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与造物者游 ——曾小俊艺术展

展览时间: 2018年5月15日(周二) - 8月05日(周日) 展览地点: 现代艺术厅



洋洋乎与造物者游,而不知其所穷。

这是唐元和四年(809)贬谪湖南永州的柳宗元游西山后的感慨。在著名的《永州八记》第一篇中,他记述当日触目景物之胜,叹造化之不可及。此前不久,大画家张璪可能已提出“外师造化,中得心源”这一重要理论,对之后一千多年的中国画坛影响深远。更在张璪之前一千多年,梦蝶的庄生在《大宗师》里就已赞颂造物者之“伟哉”。

自然之造物,了无痕迹。造物之造,本非造作,实为自生自成。是以纵横上下两千载,无论是哲人、诗者还是画家,无不时刻与造物者游,会物体性,能窥其洋洋乎无际,而不能言其所穷。无怪乎苏东坡说,“尚有此身,付与造物者,听其运转”,堪称达观。

曾小俊的“与造物者游”,是他在艺术创作上又一个新的尝试。此次展览分绘画与雕塑两部分,绘画以“绞胎”、“古藤与盆景”为主题。“绞胎”是人力所造,花纹却是自然的幻化与表现,可视为人与造物者的共同创作。“古藤与盆景”满是苏州的气息,尤其是古藤,近处的文藤,远在太湖西山的野藤,再到罗马朱丽叶皇宫的老藤,远隔千山万水,姿态各异,身临其境时,反给人似曾相识之感,正是造物者之无所差别,造成东西方之物、理攸同。雕塑,顾名思义是后天的艺术重塑,而角度一旦由侧重“得心源”转为“师造化”,主体虽经雕琢,所造所成的结果,或与自然无二致。

正如东坡的体悟那般,造物者之与和不与,从游者之可和不可,或许随缘,但却并非一无所施。缘画家自身便是造物者之产物,其艺术之创作,也可与造物者相融通,取此挹彼,泯其痕迹,便近于造物。

由造物而来,与造物者游,随适而无不得其化,与造物同。

是为序。

陈瑞近

苏州博物馆馆长



与造物者游 序言


很多缘,是儿时种下的因。

在一个放养时代,童年游戏不是以爱开始。

捉一只蚂蚁捏到石阶上,举着放大镜,观察聚焦效应下的蚂蚁。急走的蚂蚁开始趔趄,身体遽然卷曲,烤死。

捅马蜂窝,弹弓射鸟,水灌蚊穴,是男孩的流行游戏。手握一束阳光,不厌不倦地追逐小昆虫,小孩的快乐并不像尼采的形容:“没有残忍,也就没有节庆。”小孩不懂残忍,更不知道用凸镜效应的精致施虐存在着伦理差异,小孩真实的快乐,是一种观察满足。

我愿意相信王阳明说的"人之初,无善恶"。

少年自以为聪明的游戏设计,种下观察满足的因与缘。耽迷艺术大半生,目光越老道,越怀念少年的敏锐。

沈复在《浮生六记》中写道:“余忆童稚时,能张目对日,明察秋毫,见藐小微物,必细察其纹理,故时有物外之趣。”

负笥写生时,也会像沈复一样琢磨稺子时代的目光为什么厉害?

