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#CYE
范宽说：“与其师人，不若师诸造化。”以万物以为师，明晰自然运行之理，持赤子之心以报绘画之热忱。倘若艺术的目的于不同的艺术家各不相同，或表达自我，或针砭时弊，或藏匿情感……，而对于严嘉韦而言，画面中仅有的便是平和的心境，这是一种渴望回归绘画本真的初心。“畅游天地之间，眇沧海之一粟。”在他画面中，你能看到一种畅快通达、向死而生的诗意。Fan Kuan said, ‘It is better to learn from creation than from others.’ Taking everything as his teacher, he understood the reason of nature's operation, and held the heart of a child in return for the passion of painting. If the purpose of art varies from artist to artist, either to express oneself, or to criticise the current situation, or to hide one's feelings ......, for Yan Jiawei, the only thing in his paintings is the peaceful state of mind, which is a kind of desire to return to the original heart of painting. ‘Swimming between heaven and earth, gazing at a drop in the ocean.’ In his paintings, you can see a kind of poetry that is free and open to life and death.
Yan Jiawei "Listen to rain"160×135cm Oil on canvas“我如今仍然对仰视的视角保持着极大的创作热情，其源于在我大二的时候做的梦，梦见一群在空中缓缓前行的人群，带着那种向死而生的诗意我留下了第一个仰视的草图。”
‘I still have a great creative passion for the looking up perspective today, and its rooted in a dream I had during my sophomore year of a crowd of people slowly moving through the air with that poetic sense of dying to live. This left me I left the first sketch of the looking up perspective.’Yan Jiawei ”Waking Morning Light"160×135cm Oil on canvas“生命的体验可能真是要活到了一定的年龄，当艺术真正向内面对自己的时候，我（如今）会很笃定的表述自己的感受。”‘The experience of life may really have to be lived at a certain age, when art really faces itself inward, and I (nowadays) express my feelings with great certainty.’
严嘉韦《在山谷初醒》 160×135cm 布面油画Yan Jiawei ‘First Awakening in the Valley’ 160×135cm Oil on canvas
Yan Jiawei ‘Ripple’ 160×135cm Oil on canvas西方绘画在审美理念上：古典时期重信仰，现代重情绪，当代重观念（需要制造概念来完成自我实现）; 中国传统书画的审美理念纵然有注重“随类赋彩、应物象形”的时期，但即便是在北宋院体画主张准确描绘客观物象为主流的情况下，也是“以诗意入画”方为尚品。更可堪后世不断发展的文人画更是以“自娱”为目的，“气韵生动”为尚品。画者身份多重特殊决定了这一群体更多是“以画为言”，渴望挣脱各种束缚，超然物外寄情山水表达“真我”。书画在这时是一个精神庇护所，画者们抛却教化、经验、功利性的目的，直面自身在自然界中的渺小，以“高远、深远、平远”的视角在视觉有限的方寸之间，平和、畅然地表达着无限的主观意趣。艺术的本真，于此刻彰显。Western painting in the aesthetic concept: the classical period focus on faith, modern emphasis on emotion, contemporary emphasis on concept (need to create concepts to complete self-realisation); Chinese traditional painting and calligraphy aesthetic concept even though there is a focus on ‘with the class of colours, according to the image of the object,’ the period, but even in the Northern Song dynasty courtyard painting advocate accurate depiction of objective objects as the mainstream situation, but also ‘poetry into the painting’ is the best. But even in the Northern Song Dynasty, when the court-style painting advocated the accurate depiction of objective objects as the mainstream, it was also the case that only ‘poetry in painting’ was considered a good quality. The development of literati painting in later times was even more ‘self-indulgence’ as the purpose, and ‘vividness’ as the best quality. The multiple special identities of the painters determined that this group was more ‘painting for speech’, eager to break free from all kinds of constraints, transcendental landscape expression of the ‘true me’. Painting and calligraphy is a spiritual shelter at this time, and the painters put aside the purpose of indoctrination, experience, and utilitarianism, and face up to their own insignificance in nature, and express their unlimited subjective interests calmly and freely with the perspective of ‘lofty, far-reaching, and far-planning’ in the visually limited square inches. The true nature of art is revealed at this moment.
