【空间站】新东方主义—王濛莎个展

新东方主义—王濛莎个展

Neo-Orientalism—Wang Mengsha Solo Exhibition

艺术家 | Artist：王濛莎 | Wang Mengsha 

策展人| Curator：付晓东 | Fu Xiaodong

开幕 | Opening : 2018.6.30 4:00 PM

日期 | Exhibition Time：2018.6.30-7.28

地点 |  Venue : 空间站 北京市朝阳区酒仙桥路4号798艺术区中一街 | Space Station, NO.4 Jiuxianqiao Rd, 798 Art District, Beijing

                           孔内心斋

                                   ——评王濛莎的绘画        

文:付晓东

    无论哪一种流行的解释都无法深入王濛莎做为闺阁画家所蕴含的深奥意境。女性化空间内的静物画在水墨系统中一直遭到排斥和贬抑。对于微小空间（室内），琐碎的日常之物（器具，花鸟），如何超越主流阶级和题材等级的区分，更为深入的揭示出根本问题的意识？正是王濛莎小空间绘画的生成力与突破点。

一、家宅空间

    巴什拉在《空间的诗学》中提出了两个观点，1、家宅是垂直的。由于有阁楼和地窖的存在，家宅有了理性和非理性的两级，从而延展了梦与想的高度和深度。2、家宅是集中的。密集是潜意识中蜷缩的对幸福和庇护的寻求，集中的孤独感所致，是庇护所空间所特有的压缩感。巴什拉提出“内心空间”和“宇宙空间”的辩证法，如同禅诗中的“屋”与“云”，是从紧缩的家宅向膨胀的家宅的运动过程。透过“窗”和“帷帐”，宇宙空间坍缩为紧缩的家宅，心理的空间面向外部的广阔世界进行开放和膨胀。

赤瑶 | Precious jade

纸本设色 | Color on Paper

50x42cm

2016

    王濛莎的《琅轩》、《见山楼》中，“梦去形骸外物，醒来天地吾庐。”家宅的敞开、分隔与膨胀，在三层空间中发生着微妙的变化，前景剧烈而逼仄的压缩着画面空间，阻挡着观看者的视线。中部的屋舍的家具和帷幕合围并压缩了物理空间，暗示了内与外的沟通与交融，家宅中偃卧的女性的目光凝神于远处淡笔勾勒的云山。这使画面明确的显现出是画者的内心世界的不断拓展，屋——家宅，也不断的向更加深远的宇宙膨胀。帷幔紧紧裹在女人的周围，墙在自己孤寂的空间中绽放，从而具有宇宙无尽开放的延展性。

    《庄子疏》认为：“观察万有，悉皆空寂，故能虚其心室，乃照真源，而智慧明白，随用而生。”凝神独坐者已意识到内心空间之无限广大，在空寂虚静的境界中，洞察幽微，贯通内外直觉的通道，将个体从群体和欲望的束缚中超脱出来。用佛禅中的心境清静来解释心斋，与庄子的“至人”心斋有相似之处，是建立在能够剔除俗世污垢，人心本来虚静这一预设前提之上。庄子的“虚室生白，吉祥止止”与佛教的“戒生定，定生慧”，一致性的指出排出识见的干扰，维护心性的安定，则能达到福慧之地。如《楞严经》所说“十方国土，皎然清净，譬如琉璃，内悬日月，身心快然。”这种内外连接，由静到动的虚静与清明，也正是儒家所说的“寂然不动，感而遂通”。王濛莎作品中所呈现的既是这种从“家宅”到“心斋”的翻转空间的视觉化体验，动态的心灵空间的图像化景观。

