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Culture 菌整理編輯，版權(quán)為藝術(shù)家本人所有 未經(jīng)允許禁止轉(zhuǎn)載復(fù)制 
自2000年以來，曾梵志對中國傳統(tǒng)藝術(shù)和文化越來越感興趣，尤其是北魏、元代和宋代的繪畫和雕塑。在老莊哲學的影響下——這是中國傳統(tǒng)藝術(shù)不可或缺的一部分——他的主題慢慢地從社會轉(zhuǎn)向了自然。特別是，他對學者巖石的興趣激發(fā)了抽象景觀的創(chuàng)作（2004–）。在這些作品中，黑暗、沉思的風景往往被復(fù)雜的線性筆觸或交織的樹葉所掩蓋。藝術(shù)家將這些景觀描述為對自然創(chuàng)造的重新詮釋，而不是對客觀世界的描繪。這些作品的悲涼與曾早期的肖像畫相呼應(yīng)。Since 2000 Zeng has become increasingly interested in traditional Chinese art and culture, particularly the paintings and sculptures of the Northern Wei, Yuan, and Song Dynasties. Influenced by the philosophies of Laozi and Zhuangzi—which are integral to traditional Chinese art—Zeng’s subject matter has slowly shifted from society to nature. In particular, his interest in scholar’s rocks inspired the creation of theAbstract Landscapes (2004–). In these works, dark, brooding landscapes are often obscured by complex linear brushstrokes or intertwining foliage. The artist has characterized these landscapes as reinterpretations of nature’s creation as opposed to depictions of an objective world. The tragic yet sublime desolation of these works echoes Zeng’s early portraiture.摘要《抽象山水》經(jīng)歷了多次修訂和突破，其中大部分都表明曾向抽象的轉(zhuǎn)變。雖然早期的作品融合了天空、火和動物的意象，但后來的作品嚴重依賴線條和顏色，并脫離了具象世界。他的作品中的參考和情感變得更加模糊，創(chuàng)造了一種不確定性，打開了一個千變?nèi)f化的潛在解釋范圍。近距離觀察時，觀眾會注意到油畫的質(zhì)感、筆觸的節(jié)奏、線條的重疊、色彩的分層和混合，以及畫布內(nèi)的各種沖突和過渡，而從遠處看，觀眾可能會將這些形式解讀為星云或電網(wǎng)。 The Abstract Landscapes have undergone many revisions and breakthroughs, most of which suggest Zeng’s shift toward abstraction. While early works incorporated imagery of the sky, fire, and animals, later works rely heavily on line and color and are removed from the figurative world. The references and emotions within his works have become more ambiguous, creating an uncertainty that opens up a kaleidoscopic range of potential interpretations. On close observation, the viewer notices the texture of the oils, cadence of the brushstrokes, overlaying of the lines, layering and mixing of color, and various conflicts and transitions within the canvas, while from afar, the viewer may interpret the forms as nebulae or electrical networks.除了山水作品，他還不斷從事肖像畫創(chuàng)作，經(jīng)常顛覆這一類型。例如，從2002年開始，他使用圓形筆觸來模糊受試者面部的輪廓。在《天安門》（2004）中，被攝對象被描繪得如此近，以至于很難辨認；在梵高（2017）中，這個人物似乎永遠處于毀滅和重建的狀態(tài)。Aside from his landscape works, Zeng has continuously engaged with portraiture, often subverting the genre. For example, beginning in 2002 he employed circular brushwork to blur the outlines of his subjects’ faces. InTiananmen (2004), the subjects are depicted at such close range that they are difficult to make out; in Van Gogh (2017), the figure seems to be in a perpetual state of destruction and reconstruction.2014年，盧浮宮委托創(chuàng)作了一幅受Eugène Delacroix的《自由領(lǐng)導人民》（1830）啟發(fā)的畫作，曾為其創(chuàng)作了《從1830年到現(xiàn)在》，編號4；它懸掛在原作旁邊，將對立的風格和時代統(tǒng)一在一個共同的主題下。同樣，2017年，阿姆斯特丹梵高博物館舉辦了一場四件作品的展覽，曾在展覽中將文森特·梵高對色彩和筆觸的獨特運用與自己的作品相結(jié)合。曾將西方神話和宗教的意象結(jié)合起來，跨越文化和歷史，開辟了一種全新的藝術(shù)語言。In 2014 the Louvre commissioned a painting inspired by Eugène Delacroix’sLiberty Leading the People (1830) for which Zeng created From 1830 to Now, No. 4; hung next to the original, it united opposing styles and times under a common theme. Similarly, in 2017 the Van Gogh Museum, Amsterdam, presented an exhibition of four works in which Zeng bridged Vincent van Gogh’s unique use of color and brushstroke with his own. Combining imagery from Western myths and religion, Zeng reaches across culture and history, opening up an entirely new artistic language.
