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展訊 | 遊園驚夢——余霽個展

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MAYAO 欣然呈現藝術家余霽個展《Peony Pavilion 遊園驚夢》，誠摯邀請您於 11 月 8 日下午 4:00 至 7:00 蒞臨開幕酒會；跟随筆墨重構的戲曲意象，進入一場荒誕與現實交錯的精神遊園。

伴隨著建設，毀滅，反抗，仇殺，取義，以及夾雜在這些過程中的各路痴男怨女的故事，構成了人類的歷史。人類是最喜歡講故事的生物，在這些故事中，我們很難得到真相，因為故事往往由勝利者撰寫，所以流傳下來的一些故事，往往被去掉了細節，只得到一個乾涸的結果。

Accompanied by construction and destruction, resistance and vengeance, sacrifice and devotion—along with the tangled stories of passionate men and women caught within—human history unfolds. Humanity is the greatest storyteller among all creatures, yet within these stories, truth is often elusive. Tales are usually written by the victors; what remains is a desiccated outcome, stripped of its texture and detail.

余霁是一個生活在現代的「古代人」，他考古並且把考古的細節滲透到了他的行動里：手裏有佛珠，喜歡道士服，口中念念有詞，打快板，吟唱京劇選段，俠骨柔腸，嚮往捨生取義，但又沉迷現實中的美麗婦人，這是我所認識的余霁。他很會講歷史，娓娓道來，就像他的作品：那些古老的痴男怨女，換上現代的面孔，穿越了歷史，帶著五彩祥雲下凡，隱藏在現實而又無聊的生活裡。

Yu Ji is a “man of the ancients” living in the modern world. He practices archaeology—not only as study but as a way of being. Prayer beads in hand, fond of Daoist robes, murmuring incantations under his breath, tapping wooden clappers, chanting excerpts of Peking Opera—he possesses the heart of a knight-errant, yearning for righteousness and self-sacrifice, yet also captivated by the allure of real-world beauties. This is the Yu Ji I know. He tells history with quiet ease, just as his works do: ancient lovers and dreamers don modern faces, crossing through time and descending upon us on auspicious clouds, hidden within the banalities of our present lives.

古老的中國流傳下來的戲曲大概能追溯到元雜劇，明朝達到頂峰。中國自古就有給戲曲畫插圖的傳統，像明朝臧懋循的《元曲選》，每齣戲都有一幅插圖。

Traditional Chinese Opera can be traced back to the Yuan zaju plays, reaching its peak in the Ming Dynasty. China has long had the custom of illustrating its plays. In Zang Maoxun’s Selection of Yuan Plays (Ming Dynasty), each drama is accompanied by an illustration.

明朝臧懋循《元曲選》，右劃以查看

臧懋循是萬曆朝的人，還有明末清初的學者閔齊伋所做的套色《西廂記》，這個時候正是戲曲和插圖最繁榮的時代，兩個頂峰匯合到一起，這種事在人類文明史上是不多見的。

Zang lived during the Wanli reign, and later, in the late Ming and early Qing, the scholar Min Qiji created the color-printed Romance of the Western Chamber. It was a golden age when theater and illustration flourished together—a rare confluence in the history of civilization.

明末清初學者閔齊伋做套色《西廂記》，右劃以查看

這些繪本用圖像描繪了人類的行為，並置了人與物，我一直認為很多古老的插圖中，人與物是被平等展現的，這樣的視角令觀者可以置身故事之外，以看戲方式觀看人類的生存。

These picture books depicted human behavior through imagery, placing human and object side by side. I have always believed that in many ancient illustrations, people and things are rendered with equal weight, allowing the viewer to stand outside the story, watching humanity as if watching a play.

余霽, 《桃花扇》25x25cm 紙本

比起古老的創作，余霽的創作方式更加生活化，他把古老的儀仗；排場以及戲台放置在荒誕怪異的山林裡，生物造型更可愛敦厚，樸素且豔麗，翻著白眼的人類與動物，不屑的看著穿越而來的現代汽車，飛艇以及熱氣球，充滿信念感的繼續扮演著自己的角色，亙古不變。這一刻，我似乎看到了兹德涅克·米莱尔（Zdeněk Miler 捷克藝術家及導演，《鼴鼠的故事》作者）與余壬及吴钺（《徐显卿宦迹图》作者）還有八大山人的合體。

Compared to the ancients, Yu Ji’s creative process is more grounded in everyday life. He places ceremonial processions, grand spectacles, and Opera stages within surreal, grotesque mountains and forests. His creatures are plump, tender, naive yet vivid. Humans and animals, rolling their eyes, gaze disdainfully at modern cars, airships, and hot-air balloons that trespass through their world—yet they continue to play their eternal roles, unshaken since time immemorial. At moments like this, I seem to see Zdeněk Miler (the Czech artist and creator of The Little Mole) merged with Yu Ren, Wu Yue (the painter of The Official Career of Xu Xianqing), and the Bada Shanren himself.