赤瑶（细节）| Precious jade（Detail）

纸本设色 | Color on Paper

50x42cm

2016

二、新民间

    “桃之夭夭，灼灼其华。之子于归，宜其室家。”——《周南桃夭》

    《周易》提出“立像以尽意”的主张，是中国绘画图像文字体系建立的根源。当代学者赵沛霖在《兴的起源——历史积淀与诗歌艺术》将原始兴象分为四类，源于图腾崇拜的鸟类兴象，源于社树崇拜的树木兴象，源于生殖崇拜的鱼类兴象，源于远古祥瑞观念的虚拟动物兴象。他认为整个过程都是复杂的宗教观念内容演化沉积为一般规范化的艺术形式。兴的思维方式是一种引譬连类，渊源是神话思维方式的类比联想。人类学家列维布留尔在《原始思维》中说“原始人的思维不是反逻辑，也不是非逻辑，而是原逻辑。”它不是避免逻辑矛盾，而是首先要服从“互渗率”。宗教神谕、日常情感、人伦教化，都沉积于比兴思维，也成为王濛莎作品的基本的语言组织结构。作品中使用了大量的瑞鹤图、寿鹿图、寿桃图、鸳鸯、凤凰等意向，用色艳丽，造型独特，此皆来自于民间绘画的吉祥图案的象征性渊源，原始文化对民间习俗影响的积淀。王濛莎又不仅限与此，她以个人视角的游历，以抽象意象的形与象征性的物互相纠葛，在尺度大小翻飞的静物画中生产出一种疏离、陌生的巡视，演奏出一种吉祥图案的现代性变奏。有的作品甚至如同博物学一般将不同种类的植物进行罗列，重新唤起“象征”－“记号”被压抑的传统，也如同《词与物》所揭示的，象征是特征的标志，是原始意义是识别的标志，它绝不是表面的意义，标志着另一种东西。在这里，神话、诗、历史、幻象、祈祷、咒语都编织进一张强大的语言网络之中，这些繁芜蔓生的叙述并没有掩盖物本身的秩序，而是做为物之书写，不断的指向世界沉默的原始话语。绘画与叙述以原始逻辑的方式纠缠在一起，画之书可正是原始知识和思维方式的保留形式。

    “仙境”母题也成为王濛莎描绘的对象。汉代以前的方士认为“在有生之年成仙”可以通过内、外两种方式，一是自身修炼成仙，通过养生、闭谷和吐纳；二是直接抵达仙境，需要找到并抵达蓬莱仙岛和西方昆仑的物理空间，便可以无限延长生命。王濛莎的作品大量的吸取了汉画像石和墓室壁画的构图和叙事方式，所描画的内容平面的铺展在画面之上，以帷幕和墙壁等形式展开多重空间的叠压和分隔，天界、仙界或幸福家园，异想世界与日常生活相互交织，编织成为一个动态中的整体。

三、蝶与梦

    “庄生晓梦迷蝴蝶，望帝春心托杜鹃。 ……此情可待成追忆，只是当时已惘然。”——李商隐《锦瑟》

    “化蝶”是一种起返归身的沉浸式的通感体验，涉及到如何思考“身－感知－世界”的连接方式。亚里士多德认为：视觉产生的原因是所见的物向各个方向发出一种可见的相，眼睛接受这一切就是看见。笛卡尔则认为人需要通过拐杖感觉到你周围的各种物体，是光的某种运动，通过透明的媒介达到我们的眼睛。而霍布斯则认为我们之外并没有什么东西，色与象不在对象那里，而在感觉这里，是大脑产生的扰动造成了显像。建立在这个基础上，没有什么标准可以将我们的梦与清醒，真实的感觉分辨出来。从柏拉图的“人是万物的尺度”，到笛卡尔的“第一沉思录”，许多古代哲学家都谈到了关于可感事物的不确定性，大家都观察到通过知觉，难以将醒与梦分辨出来。在场的肉眼世界与投射的通感世界本身并没有太过明显的差别，我们似乎被封锁在自闭症的世界之中。

