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玩味禅宗--我的艺术创作不走捷径
0条评论 2015-02-02 10:43:41 来源:99艺术网 作者:曹茂超
 
"生活就是修行,就是禅宗,禅宗就是在消磨时光的过程中增长智慧。我希望自己也可以在不断地进行创作的过程中增长智慧。"--南超
 
"Life is all about practice, the Zen practice. Zen Buddhism is to grow in wisdom as time whiles away. I hope that I can also gain wisdom in a constant creative process." By Chao Nan.
 
以禅宗的智慧指导生活
 
The Life Guided by the Wisdom of Zen Buddhism
 
宽敞的庭院,孤独挺立的篮球架。初秋的灿烂阳光里,两只墨黑的拉布拉多狂吠着"欢迎"笔者的到来。打扮休闲的南超引笔者进入工作室,这间工作室是南2005年刚到宋庄时,自己设计建造的。工作室的墙上满满而整齐的悬挂着他各个时期的作品,一张台球案安静的摆在显眼的位置,这是野蛮生长的艺术家的私人乐土,冲北的天光自然的洒落在房间内,弥漫着初秋的慵懒与惬意。
 
A basketball board stood lonely in a spacious courtyard. Under the brilliant sunshine of the early fall, two black Labrador Retrievers barked and welcomed me. Chao Nan in casual welcomed me to his studio designed and built all by himself in 2005 when he first came to Songzhuang. His artistic works of various periods hanging fully but neatly on the walls, a pool sitting quietly but conspicuously in the studio, the natural daylight rushing through the north and filling the room, the early autumn lazy and comfort filling everywhere in the studio, this is the artist's private paradise for barbaric growth.
 
我们并没有很快展开关于艺术话题的探讨。南超熟练的泡出了一壶芳香醇郁的普洱,茶桌一侧整齐地排列着几把紫砂壶和香炉。显然,南超是一个懂得生活的人,并且有中国传统文人的情怀。谈话间他却谦虚说茶道内涵渊广,自己只是喜好。南超不是一个喜欢计划的人,慢一拍的生活节奏这都源于自己对禅宗思想的钟爱和修习,并且对道家"无为"思想的颇有心得,个人努力之外的顺其自然的超脱才是真境界,至于结果并不是他要追求的。
 
We did not start discussing the art immediately. Chao boiled a pot of aromatic Yu Pu'er tea with super skills, a few teapot and censer neatly lined on the side table next to him. Obviously, he is such a person who knows life and has traditional Chinese literati feelings. He modestly said that he likes the tea ceremony; however, its connotation is deep and wide. Chao does not like plans. His causal life pace is due to his belief and practice in Zen Buddhism, his understanding in Taoism 'Inaction'. His true realm is not the outcome with efforts, but the natural unconventional beyond efforts.
 
中国水墨是他的"童子功"
 
Chinese Ink as His "Boy Power"
 
艺术,孩提时南超练就了扎实的童子功,最早开始接触的就是书法,书体笔法、结构和章法启蒙了南超最初对美的认知,年龄尚小的他,爱上了这线条的游织。随后,转入水墨画的学习,以笔法为主导,充分发挥墨法功能的水墨画又给了南超更深的感悟。中国传统绘画中蕴涵的中国文化与东方智慧,深深地烙在了他的心里。
 
In his early childhood, Cao built a strong foundation for his artistic achievements in the future. He started with the calligraphy, chirography brushwork, structure and organization of writing, which enlightened his original understanding of beauty. As a little boy, he fell in love with the weave of lines. Subsequently he started to learn Chinese ink painting. Led mainly by strokes along with the function of the blot ink, he achieved deeper insights in Chinese Ink. Implication in the traditional Chinese painting, Chinese culture and Eastern wisdom branded deep in his heart.
 
中国固有的艺术教学模式,决定了南超必须学习西方的素描和色彩才可以进入更高的学府学习。正是在备考的几年中,他又积累了深厚造型功底。西方的严谨的造型和中国水墨画超脱的意境,这时已经开始在南超日益成熟的思维中并置。之后他考入清华美院,主修以壁画为主的综合性绘画。期间他尝试了各种材料与媒介进行创作,油画、水墨画、工笔重彩、漆画、雕塑等,驾驭材料已经驾轻就熟。但是水墨一直是他内心不了的情节,这奠定了他以后所有的创作也都会围绕它展开。
 
Chao had to learn South Western sketches and color before he could join the best Chinese art institution due to the teaching curriculum in China. It is in these years of preparation, he accumulated deep modeling skills. Back then, Western rigorous modeling and the detached mood in Chinese ink paintings both implanted in his mind gradually. After being admitted to the Academy of Fine Arts in Tsinghua University, he majored in painting murals mainly. He collaborated with many media. He also tried a variety of materials. He did oil paintings, ink paintings, color meticulous, lacquer painting, and sculpture. He harnessed all material adeptly. However, he could never put away Chinese Ink, in which he created all his future artistic works.
 
