站台中国｜刘彦湖个展《九宫格》将于12月21日开幕
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#刘彦湖
站台中国当代艺术机构将于12月21日（冬至）呈现刘彦湖在站台中国的第二次个展《九宫格》，以其近年展开的“九宫格”系列作品和内在理路，呈现他对于传统认知的深化和对于书法当代性的掘发。展览将于A&B展厅持续至2025年2月16日。
冬至日——昼极短，夜极长，斗柄指向正北方。是日，颐和园十七孔桥将在午后斜阳中造就出金光穿洞的壮丽景观。这是天地与人工合和而成的杰作。而中国人的历史创造也同样大抵与天地精神相往还，中国书法的“同流于天地”正在于此。而由来已久的“天圆地方”观念，日益为现代考古出土的式盘（天地盘）实物所证实，其时代可以上溯到两千多年前的战国秦汉。二绳、四方、五位、八卦、九宫、十干、十二地支以及璇玑玉衡、二十八星宿……古人关于宇宙观念的一系列重要概念，便都统摄罗置于小小的式盘（天地盘）之中了。而在1995年，刘彦湖就在“中国人的宇宙观念及其迹化”一文中，探讨了中国人的观念与创造之间的内在关联。多年以来，他的工作正是在这样的理路之上不断拓展。
九宫格作品是刘彦湖近几年才逐渐展开的一个系列。首先，在结构上呈现出一种现代主义的构成性，又借鉴了中国篆刻的章法，把中国传统书法的纵向行气打破，一变而为四方连续的大九宫结构，即一个个独立、完满、严密的整体。这种章法要求他所运用的字体在主体结构上更接近于篆书，而在起止之迹与某些独立的点画上又流转飞动，顾盼生姿。“九宫格”系列的创作形成了一种独特的笔法和章法。或者说，他创造了一种具备独特美学的书体，在平面中以字形字意搭建结构、生成建筑，进而形成一种文本写作。在“九宫格”中，他将三个词语并置。而中国文字具备的特殊性、颗粒性与联绵性，使得任意两个字的骈联都可能生成新的语意与空间，形成一种蒙太奇的意象，使得九宫格似乎成为了一个最小尺度的“璇玑图”。与此同时，这种以词语而非以句式为单位的书写，在修辞上指向着古代与现代汉语在边界中的通道。它们既存在于传统的诗意，又嵌入当下的生活中。这种对于文字语言的关注与唤醒，也回应着现当代哲学的语言学转向。如果说当下的书法面临着从日本现代书法之后纠缠于图象或形式的困境，那么刘彦湖以“九宫格”所建立的这套系统，或许能通向由书写与文字破译的一种密码语言。
古人说“惟乐不可以为伪”，移来论书则是“惟书不可以为伪”。在一个给定的天地之间，挥斥八极，腾挪无碍，其性情才调修为自见。事实上，在限定中去创造无限的自由，是古往今来所有的艺术家们所梦寐以求的。
English Version
Platform China Contemporary Art Institute will present Liu Yanhu's second solo exhibition "Chinese Matrix" (Jiu Gongge) on December 21st (Winter Solstice), showcasing his recent "Chinese Matrix" series and the underlying rationale, demonstrating his deepening understanding of traditional cognition and his exploration of the contemporaneity of calligraphy. The exhibition will be held in Halls A & B and continue until February 16, 2025.On the Winter Solstice—when the day is at its shortest and the night at its longest, with the celestial pole pointing directly north—Kunming Lake's Seventeen-Arch Bridge in the Summer Palace will create a magnificent spectacle as the setting sun casts golden light through its arches. This is a masterpiece formed by the harmony of nature and human craftsmanship. Similarly, China's historical creations have largely interacted with the spirit of the universe, and the "harmony with the cosmos" in Chinese calligraphy is precisely this. Today, the Chinese people's long-standing concept of "the sky is round and the earth is round" is increasingly confirmed by the archeological objects – the unearthed Demo-plate (also known as the Heaven-earth Plate) that can be dated back to more than 2000 years ago from the Warring States period to the Qin and Han Dynasties. Ersheng (two-rope), Sifang (four-direction), Wuwei (five-position), Bagua (eight-diagram), Jiugong (nine-box grid), Shigan (ten-stem), Shi’er Dizhi (twelve-earthly-branch) and Xuanjiyuheng (an ancient astronomical instrument), and the twenty-eight constellations... all these important concepts and cognitions of the ancient Chinese view of universe were integrated in this little Demo-plate. As early as 1995, Liu Yanhu completed the article "Chinese concept of universe and its trace" to explore the internal link between concept and creation of Chinese people. Over the years, he has kept profound theoretical studies in this field.
