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“屋子里的淑女,只有按照主人的意愿,在每一个房间里出现的时候,她才可以为人所知。没有人看清楚她的全部,因为她显露出来的,既是她的身体,也是她的镜像。没有人能够对她的全部看得分明,谁也不能,除了她自己之外。”——劳拉·赖丁(Lauru Riding)
“And the lady of the house was seen only as she appeared in each room, according to the nature of the lord of the room. None saw the whole of her, none but herself. For the light which she was was both her mirror and her body. None could tell the whole of her, none but herself.” ——Laura Riding
1966年,米歇尔·福柯(Michel Foucault,1926—1984)在其出版的著作《词与物》的开篇以一段场景叙事性的开场白,勾勒出了17世纪西班牙著名画家迭戈·委拉斯开兹(Diego Velázquez,1599-1660)与其最经典的油画《宫娥》(Las Meninas,1656)之间的置位与场景关系,由此引出了观者与画作,凝视与反凝视的思想理论探讨。这一思想价值观的发展,影响了后世图像学理论的研究与现代艺术史观的基础构成。至此,当我们从艺术史的角度回溯“肖像”的历史,则不论是文艺复兴鼎盛的中世纪,《圣经》撰述中象征着纯洁勇敢、智慧坚强、仁爱与无私奉献之化身的圣母玛利,抑或中国春秋时期的国别体著作《国语》中所描绘的端庄识礼、严于律己的敬姜夫人,其实际都只是劳拉·赖丁说言称的“屋子里的淑女”,是委拉斯开兹《宫娥》里出现在后墙镜面里的“国王与王后”,是被观看的人,同时也是沉默的观看者。
英国学者约翰·厄里、乔纳斯·拉森在对福柯“凝视理论”展开延伸时曾言:“当我们凝视特定的景致时,会受制于个人的经验与记忆,而各种规则、风格,还有在全世界四处流转的各地影像与文本,也都会形成我们凝视的框架”。基于这一语境,从现代主义的背景上对传统价值认知中的“女性”进行观看,不难发现即如历史对“她们”所构建的认知,“她们”亦同样建构着观看者镜像,并在这一镜像中,在这一抹看似沉静虚空的背景映衬下,除了被描摹而成的形象,她们以沉默的方式证明着自我的存在。
由是,我们以40后艺术家谢立俭所经历的时代及其最重要的“近代仕女写实肖像”系列回应这一章节的叙事。作为一名古典油画艺术家,在谢立俭模写“古典肖像”的写实主义手法背后,艺术家通过对华丽的服饰、家具、珠宝配件等细节的刻画,勾勒出女性“典雅”、“唯美”、“端庄持重”的东方女性特质的同时,亦在无意识之间,于这些极具有年代感的服饰背后,放置了一面无形的透镜,即如展厅最开始的结构一般,指涉着这些肖像所映射的特殊的时代背景下,近代中国第一批觉醒自我意识的女性,于其自身的行为和举止所表达的身份立场,以及隐匿于社会环境与权利关系中,不曾被明状的独立意识与安静坚韧的力量。
In 1966, Michel Foucault (1926–1984) opened his book The Order of Things (Les Mots et les Choses) with a scene-setting narrative, outlining the spatial and positional relationships between the 17th-century Spanish painter Diego Velázquez (1599–1660) and his iconic oil painting Las Meninas (1656). Through this opening, Foucault introduced a theoretical exploration of the dynamics between the viewer and the artwork, gaze and counter-gaze. This line of thought significantly influenced subsequent studies in iconography and became foundational to modern art historical perspectives.When we trace the history of “portraiture” from an art historical lens,whether it is the Virgin Mary—depicted in The Bible as a symbol of purity, courage, wisdom, strength, love, and selflessness—or Lady Jing Jiang, described in the Guoyu of the Spring and Autumn period as dignified and self-disciplined woman, they can all be seen as what Laura Riding called the “lady in the house,” the “king and queen” reflected in the rear-wall mirror of Velázquez’s Las Meninas. They are both the gazed and silent gazers.
British scholars John Urry and Jonas Larsen, in their extension of Michel Foucault’s theory of “the gaze,” remarked: “When we gaze at a particular scene, we are constrained by personal experiences and memories, as well as by rules, styles, and the globally circulating images and texts, all of which shape our frameworks of viewing.”
Building on this context and examining the “female” in traditional value from a modernist perspective, it becomes apparent that as history constructs its perception of “them,” “they” simultaneously shape the mirror image of the viewer. In this mirrored gaze, against what seems to be a silent and void backdrop, beyond their depicted forms, these women silently affirm their existence.
Thus, we reference the era experienced by post -1940s artist Lijian Xie and his pivotal series of “Modern Realist Portraits of Gentlewomen” in response to this chapter’s narrative. As a classical oil painter, Xie’s realist approach to replicating “classical portraits” reveals not only the elegance, beauty, and dignified composure of Eastern women through the meticulous depiction of ornate costumes, furnishings, and jewelry but also unconsciously places an invisible lens behind these period-specific attires.
Like the structural elements introduced at the exhibition’s outset, this lens alludes to the unique historical context reflected in these portraits—the emergence of the first self-aware women in modern China. Through their behaviors and demeanor, these women articulated their identity positions and quietly embodied a concealed sense of independence and resilience, often overshadowed by societal conditions and power dynamics.
谢立俭
1948年生于四川泸州。先后毕业于湖北艺术学院(现湖北美术学院)师范油画专业、中央美术学院第六届油画研修班。中俄油画协会副主席,曾任中南民族大学美术学院副院长。现居北京,中国油画创作研究院艺委会委员,从事油画人物、风景艺术创作研究。
其作品曾参加国内外诸多展览并获奖:
1992年北京太庙“92·中国油画艺术展”;
1994年北京中国美术馆“第二届全国教师优秀美术作品汇展”并获最高奖、同年“第八届全国美术作品展”;
1995年马来西亚吉隆坡“中国风情油画艺术展”;
1996年日本东京“第八回中日友好绘画展”;
1997年香港“中国当代名家书画艺术展”;
1998年中国台湾高雄“谢立俭油画精选展”;
2002年韩国釜山“第六届亚细美术大展”;
2003年韩国“平泽国际美术邀请展”,同年日本东京“第五十回全日肖像画展”并获新人最高奖;
2007年北京艺术家空间“中国当代著名艺术家作品邀请展”,同年北京画院“盛世风华艺术大展”;2008年北京中国美术馆“北京油画学会首届油画展”;
2010年北京世纪坛“2010年中国油画名家邀请展”;
2013年北京财富百人协会美术馆“中俄当代油画作品展”;
2014年北京中俄国际美术馆“中俄油画协会首届油画作品展”;
2015年烟台美术馆”叩响艺术之门——中俄油画名家展”;
2017年江西抚州拟岘台美术馆“中俄油画名家’画’说抚州油画作品展”。
2021年《第十一届国际具像艺术大奖赛》西班牙巴塞罗那;
2022年《第二届委拉斯贵兹绘画&雕塑大赛》获特别提名奖北京中央美院美术馆;
2024年《提香国际肖像画&雕塑大赛》意大利卡多瑞。
其作品多次在《美术》、《中国油画》、《文艺研究》、《艺术市场》,台湾《艺术家》、《典藏》等艺术杂志发表并被国内外企业、艺术机构、个人收藏。