稺子真心一片,无旁鹜,直视自然,无善恶,全神贯注,寻观物之乐,得物外之趣。

多少年过去,艺术一道,渐有所悟:让技法不自觉,若耽于之,落入炫技,让义理不碍眼,若重于之,蹈人旧辙,让世事不萦绕,归于寂,像顾觊之一样“昼日垂帘,门阶闲寂”。

最后一点有点难。自己喜欢撩帘,朋友也常来掀帘。做不到寂,唯有护住童心不泯。

童心者,心之初真。失却童心,则失却真心。童心失,艺术随之遽失。

做艺术家有点像放大镜下的蚂蚁,被放大,被炙烤,趔趔趄趄,常常一副垂死之相。

有时感觉童年的回忆,像一篇插图幼稚的寓言,遥远,缥缈虚幻,又宿命地因缘相系。

几十年的创作和收藏,经历道不清的事和人,跬步千里,步步躲不开放大镜。煎熬中,多少次失了初念与童心,侥幸的是,少年种下的因,注定一辈子的缘。

几十年间,众教鼎沸,时风迭变,唯有因缘,系在对自然之象与自然之物的收藏、绘画和雕塑之中,在随心所欲的年龄,体会到“跬步江山即寥廓"的快乐。

艺术家躲不过放大镜的追照,如果能够像童年一样无禁忌,无善恶,至少可以快乐,可以留下多一点真诚。

搜集文物遗存,多少窥破一些古人的目光,发现后世谓之大家的人物,如老子所说:含德之厚,比于赤子。老子的德,是天道合一,与自然无隔碍,虽骨弱筋柔而握固。

很荣幸在苏州博物馆做展览。一直喜欢苏州,在这一山水钟秀毓灵的地方,找到创作对象和灵感,从园林盆景到司徒庙汉柏、拙政园文藤以及罗汉寺古藤。

做这个展览,我努力尝试对自然造化的逼近观察,让纸上的一树一藤一石一景,与苏州一方山水共氤氲。

为这次展览创作的画与雕塑尝试新材料和新形式,我始终缺少职业艺术家回避变法的风险意识,坚持快乐,努力让所有作品表达出一个现代人的坦率,希望大家松开雅俗、古今、中西的羁绊,单纯快乐地观看。


曾小俊


Preface


“I keep company with the nature at leisure, but fail to know where it ends.”

This was what Liu Zongyuan wrote after his travel to West Hill in the year of 809 in the Tang dynasty, when he was exiled to Yongzhou, Hunan province. In the first article of his celebrated “Eight Articles of Yongzhou”, he noted down how wonderful the scenery he witnessed that day and marveled at the unrivalled beauty of the nature. It was probable that the great painter Zhang Zao had already put forward the artistic idea that “the painter should learn from nature and combine it with his own emotions” not very long before Liu Zongyuan, which exerted a great influence on Chinese painters of the next thousand years. More than one thousand years before Zhang Zao, Zhuang Zhou had also highly praised the greatness of the nature in his work “The Great Master”.


The nature created the world with no trace to be found. The objects created by the nature run its own course. Therefore, during the two thousand years, philosophers, poets and painters all tried to understand the nature. They managed to see its endlessness, but failed to reach its boundary. No wonder the great scholar Su Dongpo of the Song dynasty said, “I would devote myself to the nature and follow its operations”, which could be regarded as positive.


Zeng Xiaojun’s solo exhibition is his new experiment on art. The exhibition is divided into two sections, that is, paintings and sculptures. The paintings focus on “intertwined ceramic pattern” and “aged vines and bonsai”. The “intertwined ceramics” are man-made, but the patterns are transformation and expression of the nature. Therefore, the “intertwined ceramic pattern” can be regarded as the cooperation between human beings and the nature. The “aged vines and bonsai” is a reflection of Suzhou. The aged vines, such as the wisteria planted by Wen Zhengming, the wild vines at West Hill of Taihu Lake and the vines in Rome, though in different postures and thousands of miles away from each other, produce similar experiences. It is due to the fairness of the nature that the East and the West evolve according to similar principles and dynamics. The sculpture is the recreation of art. When we turn our focus from internal feelings to learning from nature during this process, what we produce ultimately will not deviate from nature, even though the object itself is man-made.


Just as Su Dongpo realized, the relationship between nature and human beings may develop in its own course, but has also been affected by external elements to some extent. The painter himself is created by the nature. Therefore, his art is also closely related to nature. When he tries to erase the artificial traces, his works of art will be closer to nature.


We are created by the nature. We keep company with the nature. We follow its course and are affected by its force. In the end, we turn to natural.


The above serves as the preface.


