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魔幻的现实魔幻的现实--试析杨培江的艺术特征
时间:2009-4-13 12:41:03 点击次数:1932

邹跃进


THE MAGICAL REALITY
--Analysis on the Artistic Characteristics of Yang Peijiang’s Work


     杨培江的艺术创作与一个叫恵村的地方密不可分,由于这一原因,要理解杨培江的艺术,首先就得明白他作为一个普通人和艺术家与恵村的关系。也许对于恵村来说,杨培江是一个外来者,一个受欢迎的客人,一个像朋友一样亲切的艺术家,而对于杨培江来说,他对自己与恵村的关系则有两种不尽相同的解释:一是“只可意会,不可言传”,二是“在这片山村中我找到一种归宿感……令人产生一种接近生活本质的充实感”。我认为杨培江对恵村的第一种解释来自他对惠村的直接体验,而第二种解释的真实性则在于,从根本上说惠村是一个使杨培江能在社会、人生与艺术的道路上找到准确位置和方向的地方,从而使他能在艺术探索和人生道路上有了一种安全和自信的切身感受。当然,对于我这个只能通过杨培江的作品,惠村的照片和他的描述来想象惠村的解读者来说,也许惠村本身是什么并不是最重要的,重要的是杨培江艺术作品中的惠村在艺术和文化上的意义究竟是什么。
    The artistic creation of Yang Peijiang and a place called Hui Cun village are inseparable. Because of this reason, to understand the art works of Yang Peijiang, first of all you need to understand the relationship between him as a human being or an artist and Hui Cun village. To Hui Cun village, may be for example, Yang Peijiang is an outcomer, a popular guest or an artist like a friend. And for Yang Peijiang, his relationship with Hui Cun village, there are two different interpretations: first is " the pleasure can be sensed but not expressed in words "; second is "I find a sense of belonging in the village ... ... a sense of fulness to create a living near nature." In my opinion, his first explanation on Hui Cun village is from his direct experience in it, while the second to explain the authenticity of the village is because it is a place can help Yang Peijiang to find out the exact location and direction on the road of society, life and art, so there is a direct safe and confident feeling when he exploring the art and his own life. Of course, to me, I only can imagine the interpretation of the village are concerned through the works of Yang Peijiang, the photos of Hui Cun village and the description from him, may be what the village itself is not of much concern, the most important is what the meaning of Hui Cun village in the works of Yang Peijiang of arts and culture is?
    杨培江的作品看,他笔下的惠村大约有两种形态:一种是艺术家把自已置于一个相对开阔的地带,以全景的视野,描绘惠村的某一景象或村民居住的院落。茌这类作品中,艺术家用的色彩都很鲜艳和明亮,给人以阳光灿烂、明朗和自然清新的审美享受。这类作品的代表有《太阳照在金背堂》、《金色的下浦村》、《西浦村》等。另一类作品的特征是艺术家并不处茌某一开阔的地带,而是有意置身于某一树林或遮挡物之后,然后透过这一对象中的空隙,描写惠村的某一地方或人们的活动。杨培江在创作这两类作品中,都充分考虑了亚热带的气候、阳光和地理特征在向艺术形象和语言转换中的重要作用。但由于画家在描绘对象时所处的位置的差异,两者在呈现的方式和视觉效果上也就很不一样,即在第一种类型的作品中,恵村都沐浴在灿烂的阳光之中,鲜艳的色彩,响亮的画面,跳动的笔触,犹如一首欢快的抒情曲,让人移情其中,流连忘返:而在第二类作品中,艺术家则透过茂密的树林这一特定的视角,在构图上把不同的远景与近景,众多的树木与房舍、分散的暗处与亮处、活动的人与环境混杂而又有序地组合在一起,在色彩上,杨培江也采取了与第一类作品完全相反的方法,即用大量的黑色、重色与四处分散的亮色进行强烈的对比,形成光怪陆离,斑驳闪动的视觉效果,给人以既幽静和亲切,又神秘和怪异的复杂感受。这类作品的代表作有《山那边》、《山情》、《暮归》、《阵阵炊烟》等。
    From the works of Yang Peijiang, the configuration he described around the village has two kinds: one is he put himself in a relatively open area to paint a scene of the village or the compound the villagers living with a panoramic field of vision. In these works, artists use very bright colors to give us a sunny, clear and natural fresh aesthetic enjoyment. The representative works has "Tai Yang Zhao Zai Jin Bei Tang"(Sun at Jinbeitang), "Jin Se De Xia Pu Cun"(Golden Xiapu Village), "Xi Pu Cun" (Xipu Village ) and so on. The other works of artists do not have the characteristics of a broad zone, but intends to stay in a woods or a shelter behind the object, and then through the gap to describe