至于赵露的秘诀_音乐大教师的天分讯_雅昌情报

日期:2020-04-01编辑作者:澳门新葡亰官网

一花一世界,原本是一个佛教关于世界的说法。《华严经》曰:佛土生五色茎,一花一世界,一叶一如来。这里说的花,指的是莲花。《梵网经》中说卢舍那佛坐千叶大莲花中,化出千尊释迦佛,各居千叶世界中,其中每一叶世界的释迦释迦佛,又化出百亿释迦佛以此繁复往返,佛教中也就有了一粒沙可见三千大世界的说法。用于世俗的表述,就是说一朵花中包含了大千世界的沧桑变化,通过它可以感知到茫茫寰宇的斗转星移。读艺术家赵露的作品,我脑子里马上就会联想到一花一世界的佛语。这不仅因为赵露笃信宗教,是一位虔诚的佛教徒,更因为他的作品以小见大,于细微之处见精深,体现了赵露对生命的某种觉悟,也折射了他所理解的人间万象。

  As mentioned in Concerning the Spiritual in Art, written by Russian artist and theorist Wassily Kandinsky, the creation of a genuine artist is inspired by inner necessity. This theory is really helpful to understand the art in modern and contemporary age. Before the rise of Modernism, it is impossible for artists to create works completely from their inner necessity without considering the preference and needs of their patrons. However, if artists no longer work for patrons, follow traditional themes, or represent specific objects, what and how to express indeed becomes a choice of artists themselves. Therefore, an Artists ability of appreciation and cultural quality will determine the mental power of his works. From Shang Pingjuns paintings, we can clearly feel the influence of the inner necessity to his creation.  Pingjun and I came to know each other when we worked together in the editorial department of Tsinghua Art. He worked diligently in this position which does not provide a considerable salary, while he contributed to most of Tsinghua Arts publications. I felt that there must be something strong that supported him. With time going by, I know Pingjun better and now I know that he can keep simple because of his faith to Buddhism and art.  This June, I came to Pingjuns studio with some friends, and I found his bookcases filled with Buddhist scriptures, which made me think of a short message he sent to me in a winter vacation, saying that he was worshiping Buddha in Tibetan Area of Sichuan Province. At that time, I thought it was just some sigh with emotion from a curious tourist and did not know that he was really related to Buddhism. He has got acquainted with Master Xue Xiang as early as 1988, who was the abbot of Jingci Temple, and has studied Diamond Sutra, Platform Sutra seriously. Im not a Buddhist, but I respect the thoughts of Buddhism and people with faith. I cant understand the profound meaning in Buddhism, but some Buddhism sutras, which I read superficially before, really touched me deeply. For Pingjun, these Buddhist thoughts must not only have touched his heart, but also have influenced his daily behavior.  Pingjun graduated from the Oil Painting Department of Zhejiang Academy of Fine Art (the predecessor of China Academy of Art). During his study in the University, he was lucky to listen to the lecture of Mr. Zhao Wuji, which has essential influence to his choice of abstract painting later. Although most of his works were figurative paintings at this time, he began to do various experiments on Modernism Art. In 1989, he created Sunyata (performance art), and this theme appeared in his works repeatedly later. From 1994-1995, he created abstract painting works, such as Exist Dissemination Sunyata and so on. Some people said that there had been abstract painting in ancient China, but I think that abstract painting is a creation of western modernism art, and a simple analogy between the form of Chinese painting and abstract painting isnt a pertinent judgment about Modernism. Abstract painting overthrew the rule of representation in painting, but it didnt abandon the pursuit of aesthetic value. Roger Fry defended for Cezannes painting, and thought that if his paintings are read carefully, the beauty of form, which is a far cry from the representation of objects, can be found. As the theoretical support of abstract painting, formalism aesthetic provides an effective tool to the analysis of abstract art language, but the abstract painting is not mixture of points, lines and surfaces. When we look at Mark Rothkos and Jackson Pollocks abstract paintings, we can feel deep and sincere spirits and emotions in their works obviously, which come from artists deeper understanding of culture and their instinctive creative impulse.  Shang Pingjuns paintings have changed from the abstract of objects from nature to the expression of pure spirituality. In his earlier works, such as Impression of Southern Anhui, Whose Hair Has Fallen in the Rose Shrubs, it is not difficult to find the image of Southern Anhuis dwellings and hair. He just turned these figurative elements into a simple symbol, and then structured the picture with these symbols. In recent two years, most of his abstract paintings, such as Realm of Light, Protective Coloration, Amid the Clouds and Mist, and Lotus Garden were inspired by his inward world filled with faith of Buddhism and understanding of life. The language of these paintings is purer, which formed a effect of rich and distant space by the superimposition of colored patches.  In fact, we can explain Pingjuns life attitude by reference of Chinese Taoist thought: To pursue the ultimate nihility, and attain the peace of mind. Just as his daily behavior and art works, Pingjun abandons selfish desire, excludes selfish motives, keeps peaceful and quiet, and obeys the law of nature. I hope Pingjun will make great progress in the future.

