{{sindex}}/{{bigImglist.length}}
{{memberInfo.real_name}}
{{commentname}}
{{newsData.publisher_name}}
  • {{item.name}}

AMNUA展讯|水—王牧羽作品展

{{newsData.publisher_name}} {{newsData.update_time}} 浏览:{{newsData.view_count}}
来源 | {{newsData.source}}   作者 | {{newsData.author}}



水——王牧羽作品展

 

艺术家:王牧羽

艺术总监:李小山

策展人:陈瑞

 开幕时间:2019年11月8日 15:00

展览时间:2019年11月8日——11月24日

展览地点:南京艺术学院美术馆第四展厅

展厅地址:江苏省南京市鼓楼区虎踞北路15号

主办:南京艺术学院美术馆

 

Water— Wang Muyuu Artworks Exhibition  

Artist: Wang Muyuu 

Art Director: Li Xiaoshan  

Curator: Chen Rui

 Opening: 2019.11.08  15:00

Period: 2019.11.08——11.24

Exhibition Venue: AMNUA Hall 4

Location: No. 15, Huju North Road, Gulou District, Nanjing, Jiangsu, China 

Sponsor:AMNUA



《一指海面之一》 97×145cm 纸本水墨  2018

One Finger Sea Level·One》 97×145cm Ink On Paper 2018




序 言



有一类画家,计划性强,目的性明确,不瞻前顾后左右摇摆,朝着自己设定的方向一步一个脚印前行。一般来说,这类画家偏重于理性,尊崇规则和标准,故一出手便讲究品位和质地。我认识王牧羽的时间并不很长,见面机会也不多,但对他的作品却印象颇深。牧羽画画犹如课题研究,从构思到完成,看不出一丝松懈,有理有据,有说服力。所以,我对他抱有信心——这次邀请他来南艺美术馆做个展,正是基于这样的信心。


很多年来,年轻一拨水墨画家起起落落,淘汰率高,既与他们的天赋才情相关,又与他们急功近利相关。这种现象其实见怪不怪。我在课堂上向同学提问,请他们报出明代二十个以上画家的名字。作为学习美术史的学生,他们经常张口结舌,错误百出。明代两百七十多年历史,多少画家被后人记住?说明一点,画画的门槛很低,随便何人拿起笔都可以捣鼓几下。然而,画画的标准非常高,达标的人少之又少。牧羽对我谈起,他不想做一个草草了事的所谓画家,他要力争攀登,去看看高空的风景。我们知道,攀登的愿望和登顶的结果不是一回事。但是没有愿望,就更是无从谈什么结果了。


如前所说,牧羽画画类似课题研究,这是一种对待画画的独特方式。古人把“格物”和“致知”的纹理勾勒得很清楚,形成递进的逻辑关系。牧羽选择了他的“格物”角度,他既“格”自然之景,也“格”历史文脉。牧羽眼中之“物”来自“一切景语皆情语”的这一出发点。而他的“致知”,以一种动态的自我认识——这样的认识论或许混沌,却有利于贯注长久的热情。因此,“格物致知”到了他这里,有了新的解释和发挥。一个例子是,牧羽画水纹,非外非内,既非物亦非心——画面呈现出的生动,即来源于此。


祝愿王牧羽的展览圆满成功。


                                                          

李小山

                                                                         2019·9·26


《宋人赤壁图》 100×97cm 纸本水墨  2016

 Red Cliff in Song Dynasty》100×97cm Ink On Paper 2016


Foreword


Some artists are habituated to have everything planned; they are purposeful, so, once determined on something, they can survive any scruples or temptations while attaining it step by step. With an inclination for reason and respect for rules and criteria, in general, artists of this type care about the character and texture of every work. Wang Muyuu, for one, really impresses me with his art, despite our short acquaintance and the infrequency with which I get to see him. From conception to completion, Wang Muyuu’s painting, just like research projects, shows no sign of laxity as it can always turn out to be well-founded and convincing. That’s why I had every confidence in him when we decided to invite him for this solo exhibition in the Art Museum of Nanjing University of the Arts.