a place of village or people’s activities. Of, these two types of creative works, Yang Peijiang are fully taking the sub-tropical climate, sun and geographical features into consideration and consider their conversion to the important role when they are in the image or in art language. However, because the different location the artist stay when he depicting the object, the manner and the vision will have very different effects, that is, at the first type of works, Hui Cun village are bathed in brilliant sunshine with bright colors, loud scenes and pulsatile strokes, like a cheerful Lyric to give the people a sense of empathy and it is not easy to forget; In the second category of works, the artist through the dense woods of this particular perspective to put up the different long-range vision and close-range vision, a large number of trees and houses, scattered dark and light and the active people and environment in the composition of the picture, all are mixed together in an orderly manner. In color, Yang Peijiang take the exact opposite method from the first one type, that is, use many black color with bright scattered around for a strong contrast to the formation of bizarre, mottled flashing visual effects, giving both the quiet and cordial, also both the mysterious and strange feeling. Representative of these works are "Shan Na Bian" (over the mountain), "Shan Qing"(mountain love), "Mu Gui" (sunset return), "Zhen Zhen Cui Yan" (fitful smoke from chimney) and so on.
    如果说在第一类作品中,艺术家的立场是从外往里对惠村进行审美观照与体验的话,那么在第二类作品中,杨培江则是既以都市人的生存经验为背景,又以惠村人身份自居,在深度介入惠村人的日常生活的基础上,表达对惠村和惠村人的认识与理解的。我认为,正是杨培江这种既介入又旁观的双重立炀,乡村与都市的双重目光,当下与历史的视界交融,使他创作的第二种类型的作品,具有了魔幻般的现实特征。
    If it is said that in the first category of works, the artist is benefits from the outsaid to the inside of the village to have the aesthetic experience, then in the second category of works, Yang Peijiang is not only the survival to experience the city but also with Hui Cun village’s identity, benefits on the basis of a certain deep involvement in the daily life as a villagers to express the knowledge and understanding on Hui Cun village and villagers. In my opinion. It is not only involved in but also look on, dual standpoint of Yang Peijiang, dual countryside and urban vision, blend vision of current and history, he created a second type of work with the magical reality of the characteristics .
    从逻辑上说,杨培江作为艺术家,惠村对他究意意味着什么?他又是怎样感受惠村的?这些问题几乎都是我们的认识无法准确达到的领域,但是我们可以从他的作品所呈现出来的意味----魔幻的现实----体会到他最基本的艺术方式。首先,杨培冮是把惠村作为都市的对立面来认识和感受的。事实上,当代都市生活的功能化、计量化和秩序化特征,正是艺术家笔下那些充满野性的生存空间,杂草丛生的荒野,茂密深邃的树林,乌云密布、变幻莫测的神秘天空,以及日常生活中恵村人无所顾忌的行为,村童的嬉戏与恋爱,能获得怪异、荒诞和充满温情的根本原因。其次,惠村的魔幻般的现实感,也来自艺术家一整套言说惠村的特殊语汇。这也就是说,艺术家不是从视觉的真实出发,把一个触手可及的惠村搬上画布,而是从自己的内心感受出发,去表现视觉不能抵达的惠村所蕴涵的人文意味的。为此目的,杨培江不管运用什么材料和媒介来表现惠村,都采用了繁复、混杂、丰富而又大胆的艺术语言和技法,密不透风的布局方式和去中心,无中心的组织结构,这样,一个处于现代化背景下的古老惠村的形象,特別是其魔幻般的现实感,就自然而然地呈现在观众的面前。当然,这里还需特別指出的是,在以人物为主体的作品中,杨培江笔下那些笨拙、粗野、放肆而又本真朴实的人物造型,惊异的脸部表情,夸张的人体结构和动作,有趣而又出格的生活情节,都为他表达惠村的魔幻意味,增添了不少的份量。