Chen Ruijin

Director of Suzhou Museum






WANDER WITH THE CREATOR

I was naughty when small. Chasing ants in the yard with a magnifier in hand, I observed these small living creatures with great interest. The sun came through the magnifier and, having been focused, slowly burned away the ant’s life. It seemed great fun to me then and left an everlasting impression on me. This childhood joy of mine came from the satisfaction of observing. I believe what Wang Yangming said: “There was no good or evil at the beginning of men.”

Sincerity is of utmost importance when creating art. When observing the world at a young age, there are moments one never forgets. Those are the truest. They come directly from one’s own observation, and are not a result of teaching or cultural conflicts. As Shen Fu says in Six Records of a Floating Life: “I remember that when I was young, I directed my gaze to the world and nothing escaped my eyes. When I saw a small object, I always looked at the details and experienced great fun besides the objects themselves. ”

This exhibition consists of paintings and sculptures of what I see -- objects in my collection and things to which I relate. Decades of painting and collecting have helped me tremendously, allowing me to see how ancient people saw nature and the world. I realize that eventually people prefer artists that are sincere.

One ought to keep the joyfulness of childhood when creating art, regardless of its cruelty. Living as an artist can be quite miserable. Art is devotion, not a profession. As a painter I paint for myself, to amuse myself. It is very enjoyable. Like the joys of childhood, it is sincere and not fake. The outside world tries to affect me, but it does not matter to me. I look at the world with my own eyes. What pleases me I present to my audience, with whom I share my joy.

It is a great pleasure having this exhibition at the Suzhou Museum. I have always loved the city with its rich cultural heritage. I used to come here every year, looking at the gardens and penjing. Here I have found inspirations for my art. I have painted many things from Suzhou, from the Han Dynasty “qing”, “qi”, “gu”, “guai” pines at Situ Temple, to the Wen Wisteria in Humble Administrator’s Garden, to the wisteria in Arhat Temple and Suzhou No. 1 Middle School.

It has been very enjoyable painting and making sculptures for this exhibition. The unexpected happens often when materials are changed. It does not matter what objects they are or which country they are from. The lines between what is elegant and what is tacky, or what is classical and what is contemporary do not matter either. Expressed in various forms, they are from nature and the universe, to which everyone could relate.

Art is based on nature. It takes in changes of the world over time and manifests the artists’ spirit. Collectors over the dynasties also left their marks. A Zen teaching says: “The ultimate way is not difficult. One only needs to avoid choosing”. I greatly respect nature and this exhibition is an attempt at presenting nature’s beauty and returning to nature’s essence.


ZENG XIAOJUN


展品

  • 2018年1月31日 January 31,2018

  • 宋人词意之四 POETIC PATTERN OF SONG WARE IV

  • 宋人词意之三 POETIC PATTERN OF SONG WARE III

  • 宋人词意之二 POETIC PATTERN OF SONG WARE II

  • 宋人词意之一 POETIC PATTERN OF SONG WARE

  • 唐枕梦组画 DREAM OF TANG WARE I

  • 小孤山馆藏盆景四 XIAO GU SHAN GUAN PENJING IV

  • 野逸天屏2015 WILD SPIRIT SCREEN 2015

  • 文徵明手植古藤 WEN ZHENGMING SHOU ZHI GU TENG

  • 苏州洞庭西山罗汉寺古藤 SUZHOU ARHAT TEMPLE WISTERIA

  • 罗马朱利叶别墅古藤2018 ROME VILLA GIULIA WISTERIA

  • 白色记忆十 WHITE MEMORY X

  • 白色记忆九 WHITE MEMORY IX

  • 白色记忆八 WHITE MEMORY VIII

  • 白色记忆七 WHITE MEMORY VII

  • 白色记忆六 WHITE MEMORY VI

  • 白色记忆五 WHITE MEMORY V

  • 白色记忆四 WHITE MEMORY IV

  • 白色记忆三 WHITE MEMORY III

  • 白色记忆二 WHITE MEMORY II

  • 白色记忆一 WHITE MEMORY I

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