刘彦湖《瀛海三浅 五岳独尊》
The works of Chinese Matrix are a new series that Liu Yanhu has gradually developed in recent years. First, the works present a kind of modernist constitution in structure, and at the same time, they draw lessons from the layout of the Chinese Seal Engraving, breaking the vertical movement of traditional Chinese calligraphy, and changing it into a four-square continuous structure of a great nine-box-grid, each grid is independent, complete and nicety. This kind of layout requires that the font used by him is more similar to the seal script in the main structure, but be more lively and charming at the starting and ending points of the character strokes and some independent dots. By creating the Chinese Matrix works, he has not only created a unique style of writing, but also a unique layout. In other words, he has created a unique calligraphic style with its own aesthetics, constructing structures and generating architectures in the plane with character shapes and meanings, thus forming a form of textual writing. In the "Chinese Matrix," he juxtaposes three words. The particularity, granularity, and continuity of Chinese characters mean that any two characters combined can generate new meanings and spaces, forming a montage image, making the "Chinese Matrix" seem like a minimal-scale "Xuanji Diagram." At the same time, this writing, which takes words rather than sentences as the unit, points to the boundary passage between ancient and modern Chinese in rhetoric. They exist in traditional poetry and are embedded in contemporary life. This attention and awakening to language also respond to the linguistic turn in modern philosophy. If contemporary calligraphy is facing the dilemma of being entangled in images or forms following Japanese modern calligraphy, then the system Liu Yanhu has established with the "Chinese Matrix" may lead to a cryptographic language deciphered by writing and text.Imitating the ancients saying "only music can't be fake", we could say "only calligraph can't be fake". Within a given space, his temperament is self-evident only when he rebukes the eight poles and moves freely. In fact, it is a dream of each artist that he could create unlimited freedom in restriction.
刘彦湖《亢龙有悔 飞鸟遗音》
Images copyright ? Platform China & Liu Yanhu
关于艺术家
About Artist
刘彦湖，1960年生于黑龙江，1978年入学吉林大学物理系学研。1983年至1988 年在吉林大学古籍研究所任资料员，并在此期间系统学习了中国古文字学研究班的全部课程。1995年进入东北师范大学世界古典文明研究所攻读古埃及学，获历史学博士。其后任教于中央美术学院书法专业。物理学、古文字、古埃及学成为刘彦湖的学术基底。物理学给予他认知的框架和方法论。而古文字学涉及语言学、文献学、文学、考古学、历史学等多个学科，蕴藏着中国文字和文明更渊源久远的演变，也带给他对于中国书法高屋建瓴的视角。古埃及学给予他关于人类文明的开阔视野，以至书法艺术与世界文明对视。这三个学科构成了刘彦湖对书法不同于常规向度的介入，也在其书写实践中得以实证。
主要个展：
2024年，站台中国当代艺术机构，九宫格。
2023年，广东美术馆，九宫格与金字塔。
2023年，站台中国当代艺术机构，疆理。
2022年，淄博荣宝斋&青州美术馆，双城记。
2019年，上海宝龙美术馆，行动的意义——刘彦湖新作展。2017年，济南银座美术馆，三生万物——刘彦湖书法艺术。2017年，澳门回归贺礼陈列馆，璇玑——刘彦湖书法陶印展。2015年，中国美术馆，印证——刘彦湖陶印作品展。2012年，招远美术馆，远与近——刘彦湖书法作品展。2011年，日照天大美术馆，日照高山——刘彦湖书法作品展。2010年，济南美术馆，望岳——刘彦湖书法篆刻作品展。2009年，吉林省博物馆，春游——刘彦湖书法作品展。2004年，长沙美术馆，文字江山——刘彦湖书法作品展。2004年，广东美术馆，文字江山——刘彦湖书法作品展。2003年，中央美术学院美术馆，文字江山——刘彦湖书法作品展。《疆理：刘彦湖》，站台中国当代艺术机构，2023年。
《名山藏·望湖楼私藏刘彦湖书法作品精选集》，临朐望湖楼艺术馆，2020年。《璇玑——刘彦湖书法作品集》，澳门书法篆刻协会，2017年。《日照高山——刘彦湖书法展（第二回）作品集》，日照天大美术馆，2014年。《2012 刘彦湖作品集》，盛世雅风艺术公司，2012年。《墨缘随喜——刘彦湖书法作品集 》，中国美术学院出版社，2012年。《望岳——刘彦湖书法篆刻展》，济南美术馆，2010年。《春游集——刘彦湖书法作品集》，吉林文史出版社，2009年。《文字江山——刘彦湖书法集》，杭州恒庐美术馆，2007年。《中国书法简史》（合著），高等教育出版社，2004年。《刘彦湖临汉袁安袁敞碑》，香港艺苑出版社，2001年。《当代中青年书法家——刘彦湖》，中国艺苑出版社，1999年。《当代青年篆刻家精选集——刘彦湖》，河北教育出版社，1999年，作品收藏于中国美术馆、广东美术馆、浙江美术馆、中央美术学院美术馆、今日美术馆、银座美术馆、望湖楼美术馆、半日美术馆等重要机构及私人藏家。