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新浪推荐艺术家:岛子

2017-7-6 11:51| 发布者: dahuajia| 查看: 2848| 评论: 0|来自: 新浪收藏

摘要:   Daozi and his art work: Saintism   岛子及其圣水墨   Patricia Karetzky   帕特里夏。克雷斯基 (纽约州立大学亚洲艺术教授)   Grace Wang   翻译 王歌诗   Daozi, born in 1956 i ...

  Daozi and his art work: Saintism

  岛子及其圣水墨

  Patricia Karetzky

  帕特里夏。克雷斯基 (纽约州立大学亚洲艺术教授)

  Grace Wang

  翻译 王歌诗

  Daozi, born in 1956 in Qingdao under the given name Wang Min, is a well-known art critic, writer, and professor at Tsinghua University in Beijing。 As a result of his participation in the 1989 Tian’anmen incident he was arrested and put in jail。 He explained it was there, in jail, that he first encountered Christianity, which he calls the new Christianity to distinguish it from its more traditional institutional forms。 Today, he and others from the academic community in Beijing, along with people from his neighbourhood, meet for unofficial weekly prayer meetings in a variety of local places。 In the aftermath of recent personal turmoil, Daozi’s faith has become more resolute, and being a visual person he turned to painting as a form of meditation, and it soon became a form of prayer。 In addition, revitalizing the traditional Chinese ink painting technique was an important choice for him, as he is keenly aware of the secondary role this medium has taken in the realm of painting since the introduction and subsequent domination of Western oils and acrylics on canvas。 Daozi calls his work, Saintism:

  岛子,原名王敏。1956年11月生于青岛市,著名艺术家,诗人和评论家。现为清华大学美术学院教授。1989年,他初遇基督教并在之后领洗。在经历过人生的跌宕起伏之后,岛子的信仰变得更加坚定。作为擅长于视觉表达的人,他将绘画转化为一种思考,并且很快成为了他的祷告方式。由于西画东渐和随之而来的它在绘画领域中的主导地位,他深知中国水墨画衰落的历史原委。因此对岛子来说,在传统的中国水墨画技艺的基础上追求创新性是一个重大的抉择。岛子将他的作品称为“圣水墨”。

  When we say Saintism art, in a broad sense we mean Christian art。 In a narrow sense, Christian art emphasizes a more direct communication of the Christian faith, with clear missionary overtones。 Because of this, in the contemporary semantic landscape it has been put in absolute service to theology and the essentials of the church。 Thus it has appeared as confined and marginalized。 However, Christian art in its broad sense is “Saintism art。” It is art that does not only face the historical gospel and the church that defends it, but, rather, it also echoes the continually life-giving truth of the kingdom of God, and places importance upon the individual experience of the Christian faith, upon its characterization amidst the contemporary milieu, and upon the connections in the themes and subject matter of every work。 It gives expression to the grace and truth, suffering and redemption, compassion and universal love of Christ。 Thus, “Saintism

  art” changes with the aesthetics of the times, and on its own demonstrates free visual form and style。 Through the deep spiritually moving power of Christ, people will also enter into the realm of sacred meaning。 Among the mysteries of God, there is the mystery of freedom, which continually widens that which once chose a narrow field of vision, and helps us out of the woods right now。

  从广义上讲,“圣艺术”(岛子所谓“圣水墨”)即一种基督教艺术。狭义上讲,基督教艺术强调一种更加直接的,带有清晰传教色彩的,基督教信仰的交流。因此,在当代语境中,基督教艺术在神学中和教堂的必需设备中广为运用。基督教艺术也因此被认为是有局限性的,边缘化的。然而,从基督教艺术的广义上来讲,圣水墨也是“圣艺术”。它不仅仅拥有着传统信条和教会的维护,而同样折射出天国中那不断赋予生命的真理。同时,“圣艺术”强调了信仰的个人经历的重要性,强调它在当代环境中的刻画和界定,也强调了每件作品中主题与创作题材的联系。表现了恩典与真理,苦难与救赎,救世主的怜悯与博爱。因此,“圣艺术”在以它独有的形式和风格,随着时代审美的变化而改变。通过救世主强大的精神力量,人们可以进入到神的国度。在耶稣的奥秘之中,自由的奥秘不断在拓宽它原本狭隘的视野,同时带领我们脱离当下的困境。

  Large-scale and freely executed with broad brushes in an ink wash medium on rice paper, the paintings evoke in a semiabstract manner traditional Christian symbols—a cr cifix of simply arranged stalks of bamboo, angels in flight, haloed figures, a wine chalice, and a crown of thorns。 These are the central themes of his improvisational monochromatic ink works, which have at times occasional splashes of colour。 Executed during long meditative prayer sessions, these paintings, in their immediacy and evocative technique of free brushwork, resemble the spontaneous work of the thirteenth century Song dynasty Zen masters。 In this way, Daozi has combined spiritual works of the past, using the technique and medium of Zen ink painting, with Christian iconography。 His art, like much of the Chinese practice of Christianity, displays little of

  Western aesthetic culture—they are more representative of a domestic Chinese development。 In recent works, Daozi is making more abstract compositions characterized by a liberal use of gold leaf, and, in addition, he carves seals with religious emblems and, in Chinese literati fashion, discretely applies them onto the rice paper。

  这些宣纸上的画作,通过水墨的形式在粗犷的笔触下自由而大面积的展开,以一种半抽象的方法呈现给观者传统基督教的标志,诸如一架单纯由竹子形象构成的十字架,翔于空中的天使,圣像,盛放红酒的圣杯,抑或是荆冠。这些便是他写意创作的单色水墨画的主题,而这些作品也偶然会出现几抹色彩。创作于长时间的冥想式祈祷间,这些画作的自发性(直觉汇通)和自由而充满表现性的笔法,与宋元时期宗教禅悟的写意创作相呼应。如此,岛子通过宗教水墨画的技法和媒介将过去宗教题材的作品和基督教肖像画结合在了一起。正如同许多中国式的对基督教主题的尝试,他的艺术很少展露出西方艺术的文化背景,而更多的是表现了对其中国本土化的探究和发展。在最近的作品中,岛子正在创作一些以金箔的自由运用为特征的更为抽象的作品,同时,他还镌刻了象征基督宗教标志的印章,并采用中国文人的方式将它们独立地分别钤印在宣纸上。

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岛子 收割 纸本水墨设色 2013年

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岛子 我只爱你,那朝圣的心 纸本水墨 2014年

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岛子 我愿你来 之一 卷轴 纸本水墨设色 2016年

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岛子 德国艾沙芬堡个人展览 2016年3月

  2016年欧洲大斋期,岛子的巨幅水墨《上帝与黃金》,作为米塞尔基金会获奖作品,悬挂于德国阿沙芬堡圣玛丽亚主教堂。欧洲各地教堂将《上帝与黄金》印刷成等幅幕布,用于大斋期弥撒

  2016年欧洲大斋期,岛子的巨幅水墨《上帝与黃金》,作为米塞尔基金会获奖作品,悬挂于德国阿沙芬堡圣玛丽亚主教堂。欧洲各地教堂将《上帝与黄金》印刷成等幅幕布,用于大斋期弥撒

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岛子工作照

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