赵露,1980年生于山东青岛,从小学画,以书法和中国画入手,曾系统地学习传统艺术。后毕业于烟台师院美术系,期间便已展露自己的艺术天赋与才华,并由此博得不少名家的青睐。其中原西安美术学院油画系主任刘爱民就非常器重赵露,曾推荐他到法国留学,最后却因几次阴差阳错的拒签而未能如愿。2005年,赵露报考了中央美术学院的硕士研究生,虽然专业成绩排在当年全国第二名,却因为各种原因与中央美院失之交臂。2006年,赵露继续报考清华美术学院油画系研究生,直到这次才得偿所愿,幸运地成了著名画家忻东旺在清华的开山弟子追溯赵露的的成长历程与艺术之路,我们能够看到他的命运并非一帆风顺。这些是不是促使赵露后来沉浸于佛教,在佛理禅趣中寻找人生出路与精神寄托的原因呢?我不得而知。但我知道,跌宕起伏的人生往往能够磨砺一个人的性情,并丰富和强化他的感受力。对于赵露而言,早年的曲折经历,后来都成了他的人生积累与知识财富。

Zhang GanAugust 17, 2013

赵露的研究生导师忻东旺,是中国新写实主义油画的代表人物,在绘画上特别注重写生,强调单刀直入的表现力。赵露跟随忻东旺接受了严格的写实训练,也曾尝试过新写实主义题材的绘画。但也许是气质上的差异,以及从小受到的中国画的熏陶,赵露对过于直接的表达性有些抵触,而更喜欢含蓄的语言方式。赵露在后来的艺术创作上,并没有重复忻东旺的写实之路,而是在忻东旺那里奠定了坚实的写实基础之后另辟蹊径,从有意味的形式入手,在材料上狠下功夫,开始了更具生命隐喻的形而上探索之路。赵露的这种别出机杼,体现了一种难能可贵的艺术独立性,而这种独立性又成就了赵露,使他能够在纷繁复杂的当代艺术格局中脱颖而出,最终得以自立新说。

2007年左右,赵露开始了题为覆膜世界系列作品的创作。关于这批作品的创作动机,赵露没有太多阐述。但据我的观看和理解,这应该与赵露的人生处境,以及对当今物质社会的反思有关。所谓覆膜,原指在印刷品表面再覆上一层透明塑料,以起到保护与增加光泽的作用。这种覆膜工艺在今天已经普遍运用于我们的日常生活,它在给印刷品,包装材料,以及无数日常用品进行保护与增加美感的同时,也制造了越来越多假惺惺的隔膜。其实,这又何尝不是当代人的一种生命处境呢?赵露大概正是有感于当代社会中人与人之间被扭曲的物化关系,以及自己在成长过程中遭遇的种种窘境,才有了反思现实的冲动,才有了揭示社会的诉求。我甚至觉得赵露后来笃信佛教,从佛理中寻找灵魂的出口与精神的慰藉,也与他深刻地感觉到了现代文明的困境有关。换句话说,对物质生命的忧思,必然会驱使赵露向更高宗教世界逃离与升华。

2009年,赵露从清华美院研究生毕业后,有相当长一段时间沉浸于佛学,阅读了大量佛教的经典着作。佛门的空性,即一切物的真相为空之禅语,给了赵露极大的启示。所以从这一年开始,在赵露的覆膜系列作品里,就已经倾注了更多的宗教性内涵。不仅题材中可以见到一些寺院、佛塔和佛徒的形象,更为重要的是佛门的空性之说,打开了赵露对物的理解,使他对各种材料的运用游刃有余,更加自由了,从而也可以更为随心所欲地表达自己的艺术观念,阐述自己的人文思想。

我看过赵露这之后的不少作品,最令我印象深刻的是他小中见大、平中见奇的能力。这显然得益于赵露的宗教修行。正是佛教度一切人的主张赋予了赵露悲悯情怀,也使他有了一颗恻隐之心,从而不仅是在佛教题材的作品中能够见其佛性,即便是在一些极为平常的绘画主题中,也能看到赵露所倾注的关爱与同情。各种绘画的材料与工具,就是因为注入了他的慈悲心,从而活灵活现,具有了生命的质感与人性的温度。所以,在赵露笔下,即便是一些微不足道的小物件,比如一件衣服、一个水洞、或者一滴晨露等等,我们也都能从中看到万千世界的变化,感受到赵露的一颗赤诚之心

其实,将宗教情怀引入艺术创作,不只是为了增加艺术的表现内涵,更为重要的还是为了丰富艺术的想象空间,拓展艺术的语言边界。这就像佛经中一花一世界,一叶一如来带给人的启迪一样。不断地向未知领域敞开,去试验各种各样的可能性,才是艺术探索的真谛。从这个意义上说,赵露是一位真正的艺术家。在艺术创作中,他将佛教精神转换为一种探索的动力,不仅回归了佛学中空性与自性的本义,更为重要的是将佛教作为一种精神资源植入到艺术创新中,解放了旧有的艺术观念,带给了艺术探索永无止境的启示。

