, Bruegel and others, have used famous prophecies and stories in their atrtistic depictions. Their use of the background and characters is often placed in an incomplete real space, they tend to use the eyes to make figures emphasis space. This structural arrangement can either weaken the strength of the characters or enhance the background in the picture to bring an expressive force. The background is not completely attached to the characters, and the characters and background both contrast and complement each other, expressing a form of thoughts that bring balance and atmosphere, just as 1+1 is greater than 2, the art of expressive force within painting gives an invisible power to strengthen the end result.

  远古的人类,把自己与天地间万物相互结合,视自己为自然界一份子,他们与飞禽走兽、花草树木、山川河海、风雨去雾、日月光辉,相依相托,互需互动地在天地间、自然界和谐共处,臻达天人合一的美妙化境。

  In recent years, Wu Wei has used his creative thinking to complete a series of works. In this years new work When, Wu Wei puts the same people in different times, and then lets them gather in a visional stage, seeming to be in a play or singing a song of youth. These are Wu Wei set of rules to puzzle us, as he explained in his autobiography in the paper: My work as director a not a complicated drama This is the charm of Wu Weis oil painting, he uses his true affection to depict the real image, and through the real image he expresses the heartfelt feelings of the unreal and unknown. Through his works he is setting a puzzle, Wu Wei manipulates his audience into conjecture and thinking within a tacit state, and this seems to be an attempt to bring his adience on a discovery of the unknown adventure. From the artistic sense, Wu Weis creative thinking has shown great maturity, and it is this that generates a lot of imagination within his audience. Because he knows what it means to create artistic works in the unknown, but he also clearly knows everyones heart has its own unknown, but humananity itself is an allegory for the unknown, somewhat like the black holes of our universe, an inextricable maze.

  也许,这便是自然造物的神奇。

Translated by Li Wu

  人类从野蛮时代演进到文明时代,历经凶残本性地侵略、掠夺、仇杀与吞并,更从现实生活实践中,在客观形势与环境怂恿、激发下而迸溅出人类本能的智慧火花,试图征服他族与天地!结果,人类以其短暂的生命岁月,只不过像在浩瀚海洋中投入一块小石头,在旷漠无垠的沙漠中挖掘一个小洞。刹那间,这人类极其生命极限力图在自然界表现的丰功伟绩竟然经不起微风细雨的吹送,迅速恢复原貌,而被人类凶残本性破坏的环境,却吞噬与埋葬了这些自以为英雄豪杰、帝皇霸主、高官显要、权贵巨贾之辈。

  翻开古今中外人类历史,我们谙熟远古人类从旧石器时代到新石器时代;又从青铜时代迈向秦汉文明的显赫盛世。而今,这一切的人类古文明,却是从一堆堆黄土中挖掘出来。

  我们了解到从贱民奴隶到封建帝王、从宗教神权到政治主义。遗留下来的,也只有残垣断壁,宏伟遗迹与片断的霸业记载。而这一切的一切,早已化成乌有;消失在这天地间,遁形于这自然界,抑或是被黄土所深埋!

  也行,这便是没有答案而权当答案的答案了。

  人类从渔猎到农耕,从工业到科技,更从电脑到信息,跨越了人类发展漫长的旅程,而浮沉盛衰,分合集散,湮没了无数个春秋。但,在这人类的生存空间与其生命历程中,却与衣、食、住、行脱不了关系。从远古时代人类以树叶蔽体到兽皮和衣御寒的穿着一直发展到今天的品味与时尚,甚至回复到远古的衣不蔽体,但却是21世纪最新潮流。从此窥探到一些自然界与人类思潮的演变轨迹。

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