跨越六百年的对话，张羽参展瑞士苏黎世-里特贝尔格博物馆“向往自然：解读中国山水画的隐含意义”特展
Mountains and streams, trees and clouds have been at the heart of Chinese painting for a thousand years. They have become the epitome of Chinese art and culture and inspire artists to this day.
The exhibition introduces viewers to Chinese landscape painting, discloses its many meanings, and reveals its hidden messages. It provides insight into China’s culture, philosophy, and literature, while at the same time addressing a highly topical issue that transcends national boundaries, namely the relationship between humankind and nature.
The show
presents ninety works from six centuries, including paintings,
installations, and video works. In addition to highlights from the
Drenowatz Collection of the Museum Rietberg, the exhibition also
features important loans from leading European museums and rarely
exhibited works from private holdings.
张羽：“灵光”系列
Zhang Yu: Divine Light Series
2019年11月9日“向往自然：解读中国山水画的隐含意义”的策展人来信说：
我们计划在第一节展示张羽的作品。本节将讨论“灵性、中国宇宙学、道教的自然/宇宙概念”（气、阴、阳等）。如果能在展览目录中有张羽的个人陈述，那就太好了；还想知道“石雨”这个传说对艺术家意味着什么？
We were planning to show Zhang Yu’s piece in the first section. This section will deal with the topic of spirituality, Chinese cosmology, daoist concepts of nature/cosmos (气， 阴阳 etc.).
It would be absolutely great to have a personal statement by Zhang Yu in the exhibition catalogue. I was also wondering about the seal "stone rain". What does this legend mean to the artist?
“石雨”是我的“号”。自上世纪80年代中后期以来我一直使用，并篆刻了“石雨”这方印章。
无论是真的有“石雨”，还是一个传说。倘若真是从天而降石头雨，那不只是震惊了……
使用“石雨”作为“号”，当时我想的很简单，就是希望自己的艺术能像陨石雨一样。在上世纪90年代开始创造《灵光》系列的过程中，我也将“残圆”“破方”或由“残圆”“破方”碎落下来的石块看作“陨石雨”。所以，起初的《灵光》作品便一直使用印章“石雨”。
"Stone rain" is my "pseudonym". Which I've been using since the mid to late 1980s. And have the seal "stone rain".
Whether there is a real "stone rain", or a legend. It would have been more than a shock if it had rained stones from the sky.
Using "stone rain" as my pseudonym, I thought simply that I wanted my art to be like meteorite rain. But in the 1990s, I also referred to debris circles, broken squares, or rocks falling from debris circles and broken squares as "meteorite rain" when I started working on the "Divine Light". Therefore, the seal "Stone rain" has always been used in the original works of "Divine Light".
《灵光》7号：残圆 Divine Light: Floating Incomplete Circle，1994
纸本水墨 Ink on paper
125 × 125 cm
At the moment when “Divine light” rises, it’s the moment when the red bird’s beak carries the golden leaf through the chaos of light universe. It’s not only the red bird that melted, but also my pain and uneasiness finally melted into the universe “the light of the spirit”. This is the “Divine light” of the red bird with its golden leaf in its beak in 1990. This finally produced the “incomplete circle” and “broken square” in “Divine light” in 1994.
When
the world opened, ink-and-wash was placed in the world-art and gained a
new life. The “ink“ of water-and-ink is not just a kind of painting. Ink
is no longer the realm of brush and ink, but the universe of the world of
ink. As a result, ink goes to the invisible universe. Ink temperament is
the natural state of mountains and rivers, and the natural state
of mountains and rivers is the universal state.
“Divine
light” adheres to the use of rich ink , the diffusion of ink energy, the
pursuit of subtle changes of ink in the extremely black/ dark ink, and
the acquisition of the material sense of transparency and thick weight.
Through the “force of control”, reaching the visual spatial relationship
of ink floating universe landscape.
展览现场 Installation view
相关阅读 Related Info：
当前展览/ Current Exhibition
相关阅读 Related info：
偏锋 现场 PIFO On View | 丘婧彤：炮打葡萄 Qiu Jingtong: Shoot at Grapes
关于画廊
偏锋画廊坚持对中国当代艺术进程的洞察以及对欧洲及战后艺术大师的探索，并在两者的对话与碰撞中寻找各种可能的艺术力量。偏锋既是中国最早推动抽象艺术研究与发展的重要画廊，也是持续探讨具象绘画在当下多种可能性的主要机构。我们深信，艺术的体验产生于一个又一个的变革中创造的新世界；艺术家的作品正是探索世界的第三只眼睛。对于收藏家，偏锋为其提供专业知识，鼓励他们发掘个人独特的视角，只因两者的充分结合才能构建卓越的收藏。我们希望更多的藏家可以秉持鉴赏家的心态，更深入地理解当代艺术以及欣赏画廊发掘、重塑并坚信的艺术家。
About the Gallery
PIFO
Gallery concentrates on the participation of the course of Chinese
contemporary art and the exploration of post-war European master artists
and seeking for all possibilities of art power in the dialogue and
collision between the two aspects. As a major gallery in China
specialized in the study and promotion of abstract art, and also the
main institution to continuously explore the various possibilities of
figurative art at present, PIFO is convinced that the experience of art
emerges from the new world created by one revolution after another; The
artist's work is the third eye to explore the world. For collectors,
PIFO provides expertise and encourages them to explore their own unique
perspective because only the combination of the two can make a great
collection. We hope to see a growing number of collectors to take on
the roles of a connoisseur, with a more in-depth understanding of Asian
and Western contemporary art, and appreciate the artists
discovered, reshaped and firmly believed in by the gallery.
媒体/图片垂询 Press enquiries/images
邵俊芳 Junfang Shao shaojunfang@pifo.cn
T: +86 10 59789562
其他垂询 All other enquiries
王彧涵 Sophia Wang sophia.wang@pifo.cn
M: +86 18210011135
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