（请横屏观赏）

五月寅日 | The YIN Day of May

纸本设色 | Color on Paper

953x173.5cm

2018

    这正如同“庄周化蝶”在通感的领域中自我与他者互相转化，意识与潜意识，梦与觉、真与幻互相觉察的典故。主体和客体之间的关系，在梦与醒的不确定性中更加复杂，涉及到离身梦的去形，以及梦中梦的多重性。“觉而后知其梦”，“觉”是一个动态转化的状态，而“大觉”的观念则指向切断一切感知的死亡本质。“蝶”这一经典的中国梦境图像隐喻则反复的出现在王濛莎的画面之中，蝶及做为作者本人的主体化身，亦做为梦境世界的开口。蝶／花／石的基本结构，成为梦与醒复杂力量的互相对峙、交错、转化的空间场域。

    石之触、花之色、蝶之舞，与或大或小的女性形象共同敞开了一片原初的通感空间，暗示了作者所描绘的是凝神屏息，请勿打扰的梦之境域，卷首的蝴蝶带人进入的是时空交织的“幻”－“化”之旅，一个梦境中营造出的多时间重叠的心理实相的当下空间。王濛莎的作品设色妍雅，造型静逸，绝无点尘，而画面的用笔用墨却涌现出蓬勃流动的能量，一个铺陈的超现实的共时性空间向你涌来。在细若游丝的勾勒和悬浮飘逸的造型中，空灵轻盈又扎实稳健，呈现出一种女性气质空间特有的感性场域力量。闺阁画家在如同爱丽斯漫游仙境般时空幻化、主观位移的妙境中，达到的能量体洒脱、酣畅和任逍遥的滑翔的状态。

The Heart-Mind through an Aperture: The Painting of Wang Mengsha

author：Fu Xiaodong

None of the popular interpretations can ever get to the profound core of Wang Mengsha as a woman painter. Still lifes in a feminine space have always been dismissed and rejected. Yet Wang’s paintingsachieve vibrancy and breakthroughs by delving deep into how intimate spaces (indoors) and trivial objects(containers, birds and flowers) transcend division by either material or conventionality.

五彩和合图  | Paradise Qua-Screen

纸本设色 | Color on Paper

40x21cmx4

2017

1. Household Spaces

In The Poetics of Space, Gaston Bachelard puts forward two ideas. The first is a house being imagined as avertical being. Since there is the attic and the cellar, there is a polarity between rationality and irrationality as well as an extension of dreams and thoughts in depth and height. The second is a house being imagined as a concentrated being. Concentration is caused by solitude centralized when yearnings for shelter and happiness are withdrawn to the subconscious like the shrunken space of a refuge. Like dwellings and clouds in Buddhist poetry, Bachelard’s dialectics of “heart-mind space” and “cosmic space” describe the progression from a shrunken house to an expanded one. Through “windows” and “curtains”, cosmic space is collapsed into a shrunken house whereas the psychological space expands and opens itself up to the outside world. 

五彩和合图 (部分） | Paradise Qua-Screen（Part）

纸本设色 | Color on Paper

40x21cm

2017

Among Wang’s works, some celebrate the Buddhist ideals, expressed poetically, of dreaming away one’s physical being and wakening up to be at home with the cosmos.The openness, segregation and expansion of a house subtly interact in the three grounds. The intensity in the foreground shrinks the painting surface and blocks the viewer’s view. The furniture and curtains in the middle ground shrink and confine the physical space, hinting at communion between the inside and the outside.The declining woman in the house gazes at the cloudy mountains in the distance,revealing that the painter’s inner world is extending and that the house is expanding deep into the cosmos. The curtains wrap tightly around the woman while the wall, in its space of solitude, bursts open as infinitely as the cosmos. 