我·“她意识”的现代性转变
The One Descending a Staircase
—— The modernity transformation of female?s consciousness
2024.12.08 — 2025.03.08
艺术家 Artists
蔡雅玲、郭盈光、黎雨诗、庞茂琨、谢立俭
策展人 Curator
张目蕾
展期 Duration
2024.12.08 - 2025.03.08
展览地点 Address
越婷惠美术馆 YTHART Museum
(上海市浦东新区北蔡镇陈春路109号一层)


「越婷惠美术馆·YTHART MUSEUM」由张目蕾女士于2023年创立,是国内第一家明确以“女性关注”作为立馆核心的公共艺术机构。共鸣于海德格尔“将艺术与存在关联,即艺术与生命之关联”的观点,秉持“Be Art,Even Life”为理念,YTHART MUSEUM将始终以“泛文化”的姿态,开展研究性、实验性和对话性的当代艺术实践,在生产与发生中创造历史,面对时代。
"YTHART MUSEUM" was founded by Ms. Zhang Mulei in 2023. It is the first public art institution in China that explicitly takes "women's concerns" as the core of its establishment.
Resonating with Heidegger's view of "associating art with existence, that is, the connection between art and life", adhering to the concept of "Be Art, Even Life", YTHART MUSEUM will always carry out research, experimental and dialogical contemporary art practices with a "pan-cultural" attitude, creating history in production and occurrence, and facing the times.
地址:上海市浦东新区陈春路109号
Address: 109 Chenchun Road, Pudong New Area, Shanghai
开放时间: 10:00-18:00 周二至周日(周一闭馆;周末及节假日延长至20:00)
Opening Hours: 10:00 AM - 6:00 PM, Tuesday to Sunday
联系方式:ythartmuseum@ythart.com
Contact:ythartmuseum@ythart.com







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