曾梵志在視覺和歷史上的復(fù)雜繪畫反映了他對東西方藝術(shù)傳統(tǒng)的大膽嘗試和融合。 Zeng Fanzhi’s visually and historically complex paintings reflect his bold experimentation with, and fusion of, Eastern and Western artistic traditions. 他生于中國武漢，1991年畢業(yè)于武漢湖北美術(shù)學院。從19世紀到20世紀90年代，武漢是中國最繁榮的城市之一，見證了東西方文化的碰撞。曾年輕時受到中國85年“新浪潮”運動的啟發(fā)，在20世紀60年代和70年代的文化大革命之后，藝術(shù)家們開始尋找一種新的、往往更具概念性的語言。曾密切關(guān)注和研究西方藝術(shù)，尤其被德國表現(xiàn)主義和法國浪漫主義所吸引，通過這些藝術(shù)，他觀察到了前輩們在社會極端動蕩時期處理和想象自己經(jīng)歷的方式。他特別被馬克斯·貝克曼以及威廉·德·庫寧和愛德華·蒙奇等藝術(shù)家大膽的表情所吸引。這些影響使他偏離了學校里教授的社會現(xiàn)實主義。相反，他敏銳地觀察著日常生活中的物體和圖像。他的《醫(yī)院》（1991-92）和《肉》（1992-94）畫作就是這種轉(zhuǎn)變的例子。在這些發(fā)自內(nèi)心的作品中，他將受試者的皮膚涂成了類似屠宰肉的粉紅色，展示了他對人類存在和脆弱的關(guān)心和同情。Born and raised in Wuhan, China, Zeng graduated from the Hubei Institute of Fine Arts, Wuhan, in 1991. From the nineteenth century until the 1990s, Wuhan was one of China’s most prosperous cities and witness to a collision of Western and Eastern cultures. During his youth Zeng was inspired by China’s ’85 New Wave movement, which saw artists search for a new, often more conceptual, language after the Cultural Revolution of the 1960s and 1970s. Zeng closely followed and studied Western art and was particularly drawn to German Expressionism and French Romanticism, through which he observed the ways in which his predecessors processed and visualized their experiences during times of extreme societal flux. He was especially drawn to the bold expressive gestures of Max Beckmann, as well as artists such as Willem de Kooning and Edvard Munch. These influences led him to deviate from the Social Realism that he was taught in school. Instead, he keenly observed objects and images from daily life. His Hospital (1991–92) and Meat (1992–94) paintings are examples of this turn. In these visceral works, he painted the skin of his subjects a pinkish color resembling slaughtered meat, demonstrating his concern and compassion for human existence and fragility.1993年，曾搬到北京，陌生的環(huán)境讓他感到孤獨。在這段時間里，他敏銳地意識到他遇到的各行各業(yè)的人，他們正經(jīng)歷著一個快速現(xiàn)代化的時期。這種意識促使他創(chuàng)作了《面具》系列作品（1994-2004），這一系列作品保留了之前繪畫中所見的主體的大而空的眼睛和粗而笨拙的手，并在人物之間引入了更大的距離，創(chuàng)造了一種疏離感。這些作品中的面具掩蓋和轉(zhuǎn)移了主體的情感，暗示了曾對社會加速、系統(tǒng)發(fā)展的擔憂和排斥。這些作品不僅記錄了這一時期深刻的社會變革，也提供了這個時代集體記憶的一瞥。In 1993 Zeng relocated to Beijing, where the unfamiliar environment left him feeling isolated. During this time he became keenly aware of the people he encountered, from all walks of life, who were living through a period of rapid modernization. This awareness led to the creation of his Mask works (1994–2004), a series that preserved the large, vacant eyes and thick, clumsy hands of the subjects seen in prior paintings and introduced greater distance between the figures, creating a sense of alienation. The masks in these works obscure and divert from the subjects’ feelings and hint at Zeng’s apprehension toward and rejection of society’s accelerated, systematic development. These works not only provide a record of this period of profound social transformation, but also offer a glimpse of the collective memory of this era.? 曾梵志 排版：Culture菌
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