作品依次为《鼴鼠的故事》、《徐顯卿宦跡圖》、朱耷（八大山人），右劃以查看

在此次展覽中的作品《朱仙鎮》，講述了一段關於宋金戰爭的民間傳説：陸文龍從小被殺父仇人金兀朮撫養長大，後來在王佐的口中才得知了自己的身世，最後陸文龍殺掉了金兀朮，為父母報仇。這個故事有點像《康拉德·華倫洛德》，只不過，陸文龍沒有那麼多猶豫，他做了他該做的。清末革命黨人的復仇大概於此相當。

In Yu Ji’s work Zhuxian Town, he revisits the story of Lu Wenlong during the Song–Jin wars. Orphaned young and raised by his father’s killer, Jin Wuzhu,

Lu learns the truth of his lineage from Wang Zuo and ultimately slays Wuzhu to avenge his parents. The tale recalls Konrad Wallenrod, though Lu is far less hesitant—he simply does what must be done. Such vengeance mirrors that of late Qing revolutionaries.

余霽, 《朱仙鎮》25x25cm 紙本

而《煤山恨》的故事几乎人人皆知：崇禎十七年（1644），當蜂擁而至的農民軍如排山倒海之勢，將北京城包圍的時候，一切看起來已經不可挽回，崇禎皇帝爬上了紫禁城的後山，站在這裏可以眺望整個北京城，為了保住尊嚴，他選擇了吊死在一棵樹上，他的死是一個象徵，在知識分子看來中國文脈徹底斷絕了。至今吊死崇禎皇帝的那棵樹還在山上，斑斑往事，依稀可見。

The story of The Grief of Coal Hill is more widely known: in the seventeenth year of the Chongzhen reign (1644), as the peasant armies surged like a tidal wave to surround Beijing, all seemed beyond salvation. Emperor Chongzhen climbed the hill behind the Forbidden City—from there one could gaze upon all of Beijing—and to preserve his dignity, he hanged himself from a tree. His death became a symbol; to the scholars of the time, it marked the severing of China’s cultural lineage. The tree from which he hanged still stands upon the hill, weathered yet bearing traces of that sorrow.

余霽, 《煤山恨》25x25cm 紙本

「遊園驚夢」是傳統崑曲《牡丹亭》中的折子戲，描寫了南宋太守之女杜麗娘因傷春而在後花園遊玩，並在夢中與書生柳夢梅相會並訂情，醒來後在現實中尋找夢中人的故事。而香港導演楊帆先生2001年上映的同名電影是以1930年代的蘇州為背景，描寫了歌妓翠花與榮府表妹榮蘭之間的情感故事。這些浮塵於「大歷史」中，不被人注意的「小情愛」必須要穿插入國仇家恨才能得以被觀看，被重視，這真是人類永恆的悲哀。

Peony Pavilion (Yóu Yuán Jīng Mèng) is an excerpt from the traditional Kunqu opera of the same name. It tells of Du Liniang, daughter of a Southern Song official, who wanders in her garden one spring day, dreams of the scholar Liu Mengmei, and falls in love with him; upon waking, she searches in reality for the man she met in her dream. In contrast, Hong Kong director Yonfan’s 2001 film Peony Pavilion, set in 1930s Suzhou, tells a story of emotion between the courtesan Cuihua and her friend Rong Lan.

These fleeting “small loves,” suspended within the dust of “great history,” can only gain visibility when entangled with national tragedy and collective hatred. Such is the eternal sorrow of humankind.

黎薇 / 2025，十月於香港

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Peony Pavilion 遊園驚夢

開幕酒會：2025 年 11 月 8 日

4: 00 - 7: 00 PM

策展人：黎薇

香港黃竹坑道49號得力工業大廈10樓E單位

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Email: tanya@mayao.art

Mobile: +852 53095214

藝術家簡介

余霽，1982年出生於北京，先後就讀於北京城市學院、中央美術學院及西班牙薩拉曼卡主教大學，接受文物保护、國畫等訓練。他在印度、波斯細密畫與日本浮世繪等藝術形式中看見中國水墨的另一脈絡，致力於尋找中國水墨被「文人畫」傳統淹沒的隱秘歷史。以笔墨为工具，其作品漫画式的明快和悦目来自于艺术家对生活坦然而丰满的感受。「藝術創作本身就是對世俗世界的超越，我更願意面對人類內心深處的薩德侯爵，而不願做對現實的回避」。