Liu Yanhu was born in Heilongjiang in 1960, enrolled master degree at Physics Department in Jilin University since 1978. Worked as Researcher of Paleography in Jilin University from 1983 to 1988, systematically studied all courses of antiquity and calligraphy during this period. Then studied Ancient Egyptology at Institute of World Traditional Civilization at Northeast Normal University, graduated with PhD of history major. Afterwards, he taught calligraphy at the Central Academy of Fine Arts. Physics, codex, and ancient Egyptology became fundamental academics of Liu Yanhu. Physics possessed cognitive framework and methodology to him. Paleography involves linguistics, philology, literature, archaeology, and history, etc., pursuing the iteration of Chinese paleography and civilization, provided him with expert vision on calligraphy. Ancient Egyptology gave him a broad perspective on humanity civilization, includes the joints of calligraphy and global culture. Triple degrees form an invasion in calligraphy, which is different from conventional dimensions, and demonstrate in his writing practice.2024, Platform China Contemporary Art Institute, “Matrix”
2023, Guangdong Musuem of Art, “Grids and Pyramids Exhibition of Art”2023, Platform China Contemporary Art Institute, “Metaphysics about the Boundaries”2022, Rongbaozhai & Qing Zhou Art Museum, “A Tale of Two Cities”2021, Banri Art Museum, “Anchanglu by the Sea”2021, Chajiashizhi in 798 Art District, “The Art of Ink Dream”2020, Jushanmeishuguan, “Mingshan Collection”2019, Powerlong Museum, “The Significance of Action – Liu Yanhu’s New Works Exhibition”2017, Inzone Art Museum, “ThreeLives and All Things of Creation: Liu Yanhu’s Calligraphy Work”2017, Handover Gifts Museum of Macau, “Xuanji – Liu Yanhu’s Calligraphy and Pottery Printing Exhibition”2015, National Art Museum of China, “Print – Liu Yanhu’s Ceramic Seal Works Exhibition”2012, Zhaoyuan Art Museun, “Far and Near – Liu Yanhu’s Calligraphy Works Exhibition”2011, Rizhaotianda Art Museum, “Rizhao Gaoshan – Liu Yanhu’s Calligraphy Works Exhibition”2010, Jinan Art Museum, “Wang Yue – Liu Yanhu’s Calligraphy and Seal Cutting Exhibition”2009, Jilin Provincial Museum, “Chunyou – Liu Yanhu’s Calligraphy Works Exhibition”2004, Changsha Museum of Art, “Wenzi Jiangshan – Liu Yanhu’s Calligraphy Works Exhibition”2004, Guangdong Museum of Art, “Wenzi Jiangshan – Liu Yanhu’s Calligraphy Works Exhibition”2003, Central Academy of Fine Arts Art Museum, “Wenzi Jiangshan – Liu Yanhu’s Calligraphy Works Exhibition”Metaphysics about the Boundaries: Liu Yanhu, Platform China Contemporary Art Institute,2023.Liu Yanhu 2022. Rongbaozhai Press, 2022.Mingshan Collection: Selected Collection of Liu Yanhu’s Calligraphy Works from Wanghulou Private Collection. Wanghulou Art Museum, 2020. Yanhu Handwritten Character Library, Beijing Hanyi Character Library, 2019.Xuan Ji – Collection of Liu Yanhu’s Calligraphy Works. Macau Calligraphy and Seal Cutting Association, 2017.An Changlu Printing Collection. Shanghai Shuhua Press, 2015.Rizhao Gaoshan – Liu Yanhu Calligraphy Exhibition (Second Volume) Works Collection. Rizhao Tianda Art Museum, 2014.2012 Liu Yanhu’s Works Collection. Shengshi Yafeng Art Company, 2012.Mo Yuan Sui Xi – Collection of Liu Yanhu’s Calligraphy Works. China Academy of Art Press, 2012.Wangyue – Liu Yanhu Calligraphy and Seal Cutting Exhibition. Jinan Art Museum, 2010.Chunyouji Liu Yanhu Shufa Zuopinji. Jilin Wenshi Press, 2009.Wenzi Jiangshan – Liu Yanhu’s Calligraphy Works Exhibition. Hangzhou Henglu Art Museum, 2007.A Brief History of Chinese Calligraphy (coauthored). Higher Education Press, 2004.Album of Liu Yanhu’s Calligraphy. Hebei Education Press, 2003.Liu Yanhu‘s Copying of the Han Dynasty Yuan An Yuan Chang Stele. Hong Kong Art Press, 2001.A Contemporary Young and Middle-aged Calligrapher – Liu Yanhu. Chinese Art Press, 1999.Selected Collection of Contemporary Young Seal Engravers – Liu Yanhu. Hebei Education Press, 1999.His works are collected by private collectors and important institutions such as the National Art Museum of China, Guangdong Museum of Art, Zhejiang Art Museum, Central Academy of Fine Arts Art Museum, Today Art Museum, Inzone Art Museum, Wanghulou Art Museum, and Banri Art Museum.
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