    Logically speaking, as an artist, what Hui Cun village means to Yang Peijiang? What the feeling he have to the village? Almost all of these questions are in the field that our understanding can not  achieve, but we get the means which work from his show ---- ---- magical reality ---- ---- to realize the art of the most basic way. First of all, Yang Peijiang take Hui Cun village as the antithesis of the city to recognize and feel. In fact, features of contemporary urban life, and the order of measurement of features been described by the artists as the survival of wild space, the wilderness overgrown with weeds, the dense forests, the dark clouds, the mysterious sky, as well as the unscrupulous activities of villagers and children’s play and love, then to get the strange, absurd root causes of warmth. Second, the magical village-like sense of reality is also because a set of statements full of the special vocabulary from the artist. That is to say, the artist do not departure from the true vision to show a specific village on the canvas, but from his own feeling to express the implication of the humanities that the vision cann’t arrive to. To this end, regardless of what the performance of materials and media to describe the village, it adopt the complex, mixed, and rich language and bold art techniques, airtight layout without the center's organizational structure, such, the ancient village in a period of modernization, especially their sense of reality like magic, naturally been presented in the front of the audience. Of course, here in particular needs to be pointed out is that the main characters in the works been described by Yang Peijiang is with amazing facial expressions and exaggerated human body structure and motion, clumsy, boorish, impudent, interesting and unusual living, he benefits from all of them to express the magical village.
    当我写到这里的时候,我突然想到我对杨培江笔下的惠村的认识和解读,是否已经远离艺术家本人在惠村感受到的“归宿感”和”接近生活本质的充实感”。但我认为,我应该像杨培江忠实于对生活的感受那样忠实于对艺术的感受。因为在我看来,正是这一类具有魔幻色彩的艺术作品,确立了他在艺术史上用视觉艺术表达中国乡土社会的独立地位。我之所以这样说的原因是,在改革开放以来的乡土艺术中,人物画家罗中立的后期作品,段正渠的乡土表现主义,山水画家陈平,都在杨培江的前面,从不同的方面,用不同的语言揭示了处在现代社会进程中,或者说高速发展的现代都市中的中国乡土社会所具有的魔幻意味,而杨培江的艺术意义,正在于以广东汕头的惠村为对象,用准确而又富有个性的视觉艺术语言,在表达中国乡土社会魔幻般的文化意味的艺术史中,增添了新的一页。
    When I wrote here, I suddenly thought what I described the understanding and interpretation of the village maybe has been away from the village which the artists can feel “the sense of belonging” and " the sense of fullness which near the nature of living." However, in my opinion, I should like Yang Peijiang who is faithful to the feeling of the life to be faithful to the feeling of the arts. Because in my opinion, it is this type of magical works of art, established him the independent position in the art history of China to show the local society by art vision. The reason I say is because since the reform and opening at the local art, the latter works of figure artist Luo Zhongli, the local expressionism of artist Duan Zhengqu and landscape painter Chen Ping are ahead of Yang Peijiang, from different aspects and in different languages revealed the process of modern society, or the rapid development of modern cities in the local Chinese community with the magical means. And the art significance of Yang Peijiang is taking Hui Cun village in Shantou as the subject, using an accurate language which full of visual art personality to describe the art history of native Chinese society with the magical means, adding a new page.





2009/3/28 邹跃进于北京望京花园

2009/3/28 at Wangjing Garden in Beijing

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