In his commentaries to Zhuangzi, Cheng Xuanying proposes that all creations are empty and that truth and wisdom will emerge when the mind is kept empty. Aware of the infinity of the heart-mind space, the seated, in solitude, observe the minuscule in an empty and quiet realm, connect the inside with the outside intuitively, and emancipate the individual from the collective and desires. As far as heart-mind is concerned, the Buddhist realm of serenity and the Daoist ideal of the perfect man are similar in that both of them share the same premise that the heart-mind is fundamentally empty and can be cleansed of all mundane filth. Whether it is the Daoist or the Buddhist advice, wisdom and felicity can be attained if the mind is untroubled by preconceptions and remains unperturbed. The quiet and serene connection between the inside and the outside and the progression from stillness to motion are elucidated by the analogy in Surangama Sutra of transparent domains being brightly lit from the inside and by the Daoist notion of connectivity being facilitated by the absolutely quiet and the completely still heart-mind. Wang’s works visualize not only such migration of space from house to heart-mind but also the heart-mind space in motion.

五彩和合图 (部分） | Paradise Qua-Screen（Part）

纸本设色 | Color on Paper

40x21cm

2017

2. The New Vernacular

Like the slender peach With her flowers red-hot,So speeds the bride To chaste room and cot.--Taoyao, Shijing (Like the Slender Peach, The Book of Songs)1

The roots of Chinese painting and pictograms can be traced to Zhouyi (Book of Changes), which gives the purpose of a sign to be a full expression of the intent.The contemporary scholar Zhao Peilin di-vides the primitive rhetorical device of association into four categories by their origins: birds from totemic beliefs, trees from tree worship, fishes from fertility cult, and mythological animals from auspicious wishes. In his view, artistic norms are complex derivations from religious beliefs.The device of association induces the mind to associate one thing with another,much like that in mythology. In Primitive Mentality, the anthropologist Lucien Lévy-Bruhl suggests that the primitive mind is pre-logical and that parti-cipation mystique is a prerequisite to resolving logical contradictions. Very much at work in oracles, emotions, ethics and culture, association provides Wang Mengsha with a basic vocabulary. Her works are filled withunique and colourful imagery in the form of cranes, deer, peaches, mandarin ducks and phoenixes that are borrowed from auspicious vernacular paintings, or embodiments of folk customs and in turn primitive culture. To go a step further, she gives full play to her personal perspectives and composes modernist variations of auspicious motifs by juxtaposing abstract shapes and symbolic objects of all sizes in her still lifes to evoke alienation and unfamiliarity. In some of her works, different plant species are even arranged in an array as is customary in the field of natural history, bringing to mind The Order of Things: An Archaeology of the Human Sciences, which puts forward the idea of the symbol as a characteristic mark, or primarily a mark for differentiation. Denoting something else, a symbol is not to be taken for its face value. Thus, mythology, poetry, history,illusions, prayers and chants are woven into a huge linguistic web. Disorderly as they are, the discourses do not hide the original order of things. Rather, they serve as their writing forms and point the viewer to the silent and primitive global language so that paintings and discourses are entangled in a prelogical way. After all, pictorial writing was the most primitive means for documenting thoughts and wisdoms. The immortal realm is also a motif in Wang’s paintings. Pre-Han alchemists believed there were two roads to immortality. One is by means of life-nourishing exercises and practices and the other by locating and physically living on immortal islands. In her works, Wang freely borrows her compositions and narratives from the stone reliefs and tomb murals of the Han dynasties. Multiple spaces are segregated by walls and curtains for depictions of the heavenly or immortal realm or a happy home so that fantasies and realities intermingle to form an integral, organic whole.