Finding A World in A Flower

About Zhao Lus Works

By Yang Wei

Buddhism believes that one can find a world in a flower. In Avatamsaka Sutra, the author says that for a lotus flower growing on the soil of Buddhism, its flower has a world inside, and on each of its leaves there is a Buddha. According to Brahmajala Sutra, Buddha Vairocana, sitting in the middle of a big lotus flower with a thousand leaves, becomes a thousand Sakyamuni Buddha. Each of them, sitting on their own leave, then becomes another ten billion of Sakyamuni Buddha. So Buddhism believes that we can see a world through a grain of sand. To put it simply, we can see in a flower the vicissitudes in the world and sense the movement of planets in the universe. When I see the works of Zhao Lu, the words a flower has a world inside come into my mind. It is not only because that Zhao Lu is a pious Buddhist follower but also because that his works have rich meanings. The profundity of the details shows how Zhao Lu appreciates life and this world.

Zhao Lu was born in 1980 in Qingdao, Shandong Province. He began learning painting since very young. He started with calligraphy and Traditional Chinese Painting and learned traditional arts systematically. During his years in the Fine Art Department in Ludong University, his talents in art were acclaimed by many famous artists. Liu Aimin, the former dean of the Oil Painting Department in Xian Academy of Fine Arts spoke highly of Zhao and once recommended him to study in France. But unluckily, after being refused for several times on visa application, his dream came to naught.

In 2005, he started preparing for the postgraduate exam of the Central Academy of Fine Arts. Although his scores of major subjects ranked as the second high in that exam, he failed entering into the academy because of other reasons. In 2006, he applied for the Oil Painting Department in Tsinghua University and finally succeeded. He became the first student of Xin Dongwang, a famous painting artist. After reviewing Zhao Lus past, we can find that he has covered an uneven path of life. Is this the reason why he believes in Buddhism? Is he trying to find a way out or find something to fall back on mentally? I dont know. But I do know that uneven paths of life can cultivate a persons temperament and improve his ability to feel. For Zhao Lu, his experiences in the earlier years of his life then became precious gift to his life and his source of knowledge.

Zhao Lus tutor Xin Dongwang is an outstanding personage in the New Realism Oil Painting. He emphasizes capturing the vividness in sketching and using straightforward expression. Under the tutorship of Xin, Zhao had strict sketch training. He tried the new realism painting but preferred implicit expression over the straightforward one. Maybe this should be attributed to Zhaos different temperament, or to the fact he has already been influenced by his study of the traditional Chinese painting. So Zhao, instead of following his teachers style in artistic creations, chose to explore other styles with the basics he had learned from Xin. Zhao then started exploring the implicit meaning of each object. His originality reflects his independence in artistic creation, which is quite valuable. Such independence leads to his later success, and enables him to remain prominent in the complex landscape of the contemporary art.

In around 2007, Zhao started the creation named Lamination series. He has not said much about his intention for these creations. But I believe that his intention has something to do with the situation he is in and his reflection over the current material society. Lamination refers to the process in which a plastic membrane is covered on the surface of prints to protect them or to increase their luster. This technique is widely used today. Although it protects and beautifies the prints, packing materials, and our daily appliances, it is a false masquerade, just like the world we are living in today. Zhao Lus inspiration may come from his reflection over this world in which people-to-people relationship has been materialized, or it may come from his reflection over the hardships he has undergone. With all these, he cannot wait to reflect over the reality and uncover the society we are living in. I believe that Zhaos Buddhist belief also has something to do with his awareness of the dilemma in the modern civilization. He may want to find an outlet and spiritual consolation in Buddhism. Zhaos concerns over the materialized life will inevitably lead him to higher levels of the religious world.

For a long time after his graduation from the Academy of Art Design in Tsinghua University in 2009, Zhao devoted himself to Buddhist readings. The Buddhist saying everything is empty inspired Zhao a lot. From then on, his Lamination series started to take on more religious elements. In his works, we can see temples, pagodas, and monastery. Zhaos understanding towards things also changed. He became more at ease in using all kinds of materials and in expressing his artistic concepts and humanistic belief.

I have seen many of Zhaos works created after this period of time. What impressed me most is that he can always endow the small with profundity, and the common with novelty, which should be attributed to his religious belief. Buddhism believes that help should be given to everyone. It is the reason why Zhao has compassion and sympathy towards everything, which can be seen not only in works with Buddhism as the theme but also those about other themes. It is with Zhaos compassion that his paintings become more vivid and have the warmth of life. We can feel Zhaos sincerity in his depiction of everything, including small things such as a piece of clothes, a cave, or a dew.

The introduction of religion into artistic creation not only adds to the expressiveness but also enriches the imagination and expands the boundary of arts. The words a flower has a world inside, and on each of its leaves there sits a Buddha is a good example. They inspired artists, urging them to explore the unknown and to try. It is the essence of artistic exploration. So Zhao Lu is a real artist. He believes in Buddhism, but he does not depict Buddhist themes directly. Instead, he turns Buddhist spirit into a driving force in his artistic exploration. He follows the Sunyata and Buddhatva in Buddhism; and instills Buddhism as a spiritual force into artistic creation. He frees the old artistic mindset, and inspires people in their endless artistic exploration.

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