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“人世的美，莫名会蓦地迸现却又倏忽逝去……，倏忽即逝的人世美景是双刃的利剑，一刃以喜，一刃以悲，活生生将人心切碎、撕扯，为着美好挣扎。”在曾庆连的画里，你可以看到黑暗里隐蔽而生的明亮色彩，在大面积的黑色郁郁葱葱地包裹着与它原本似乎冲突的色调，忽焉春日青，霎时暗夜黑。这样大胆地运用，是基于对水墨语言深入地研究，更是对于自我情绪剖析的自信。她的画和她的情绪一样，平静之间却又悄悄孕育着呼啸而来的张力。就像是原本应该默然盛放美丽娇弱的花朵，如今却映着春日疾驰而过的云影，迎风缭乱，扯着根茎摇晃。再多的比喻都无法清晰地解释她画里的“不可名状”。?????????????????????????????
‘The beauty of the world, inexplicably, will suddenly burst into existence but then suddenly pass away ......, the beauty of the world that suddenly passes away is a double-edged sword, one edge with joy, one edge with sadness, alive to the hearts of the people to cut and tear, struggling for beauty.’ In Zeng Qinglian's paintings, you can see the bright colours that are hidden and born in the darkness, in the large area of black lushly wrapped in hues that seem to be in conflict with it originally, suddenly spring green, suddenly dark night black. This bold use of colour is based on an in-depth study of the language of ink and wash, and even more so on her confidence in analysing her own emotions. Her paintings are the same as her emotions, calm but quietly nurturing a whirling tension. It is like a beautiful and delicate flower that should have bloomed in silence, but now it is reflected in the shadow of the passing clouds in spring, dazzling in the wind and shaking with its roots. No amount of metaphors can clearly explain the ‘unnameable’ in her paintings.
曾庆连《白鸽》18×14cm 纸本水墨
Zeng Qinglian ‘White Pigeon’ 18×14cm Ink on paper
曾庆连《八角金盘》68×55cm 纸本水墨
Zeng Qinglian ‘Octagonal Gold Plate’ 68×55cm Ink on paper
曾庆连《忍冬》34×34cm 纸本水墨
Zeng Qinglian ‘Enduring Winter’ 34×34cm Ink on paper
她说：“水墨对于我而言，是一种充满灵性的材料，将我不可名状的情绪迹象化，细腻化，在一遍一遍地扩散中，涌现出我期待的一股情绪张力。”
She says, ‘Ink is a spiritual material for me, signifying and subtle my unnamable emotions, and in diffusing them over and over again, a surge of emotional tension emerges that I expect.’
曾庆连《一片稻田》34×68cm 纸本水墨
Zeng Qinglian ‘A rice field.’ 34×68cm Ink on paper
曾庆连《三株绣球》48×68cm 纸本水墨
Zeng Qinglian ‘Three hydrangeas.’ 48×68cm Ink on paper
水墨语言由于水这一介质的加入，使得水墨画这一绘画形式拥有一种区别于西方抽象语言的观察认知体系和创作方法。它的随机性给予这一画种很多的可能性，而恰当地水墨语言正是水墨画家们一直追求的东西。什么情态匹配什么笔触，什么情景匹配什么浓淡。焦、浓、淡、清，无法被抛却那边只能不断被尝试。
The ink language, due to the addition of the medium of water, gives ink painting as a form of painting a system of observation and cognition and a method of creation that distinguishes it from the abstract language of the West. Its randomness gives this kind of painting many possibilities, and the proper ink language is exactly what ink painters have been pursuing. What kind of mood matches what kind of brushstroke, what kind of scene matches what kind of intensity. Focus, intensity, lightness and clarity cannot be thrown away, but can only be tried continuously.