从《游山玩水》开始的作品演进
 
"Sightseeing Trip" as the Beginning of Artistic Creation
 
《游山玩水》系列是南超开始的比较早期的系列,作品中已经可以看见"以布代纸,以油代水"的将中国画呈现在画面上,中国画笔法中的皴擦点染,墨的浓淡干湿也都被表现得淋漓尽致。自此个人艺术风格也初步确立,同时获得了学术和市场的肯定。但是他也开始发现这种以油彩代替中传统的墨彩,以油画布代替的宣纸,并且在西方绘画的材料上模仿中国水墨画的图像的表现形式走到了一个转折点,应该在语言创新之外,还要有超前的观念。于是他把呈现更新的视觉体验作为自己创作的动力点。
 
The series of the "Sightseeing Trip" represent his artistic works in the early period. These works show the Chinese Ink with features of 'cloth rather than paper' and 'oil rather than water'. He rendered traditional Chinese paintings on the screen, thick and thin, wet and dry. Since then, he initially established his personal artistic style, positively confirmed by both the academic and the market. However, he also discovered the turning point of this new style. He should not simply mimic the manifestations of Chinese ink painting image using Western painting materials, such as oil paints instead of traditional ink, color canvas instead of rice paper. He should not only update the language but also advance the concept. He thus focuses on updating exciting visual experience as his own creative motivations.
 
他开始把尝试"移用"八大山人的作品进行创作,选择八大山人的原因是八大复杂特殊的生命路程使得他的作品别具一格,与众不同,他作品中所传达的愤世情绪正符合了南超当下的嫉俗心。他将八大山人的图像重新演绎为倒下的病鸦、垂死的鱼儿、枯萎的瓶中花,反映物质时代,国人盲目追从时尚潮流、物质的享受,中国传统的精神无法承传的社会事实。
 
He tried to 'shift' the works of a master painter in Qing Dynasty of China - Ba Da Shan-ren, whose exceptional life experiences made his artistic work only one of its kind. The cynical mood conveyed in Ba Da's works is in line with Chao's cynical laughter against the world. He interpreted Ba Da's character into the fallen sick crow, the dying fish, the withered flowers in a bottle, through which he reflected the fact that people could not inherent the traditional Chinese soul, but to pursue armamentarium, blindly follow the fashion, or enjoy materials.
 
南超热切关注中国文化的传承,南超说:"传承的方法不在于钻研当中的技法,或追求更高的诣艺,而是如何透过古今的糅合来实践对中国文化的新阐释。在古今糅合方面,大致可分为三个方向:一是材料的转换;二是空间的处理;三是古人作品的重构,这就是南超立体水墨的理论根基。"通过对以上三个方向的综合成就了"立体水墨"的诞生。
 
Nan Chao was deeply concerned about the Chinese cultural heritage. He said that 'the lineage is not to delve into the techniques or the better attainment. It is about how to interpret the current Chinese culture through a blend of ancient and modern facts. There are three directions: first, the conversion of the material; second, the spatial processing; third, the reconstruction of the ancient works, which is the theoretical foundation of Chao's stereo ink later. "Chao's stereo ink represents the achievements in these three areas, which leads to the establishment of the 'Stereo Ink'.
 
五年磨一剑--艺术创作不走捷径
 
Five Years for One Sword - No Shortcut to Artistic Creation
 
南超将八大山人的作品先翻成雕塑并上色,然后灌注水晶胶,使八大山人的作品凝固在透明的水晶胶中,呈现出透明的琥珀色。看似简单的作品描述,南超竟然用了五年时间"立体水墨"才大功告成。
 
Chao first translated Ba Da's works into sculpture and colored them, then primed them with acrylic coating. The solidification of Ba Da's work is amber in transparent acrylic coating. The deceptively simple work was described and Chao spent five years to complete these 'Stereo Ink'.
 
