高峡这些年来画风景,画出了心得。这个心得是常说常新的心得,即为什么要画风景的心得。风景绘画,或者说是面对风景去进行写生的绘画,是一种怎样的绘画呢?它是那么明确的一种绘画练习,既要练眼睛观察,也要练手的娴熟,然后是练眼睛和手的相合相应,因为不是眼睛看到就能用手画出来,而手头画出来的也不都是眼睛看到的。

    这个看似悖论或是绘画的现象说明了这之间的一种内在逻辑。高峡就是奔着这种矛盾的逻辑而去的,他走南闯北,不仅在游走中国各地,还远赴异国他乡,去画风景,画不同景致的风景。我们看到他的这些年积攒下来的作品,很多都是这样旅程的记录,是这样的密集的风景写生创作中,他积累了一种世界观,一种可以让他综合中国绘画美学与欧洲风景美学之间的关联,但又不失为他的重新解读。

在委内瑞拉国家现代美术馆举办的“中国当代油画艺术展”开幕式上,高峡的油画肖像作品“查维斯”作为中国参展艺术家代表作品(国礼)赠送委内瑞拉政府。At the openning ceremony of “China Contemporary Oil Painting Exhibition” organized by National Art Museum of Venezuela, Gao Xia’s oil painting “Chávez” was presented as an official national gift to the government of Venezuela.

 

如果仅仅是以中国绘画的那种写生法,那么就完全是古典山水画了,但高峡没有这样做,而是将中国绘画的气质带入现代风景写生中。他既不是追求所谓的意象画面,而是对景写真——不是画出画谱里的山水图,而是让眼睛面对真实的自然,以现代人的眼睛观察看到了风景的结构和空间。这些都是需要内视来感应的,这样拿起画笔来,就不是简单的涂抹或硬要一笔一笔抠出眼睛看到的风景——这是做不到的,那是照相机被发明出来要做的事情。

所以,高峡启悟了自己要从古典的美学观察法里走出来,不能画风景画中的古山水——这是很多人去画风景的时候还是背着《芥子园画谱》的影子去的,那还画什么劲啊。于是,高峡要挣脱,要让眼睛真实的说话。这就是现代风景写生所要求的:画自己,画内心的感受。那么,难道中国古典山水不是画内心吗?当然是,而是非常是,但问题出在今天的画家去看风景还带着古典的图式和语言形式,这样就违背了去写生的真实性,它练就的不过是再重复一遍古山水的图式和构成。但高峡很清楚对景写生又不是模仿西方风景画,也不是模仿印象派风景画,他是杂糅了古典美学的自我感悟体验、结合上现代风景绘画的简洁明快的风格,写意结合了表现,具象但不是具体,写实但不是描摹,它在似与不似之间,但又不是抽象地描绘。所以,高峡是完全以内心的感悟去画,这是好简单的道理,但问题的关键是感悟得到位,能够在笔下表现出来,看得不烦,画得不累赘;重要的是与所去的风景地有关联,但不是照相风景。

    由此说来,高峡画风景画出了自己,这个自己都在画里。画风景看起来好像简单,其实不简单,我们可以看到很多人画风景都一个样子,千人一面,语言与风格几无差别,说明画出自己是多么不容易。这也是高峡努力了这么多年所做的事,不管走过了多少个地方,那个地方总有一样东西是自己的,那就是他留下的画。

现在高峡把这些自己的视觉日记要呈现给大家了,我们一下子就被带入进去,和他一同感受到了大自然回馈给我们的,不是自然本身,而是自然被画家再一次地创造了新的美妙,透过这些美妙的画面,我们呼吸着自然和风景,心潮与街区、道路、山林、水榭起伏着,我们被融化了。

王春辰(中央美术学院教授 博导)

2019年11月26日 北京

Gao Xia: the Artist Reflected in His Own Paintings
After all these years’ painting, Gao Xia has achieved deep understanding about why to paint a landscape. What is landscape painting? It’s an exercise for eyes and hands; it’s the achievement of coordination between eyes and hands because you can’t paint with your hands alone nor with your eyes alone.
This is the logic of painting. This is also the logic Gao Xia follows while painting. He travels all over, not just in China, but also overseas and paints while he travels. All the works we are seeing today are works from his travels. While painting prolifically for many years, Gao Xia has formed his own world view, which is more than a combination of Chinese traditional paintings philosophy and European landscape philosophy, it’s his own interpretation. 

If a painter just follows the method of traditional Chinese painting, it will become classic Chinese landscape painting; but Gao Xia didn’t do it this way, he brought a Chinese painting attitude into modern landscape painting. He doesn’t pursue so-called freehand brushwork painting, he sketches based on the subject – not just painting the traditional landscape, but uses his eyes to capture the structure and space of a scene. All this requires self-awareness and sharp observation. Therefore, when he’s ready to paint, it’s not a simple record of what his eyes see, which is the job of a camera.

Gao Xia realized that he had to discard the perspective of traditional Chinese painting, he refuses to paint the classic old style landscape paintings – as many people still imitate “The Painting Manuel of the Mustard Seed Garden” when painting landscape. Therefor, he wants to break away, he wants to tell the truth he sees. This is what modern landscape painting is about: paint what you feel, paint what your heart tells you. Then here is the question: aren’t Chinese classic paintings about what you feel? Yes, of course, but the question is that many painters today still apply the traditional Chinese landscape painting method, which departs from the realism of a life sketch, it’s just simple reworking of the traditional painting. Gao Xia understands that life sketch of scenery is about not imitating Western landscape painting, nor is about imitating the impressionists’ paintings, it’s the combination of self- expression and realization combined with the simple and clean style of modern landscape paintings; freehand brushwork and refined technique, detailed but not overwrought, realistic but not imitative. Gao Xia paints not the landscape in front of him, but the landscape of his ideals, offering us deeper connection to the subject than a simple photograph ever could.
It’s obvious that Gao Xia’s paintings reflect his inner world, his emotion, his mood and his viewpoints. It seems easy to create landscape paintings, but actually it’s not. Many landscape paintings look similar even though they are created by different painters. It shows how hard it is to maintain a personal style in the art of painting. This is what Gao Xia did over all these years: no matter how many places he’s been to, there is always something which belongs to him, these are his paintings.
Now, Gao Xia is presenting his visual diary to us, we are deeply absorbed into his world: the world is not just about nature, but the magnificent world he has recreated. We breath in his nature and scenery, we walk through the streets, roads, forests, mountains and waterside pavilions, we are totally captivated.
Wang Chunchen 
(Professor at China Central Academy of Fine Art, Ph. D. Superviser)
Nov. 26, 2019 Beijing

 织光—高峡绘画艺术作品展 

预展时间 / 2019年12月05日-12月07日

展览时间 / 2019年12月08日-12月11日

开幕时间 /  2019年12月08日_15:00

展览地点 / 文轩美术馆(成都新国际会展中心内208-1-1)

策 展 人 / 吴永强

学术主持 / 高岭

特邀批评 / 王春辰 邱正伦  

艺术总监 / 蔡家骏

策展助理 / 张芃

推广总监 / 洪艳

Preview / 2019.12.05-12.07 
Exhibition / 2019.12.08-12.11
Opening time / 2019.12.08_15:00
Address / Winshare Art Museum

Curator/Wu Yongqiang

Academic Advisor/ Gao Ling

Guest Critic/Wang chunchen  Qiu Zhenglun

Art Director/Cai Jiajun

Assistant Curator/Zhang peng

Promotion Director/ Hong Yan

主办单位 / 文轩美术馆

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