五彩和合图 (部分） | Paradise Qua-Screen（Part）

纸本设色 | Color on Paper

40x21cm

2017

3. Butterflies and Dreams

Zhuangzi dreams at sunrise that a butterfly lost its way, Wangdi bequeathing his spring passion to the nightjar.[…] Did it wait, this mood, to mature with hindsight? In a trance from the beginning, then as now. --Li Shangyin, Jinse (The Patterned Lute)2

Aristotle argues that sight occurs when a visible object gives off a visible species and which is then received by the eye while Descartes advocates that, just as what can be felt at the other end of a stick, light moves through a transparent medium to reach our eyes. Hobbes, however, believes there is nothing other than us and that colours and images lie not in the object but in our feelings since they are impressions produced by the brain when disturbed. By this token, there is no distinguishing between dreams and real feelings. From Aristotle’s “Man is the measure of all things”to Descartes’ Meditations on First Philosophy, there have been many philosophical theories asserting the speciousness of perception. It has been a common observation that dreams and wakefulness can hardly be differentiated. With little difference between the existing visual world and the projected synaesthetic world, it seems that we are trapped in an autistic world.

五彩和合图 (部分） | Paradise Qua-Screen（Part）

纸本设色 | Color on Paper

40x21cm

2017

This is just like the story of Zhuangzi dreaming of being a butterfly, in which the self and the other morph into one another and are aware of the coexistence of the conscious and the subconscious, dream and wakefulness, and reality and fantasy.The ambiguity between dream and wakefulness fur-ther complicates the relationship between the subject and the object, let alone out-of-body dreams and dreams within a dream. One realizes it is all a dream only when one wakens from it. Wakening is a motional change while the great wakening hints at being cut off from all senses as in death. As a recurrent motif in Wang’s paintings, the butterfly, or the Chinese metaphor for dream, is the pain-ter’s avatar and an opening to the world of dreams.The fundamental elements of butterflies, flowers and rocks together create a space where the powers of dream and wakefulness confront,intertwine with and transform into one another. The textured rocks, colourful flowers and dancing butterflies, together with women either big or small, open up a synaesthetic space with the suggestion that what is being portrayed is a dream world that is to be gazed at and not to be disturbed.The butterfly that the scroll begins with takes the viewer on a journey of fantasy and transformation with mismatched time and space in a dreamland of multiple psychological realities. Elegant in palette, serene in form, Wang’s immaculate paintings overwhelm with their brushwork, thrusting upon you a surreal parallel space. Ethereal and yet solid, the delicate delineation and floating forms project a field of sensual force that is unique to feminine spaces. Like Alice in the fantastical,topsyturvy Wonderland, the woman painter unleashes her power and glides freely through a world where the perspectives are constantly shifting.