 

The past few decades have been witnessing the ups and downs of young ink artists in China at a high attrition rate, which has to do with not only their talent or capabilities but also their eagerness for quick success and instant benefits. This happens. For instance, when I ask students in class to name at least 20 painters of the Ming dynasty, they, as students of art history, would get nervous oftentimes and make a lot of mistakes. The Ming dynasty has a history of over 270 years, but how many artists of that period can survive public oblivion? One explanation is that the low threshold in current times allows almost anyone with a brush to play artist. The standard of painting, on the other hand, is very high, so often fails to be satisfied by the majority. Muyu once told me that he didn’t want to end up as just a painter and that he wanted to fight or climb up for the view from a peak. As we all know, the aspiration for and the result of reaching the peak are two different things. But no result is possible without the aspiration.

 

As mentioned above, Muyuu’s painting is like conducting research projects, which is quite a unique approach to the art. As ancient Chinese philosophy has made clear, the studying of things and the acquiring of knowledge are actually in a progressive logical relationship. With his own perspective for studying things, Muyuu focuses his art not only on the scenery of nature but also on the context of history. To him, anything in sight can be the carrier of feelings, so anything is worth studying. As to his acquiring of knowledge, a dynamic self-perception, chaotic as it may be in epistemology, is working in a way that facilitates lasting enthusiasm. In short, he has his own understanding and manifestation of the studying of things and the acquiring of knowledge. One example is the waves in his painting; none are shaped merely externally or internally, or merely physically or mentally, which is perhaps the very source of the vividness of his art.

 

Wish this solo exhibition of Wang Muyuu a great success.

                                                    

Li Xiaoshan

26 Sept 2019


《江·山》 180×97cm 纸本水墨 2017

《River·Mountain》180×97cm Ink On Paper 2017


《华山图》 34×36cm 纸本水墨  2016

《The Hua Mountain》34×36cm Ink On Paper  2016


艺术家介绍


王牧羽,1975年生于山东。1992年起师从扬子江先生学习山水画,2006年毕业于山东艺术学院获硕士学位,导师岳海波先生。2010年入首都师范大学美术学院刘进安现代水墨工作室学习,导师刘进安先生。中国艺术研究院博士,导师陈孟昕先生。


Wang Muyuu, a contemporary Chinese ink painter, was born in 1975, in Shandong Province. Since 1992, he began to learn Chinese landscape painting following teacher Yang Zijiang. He studied at the Art Academy of Shandong under the guidance of Professor Yue Haibo. In 2006, he was vested with the title Master of Arts (M.A.). Since 2010, He studied at the Liu Jin’an’s Studio of Modern Ink Wash Painting in the Capital Normal University. He is studying for a doctor’s degree in Chinese Academy of Arts with director of Professor Chen Mengxin.




{{flexible[0].text}}
{{newsData.good_count}}
{{newsData.transfer_count}}
Find Your Art
{{pingfen1}}.{{pingfen2}}
吧唧吧唧
  • 加载更多

    已展示全部

    • 点赞
    • 评论
    • 分享
    • 客服
    • 顶部
    {{layerTitle}}
    使用微信扫一扫进入手机版留言分享朋友圈或朋友
    长按识别二维码分享朋友圈或朋友
    {{item}}
    {{btntext}}
    艺客分享
    {{mydata.real_name}} 成功分享了 文章
    您还可以分享到
    加载下一篇
    继续上滑切换下一篇文章
    提示
    是否置顶评论
    取消
    确定
    提示
    是否取消置顶
    取消
    确定
    提示
    是否删除评论
    取消
    确定
    登录提示
    还未登录崇真艺客
    更多功能等你开启...
    立即登录
    跳过
    注册
    微信客服
    使用微信扫一扫联系客服
    点击右上角分享
    按下开始,松开结束(录音不超过60秒)