"刚开始的创作,举步维艰,因为这是一种全新的创作思想,从未有人涉及,也就更没有现成的经验可以借鉴,期间尝试了无数的材料,都不够稳定,制作过程中有很多独立的步骤,温度、湿度、时间、力度,等等,这都是需要考虑的因素。而将这些步骤都能完美的统一,才形成了现在的这批作品。"回忆艰辛创作过程中的南超,脸上带着满足的神情。
 
"It is very difficult at the early stage, because this is a completely new creative idea, never been there, there is even no available off-the-shelf experience. I tried numerous unstable materials in experiments. There are also many independent influences, such as temperature, humidity, time and strength, and so on. These are all factors to be considered. I cannot complete these work without perfectly unify every single footsteps." Chao recalled the arduous process with a look of satisfaction.
 
南超说,近年来也出现过很多好的实验性作品,但有一个问题就是这类作品都是在用西方的艺术观念或意识形态与中国画或东方其他艺术的表现形式相结合。这类作品更容易被西方人理解和接纳,但并没有从根本上传承了中国的文化和艺术。所以他的作品在创作的时候正好与之相反,他运用西方更先进的材料,结合东方人对文化、对生命的认识和态度,结合禅宗,来进行创作。他将中国画中的名物禁锢在这种透光却不透气的材料中就是一种冷暴力,是对文化的暴力,以此来表现中国文化在当下所处的一种境遇。同时也是对文化现状的一种诠释,希望可以引起观者的共鸣,重新审视文化与生命的关系。
 
Chao said that in recent years, there have been many good experimental works, but there is a problem that such works are some combinations in the concept or ideology of Western art and Chinese painting or other Oriental art forms. This kind of work could be understood and accepted by Westerners, but cannot be used to fundamentally inherent Chinese culture and art. Chao's artistic creation is just the opposite. In his work, he used advanced Western materials, along with oriental understanding and attitude toward life and, his belief in Zen Buddhism. It is a cold violence to culture when he imprisoned famous substance in Chinese paintings in these airtight materials. These works reflect the status of Chinese values. Such work can cause people's sympathy and lead reviewers to re-examine the relationship between ethos and life.
 
"穿透水墨,再造空间"的命题解读
 
"The Penetrated Ink and The Reformed Space" as a Proposition Interpretation
 
五年的坚持不懈的探索,终于换来了这批崭新的作品的面世,10月,南超香港个展"穿透水墨,再造空间"即将举办,谈到展览命题,他这样解读:"艺术离不开对空间的制造,制造空间有很多种方法,但不论哪种方法最终都是要制造一个精神空间。穿透水墨是将平面的水墨画在一个立体的透明空间物质中再现出来,制造一个真实的三位立体的水墨效果。它是文化与物质的结合,是对绘画空间与精神文化空间的再创造。"
 
Chao spent five years in unremitting exploration in exchange for a group of new works. In October, Chao will hold his personal exhibition in Hong Kong, titled "The Penetrated Ink and The Reformed Space". Chao interpreted it as the following, "no art can be separated from the creation of space. There are many ways to manufacture space. However, regardless of means applied, the final goal should be a creation of a new spiritual space. "The Penetrated Ink and The Reformed Space" is to show two-dimensional ink paintings in a three-dimensional format through transparent materials, to create a brand new effect of the stereo Ink, to combine culture and substance, to recreate the space in painting and the space in spirit.
 
香港很特别,是东西方文化交融和碰撞的地方,是中国通往世界的窗口。"立体水墨"是一种新的表现语言,是对审美的陌生领域的探索。南超希望通过这次展览,可以让更多人看见我的作品,也不介意有些误读,只要可以在他们的精神上留下一丝痕迹。
 
Hong Kong is a very exceptional place, where Eastern and Western cultures merge and crash, it is a window to the world for China. The "stereo Ink" is a new expressive language as an exploration of unfamiliar areas in aesthetic. Chao hopes that more people can see these works in the exhibition and can remember one or two elements, either the paintings or the ideas in these paintings, regardless of right or wrong interpretations.
 
至于,未来作品创作的可能性,说不定南超会把毕加索的立体主义绘画用他的立体主义语言创造出来。
 
As for the future possible creations, maybe Chao would interpret Picasso's cubist painting with his 'stereo' language.
 
--曹茂超
 
Maochao Cao
 

编辑:郑永霞

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