王濛莎

1982 生于中国江苏无锡，书画世家

2006 毕业于中国西安美术学院

先后进修于澳洲昆士兰格里菲斯大学、英国南安普敦大学

现工作及居于中国北京

主要个展

2017 「悬浮」，王濛莎个展，艺. 凯旋，北京

2016 「园」，艺倡画廊，香港

2014 「初夏」，亦安画廊，台北

2013 「蝶梦」，亦安画廊，北京，中国

2011 「王濛莎新水墨个展」，久久画廊，阿莎芬堡，德国

2010 「似水年华」巡回展，日本EPSON 画廊，上海，北京，中国

主要联展

2018 

「抱负」, 赞颂当代中国女艺术家慈善展览, 香港艺倡画廊中环展览空间

「化身」, 纽约州，纽约

2017 

「动物统治 --- 2017 水墨巴黎群展」, 巴黎,GALERIE 1618

2016 

「修身术 — 世界身体的自我技术，盈艺术中心，上海

「文人绘画六君子-- 北京索卡十五周年特展，北京索卡，北京

「关注的力量-- 青年水墨作品展」，今日美术馆，北京

「水墨新语」，艺. 凯旋，北京

「中国当代水墨年鉴」，今日美术馆，北京

「游记」，空间站，北京，中国

2015 

「人造仙境」，金鸡湖美术馆，苏州，中国

「非黑造白—当代艺术展」，索卡台北画廊，台北，台湾

「后传统起源」，UCCASTORE，北京，中国

「艺术之域VS 开放的边界－双国际当代艺术展」，南京艺术学院美术馆，南京，中国

2014 

「玉台新咏－姚媛、张艺蓉、储楚、王濛莎」，艺倡画廊，香港

「香港巴塞尔艺术展」，香港会议展览中心，香港

「关注的力量」，今日美术馆，北京，中国

「她—时代」，时代美术馆，北京，中国

「向右看齐－女性艺术家联展」，艺凯旋，北京，中国

「人间滋味」，北京索卡艺术空间，北京，中国

2013 

「学院新方阵」，今日美术馆，北京，中国

「新水墨新青年」，新水墨意向馆，北京，中国

「水墨的逻辑」，别处空间，北京，中国

「易失的梦—青年水墨新绘画邀请展」，新光天地，北京，中国

「思无邪—水墨作品展」，别处空间，北京，中国

2012 

「齐物论—中国当代青年艺术家推荐展」，国家会展中心，北京，中国

「粉墨写意—中国戏曲人物画展」，朱屺瞻艺术馆，上海，中国

「视觉中国—爱丁堡中国水墨展」，爱丁堡大学图书馆，爱丁堡，英国

「水墨纵横—2012 上海新水墨艺术大展－中国水墨现场」，多伦现代美术馆，上海，中国

2011

 「视觉中国亚洲行首站－中国新水墨展」，东京中国文化中心，东京，日本

 「学院新方阵—当代中国画名家新作」，可园博物馆，东莞，中国

 「济州国际当代艺术展」，济州国际艺术中心，济洲，韩国

 「学院新方阵」，上海美术馆，上海，中国

 「中国青年工笔画展」，中国银行艺术空间，北京，中国

2010 

「笔墨，心性—中国后生代画家提名展」，陕西省美术馆，西安，中国

「中国西安中国国际青年艺术精英奖获奖作品展」，时代美术馆，北京，中国

2009 

「中国当下最值得媒体关注的十位青年画家作品展」，《中国书画》杂志社艺术空间，北京，中国

主要奖项

2018 「艺术8」提名艺术家，北京，中国

2013 「金星奖－最具价值奖」，《国家美术》杂志，北京，中国

2011 「年度世界100 件年度至爱杰作」，《芭莎艺术》杂志，中国

2009 「中国当下最值得媒体关注的十位青年艺术家奖」，《中国书画》杂志，北京，中国

        「中国最杰出年轻艺术家奖」

 入选参加「中国国际年轻艺术家节」

主要出版

2014 《玉台新咏》，艺倡画廊，香港

2011 《镜花水月- 王濛莎》，今日美术馆，北京，中国

收藏

作品《醉花间》被剑桥大学永久陈列收藏

Wang Mengsha

1982 Born in Wuxi, Jiangsu, China, grew up in an artistic family

2006 Graduated from Design Department, Xian Academy of Fine Arts, Xian, China, studied animation

Advanced studies in Griffith University, Queensland, Australia and University of Southampton, Southampton,UK

Currently lives and works in Beijing ,China

Selected Solo Exhibition

2017 Suspension-Wang Mengsha solo exhibition,Triumph art space, Beijing,China

2016 Yard, Alisan Fine Arts, Hong Kong

2014 Early Summer, Aura Gallery, Taipei, Taiwan

2013 Dreaming Butterfly, Aura Gallery, Beijing, China

2011 New Ink Painting by Wang Mengsha, Galerie 99, Aschaffenburg, Germany

2010 Fleeting Years Travelling Exhibition, EPSON Gallery, Moganshan Art Zone, Shanghai; China Central Place,

Beijing, China

Selected Group Exhibitions

2018

Hope, A charity exhibition celebrating the works of outstanding contemporary Chinese women artists, Alisan Fine Arts Central Gallery

INCARNATION, New York

2017

Animal Tule — 2017 Ink Group Exhibitions , Paris , GALERIE 1618

2016 

Self-cultivation — The Personal Technology of Living Soma, Ying Art Center,Shanghai

Literati Painting From Six Artists – 15th Anniversary of Soka Art Beijing , Soka Art center,Beijing,China