严嘉韦《那天的阳光无比耀眼》 160×135cm 布面油画
Yan Jiawei ‘The Sun Shone Brightly That Day’ 160×135cm Oil on Canvas
Yan Jiawei ‘Natural laws are stable and durable’ 160×135cm Oil on canvas
天、地、水，同时出现在画面中，同一时空却使观者进入三层不同的联想空间，以有限表现无限，以物趣、人趣表现“意无穷”。从画面的经营位置上又能看到他对于“留白”意味的理解和重组。这些画面的巧思，是严嘉韦向内在自我内求之后，通过思考接近真理概念的表达和对生生活真切感受过的表现。The sky, the earth and the water appear in the picture at the same time, the same time and space, but the viewer enters into three different associative spaces, expresses the infinite by the finite, and expresses the ‘infinite’ by the interest of objects and people. His understanding and reorganisation of the meaning of ‘white space’ can be seen in the operation position of the picture. The ingenuity of these paintings is the expression of Yan Jiawei's inner self-searching, the expression of the concept of approaching the truth through thinking, and the expression of his true sense of life.Yan Jiawei ‘Nocturnal outing’ 160×135cm Oil on canvas他以仰视的视角描绘芸芸众生，又借以涟漪的图像将画面泛起波澜，呈现“低头便见水中天”的娑婆幻影。
He depicts the multitude of people from an upward perspective, and uses rippling images to create waves in the picture, presenting the illusion of the Saha that ‘when you look down, you can see the sky in the water’. 严嘉韦《乘风而去》160×135cm 布面油画
YanJiawei "Ride the Wind" 160×135cm Oil on canvas
严嘉韦《忘月》 160×135cm 布面油画
Yan Jiawei ‘Forgetting the Moon’ 160×135cm Oil on canvas
严嘉韦《天涯若比邻》 60×50cm 布面油画
Yan Jiawei ‘Even if we're far away, we're still close.’ 60×50cm Oil on canvas
严嘉韦《曾经的家》《追溯的少年》50×40cm /布面油画
Yan Jiawei, ‘Once Home’, ‘Retrospective Teenager’ 50×40cm / Oil on canvas
艺术无解，人生无解，但是“艺术可以是艺术家灵魂的形状”。严嘉韦的艺术便是诗意化艺术语言的最佳体现。光怪陆离间，观者除了能看见艺术家艺术语言的呈现，更能联想到记忆里曾有的经历片段。Art has no solution, life has no solution, but ‘art can be the shape of the artist's soul’. Yan Jiawei's art is the best embodiment of poetic art language. The viewer can not only see the presentation of the artist's artistic language, but also associate it with fragments of experiences in his memory.
严嘉韦《往返》 160×135cm 布面油画
Yan Jiawei ‘Back and forth’ 160×135cm Oil on canvas
A：从前我是一个迷恋西学的人，哲学也好科学也好都培育了我一颗“西方”的脑子，直到我阅读到海德格尔后，我觉得我开始转向了东方。人生的机缘也总是奇妙的，有三位良师益友在我生命的不同阶段影响着我，第一位是我的大学同学，他拜师成了一名风水师，在我跟他不死不休的争论玄学时他告诉我“你可以活的感性一点”，第二位是我的师姐，当我在当代艺术里迷茫的时候她告诉我“你画画应该向内走”，第三位是一名修行的设计师，在我还不了义时常常为我解惑并告诉我“你的艺术就是你灵魂的形状”。Q：你的创作过程一般是什么样的，有什么特别的体验吗？Q：哪个时期的艺术或艺术活动、观念对你影响最深，在你的作品中有哪些体现呢？A：我会认为是宋代，范宽那句“与其师人不若师诸造化”对我来说是至理名言，牧溪梁楷所代表的禅画又是我的最爱，更何况还有米家山水，我一直想把古代仙人搬到自己的画里，但或许这也是个妄念呢，向他们一样心生敬畏自在而为吧。Q：体制化及学术性的创作训练于你而言的意义是什么？A：基础训练自然重要不必多说，在央美油画系有两门课很有意思，一门是周翊老师整理的包豪斯色彩体系，给学生非常丰富的色彩实践；另一门是丁一林老师主导的图形课，油画系第二工作室的老师们仔细地为我们分析古典里黑白灰的图形，这种教学上的心血我是要感恩的。Q：创作中会不会有意识的关注和反应一些当下的问题呢？A：思考与感受会导向艺术的两种结果。思考只能得出概念而感受才能接近真理。社会总会生病，要不要沾染病原体当然是艺术家自己的选择与权利。如今的西方当代就像抗生素一样，矫枉过正地书写着所谓正确的概念，但真理是不二的，所以我自然更欣赏那些能向内挖掘自身魅力的艺术家。A：海德格尔《林中路》、徐小虎《画语录》、鸠摩罗什译《金刚般若波罗蜜经》、惠能《六祖坛经》、尼采《悲剧的诞生》。
昙花一现
Dutchman's Pipe (idiom); a flash in the pan.
昙花炒鸡蛋
A nonsensical scrambled egg.??
Always wanted to do an exhibition in the (mosquito-free) woods.
The Immortals painted by Liang Kai in the recent special exhibition at the Shanghai Museum.
严嘉韦??????
艺术实践者，量子共和发起人。
个展：2024《醒来的晨光》H Gallery, 上海/2023《林中空地》Nanotte Gallery 南京 /2019《绕地飞行》船厂1862 上海/2016《併世界》 国美艺术基金会 北京/2014《境之无尽》和画廊 北京/2024年第九届全国插画双年展，入围奖/群展：2024《四季于春》H Gallery 上海/2024《野火》Uart Space上海/2023《吉檀迦利》九点水美术馆上海/2023《流光中的赋格》Nano&azlz Space 南京/2023上海冉起艺术博览会 上海展览中心 上海 /2022《相变图》PEARLONA COMMON ROOM 上海/2021《化物论》PEARLONA COMMON ROOM 上海/2021《中国表现》青年当代艺术提名展 华泰顶层社区 上海/2018《多样与纯粹》普陀文化馆 上海/2017 InterYouth国际青年绘画展 中国美术学院 杭州/2016《因为未来的每个昨天》11画廊 北京/2015国际艺术家圣诞群展——全球印象 德中文化交流会 柏林狮子行宫 柏林/2015《量子共和-----开启》 正和诚艺术空间 北京/2015，“青年艺术+”青年艺术家推广计划年度大展 北京当代艺术馆 北京/2014《20+4+1 NEW IDENTITIES》德中文化交流会 柏林 德国
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