曾庆连《蝉系列之1/2》34×34cm 纸本水墨
Zeng Qinglian ‘Cicada Series No.1/2’ 34×34cm Ink on paper
曾庆连《蝉系列之3/4》34×34cm 纸本水墨
Zeng Qinglian ‘Cicada Series No.3/4’ 34×34cm Ink on paper
她说：“用恰当的水墨语言来匹配我的情绪感受，一直是我在尝试的事情。沉迷过失控的晕染，也迷恋过干净明媚的色调，现阶段沉浸于在黑暗遮蔽中创造闪烁。”“我总是敏感又真切地共情到周围一切的不安与破碎，同时又欣赏到生命的坚韧与美妙。”看她的画面，就好像和世间万物来了一场通灵般的交流。十三年蝉，蛰伏数十年只为枝头嘹亮数日；稻田丰收时，也是夏日炎炎日，有青翠、有流水、有那年没做完的儿时梦；满地撒欢儿的小狗，午后会在蝉鸣不止的树荫下相依打盹儿；门口的花儿，落下，是秋来了吗？……
She says, ‘Matching my emotional feelings with the right ink language has always been something I've been experimenting with. Having indulged in out-of-control swooshes and clean, bright tones, I am at this stage immersed in creating shimmering in the darkness of obscuration.’‘I am always sensitive and genuinely empathetic to the unease and brokenness of everything around me, while at the same time appreciating the resilience and beauty of life.’ Watching her images is like having a psychic exchange with all things in the world. Thirteen years of cicadas, hibernation for decades only for the branch loud and clear for a few days; rice paddies when the harvest, but also the hot days of summer, there are verdant, running water, there is that year did not finish the childhood dream; full of joyful puppies, the afternoon will be more than cicadas in the shade of the trees rely on each other to snooze; doorway of the flowers, fall, is the fall to come? ......
曾庆连《月夜系列之2/6》68×68cm 纸本水墨
Zeng Qinglian ‘Moonlit Night Series No.2/6’ 68×68cm Ink on paper
曾庆连《月夜》28×44cm 纸本水墨
Zeng Qinglian ‘Moonlit Night ’28×44cm Ink on paper她说：“我的作品所表达的都是我内心体验过的情感过程，日常情绪虽然总在悲悯与美好之间不断摇摆，但我热衷于在黑暗遮蔽中寻找缝隙，在反复运笔中化解破碎。”They are simple dialogues, nostalgia for someone, regrets, wishes, or joys - bits and pieces. He felt that an artist should show his/her own heart to other people, like reading a book, so that people can know at first glance what is really going on inside the artist, his/her vitality, and his/her state of mind when he/she paints.’
曾庆连《月夜系列之1》34×44cm 纸本水墨
Zeng Qinglian ‘Moonlit Night Series No.1’34×44cm Ink on paper
A：创作的灵感大多来源于日常生活中的视觉体验，可能是夏日树下拾到的蝉，可能肆意生长的野花小草，又或者是冬夜见到的两只瘦弱的狗……因为在心里泛起了一阵阵情感的涟漪，它们便成为了我的创作对象。
A：是我内心盈满向上的力量，促使我在画面中不断对抗、扭转、化解低落破碎的情绪。Q：能分享一下未来的创作计划吗？
A：我关注自己的内心感受，也在意他人。未来我想要以身边的朋友为创作对象画一个系列。我们因为互相倾诉，心灵可以深层次的释放，那些对过去的某种执念、对现状的某种不满，对未来的某些焦虑都可以短暂消散后，让内心重获能量。想要用一种新的水墨形式，围绕这些画一个系列。
Q：倾向于“精心控制”还是“随性松散”？
A：倾向于后者，我的创作过程是往往是由粗狂的用笔开启的，每一笔都是无法预判的，也因为不受控的纸笔之间的新碰撞，画面从始至终都是处在不断地平衡调整中。
Q：分享一件你最爱的作品：自己的或其他艺术家皆可。
A：很喜欢雕塑家布鲁诺.瓦尔波特的作品，他所雕凿的人物细腻又粗糙，完整又破裂，情绪在作品中慢慢流淌，是我印象深刻的一次观展体验。
A：高名潞《中国当代艺术史》、吉尔.德勒兹《弗朗西斯·培根：感觉的逻辑》、梅洛.庞蒂《知觉的世界》、苏珊.桑塔格《疾病的隐喻》、柳宗民《杂草记》。
My friend moved without taking the specimen he left me.Smashed a bottle of ink and splattered ‘cockroach’ ink spots on the wall.
A bitter chicory plant in a crevice.
A wall of green shadows glimpsed.Two dogs I met at the entrance to the Elephant and Castle Tunnel on a winter night.
1996年出生于浙江嘉兴
中国美术学院中国画系中国画综合研究生
现生活于杭州
展览
2023年 “最前线”浙江美术大型采风创作展 浙江/2023年 全国高等美术院校阅读主题艺术创作大赛优秀奖/2023年 第九届中国大学生粉画作品展学术提名奖并收藏
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