The Power of Attention-Ink Painting Works of Young Artists, Today Art Museum, Beijing, China

New Tales of Ink, Triumph Art Space, Beijing, China

Annual Review Exhibition of China Contemporary Ink Painting, Today Art Museum, Beijing, China

Travel Notes, Space Station, Beijing, China

2015 

Artificial Fairyland Chinese and South Korean Young Art Exhibition, Suzhou Jinji Lake Art Museum, Suzhou, China

Bifurcation, Soka Art Centre, Taipei, Taiwan

Post-tradition and Its Origins, UCCA Store, Beijing, China

Art Space VS Open Borders, Germany &China International Contemporary Art Exhibition, Art Museum of Nanjing

University of the Art, Nanjing, China

2014

Beyond the Jade Terrace Yao Yuan, Zhang Yirong, Chu Chu, Wang Mengsha, Alisan Fine Arts, Hong Kong

Art Basel Hong Kong, Hong Kong Convention & Exhibition Centre, Hong Kong

The Power of Concern, Today Art Museum, Beijing, China

She The Era, Times Art Museum, Beijing, China

Dress Right! Group Exhibition of Woman Artists, Triumph Art Space, Beijing, China

The Taste of Life, Soka Art Centre, Beijing, China

2013

New Formation of Academy, Today Art Museum, Beijing, China

New Ink New Youth, New Ink Image Gallery, Beijing, China

Beyond Forms with Pure Spirit, Beyond Art Space, Beijing, China

Dream to be Disappeared Invitational Exhibition of New Ink Paintings by Young Artists, Shinkong Place, Beijing, China

What We Think Can Be Told to the Others Ink Painting Exhibition, Beyond Art Space, Beijing, China

2012 

Theory by Zhuangzi Nomination Exhibition of Contemporary Chinese Young Artists, China National Convention Centre,Beijing, China

Chinese Opera Characters Painting Exhibition, Zhu Qizhan Art Museum, Shanghai, China

Vision China – Edinburgh Chinese Ink Painting Exhibition, University of Edinburgh Library, Edinburgh, UK

Shanghai New Ink Art Exhibition 2012, Duolun Museum of Modern Art, Shanghai, China

2011 

1st Station of “Vision China” Asia Travelling Exhibition Chinese New Ink Paintings, Tokyo Chinese Cultural Centre,Tokyo, Japan

New Formation of Academy New Works by Contemporary Chinese Famous Painters, Keyuan Museum, China

Jeju International Contemporary Art Exhibition, Jeju International Art Centre, Jeju, Korea

New Formation of Academy, Shanghai Art Museum, Shanghai, China

Meticulous Painting Exhibition by Chinese Young Artists, Bank of China Art Space, Beijing, China

2010 Brush and Ink, Noble Mind –Nomination Exhibition of Chinese Painters of the New Generation, Shanxi Art Museum,Xian, China

Exhibition of Laureates of International Chinese Young Artists, Times Art Museum, Beijing, China

2009

Group Exhibition of China’s 10 Young Artists Most Deserving of Immediate Media Attention, “Chinese Painting”Magazine Art Space, Beijing, China

Selected Awards

2018 “YISHU 8”, Nominated artist, Beijing, China

2013 “Golden Star Prize”, “National Arts” Magazine, Beijing, China

2011 One of “The 100 most favourite artworks of the year”, Bazaar Art, China

2009 One of “China’s young artists most deserving of immediate media attention”, “Chinese Painting” Magazine, Beijing, China

Award “The most outstanding young artists in China”

Participated the “International Young Artists Festival”, China

Selected Publications

2014 “Beyond the Jade Terrace”, Alisan Fine Arts, Hong Kong

2011 “Illusion—Wang Mengsha”, Today Art Museum, Beijing, China

Collection

Inebriated under the Shade of Blossoms is a permanent collection of the University of Cambridge.

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