序言

Foreword

何多苓的画是一代人、几代人共有的往昔，是延绵的枯草地和女孩，是菲利普与弗丽丝在灯塔的邂逅……感性的记忆地将时间的进度条拉回到那段春风渐醒的悠悠岁月，对于年轻观众来说，隔着一层年代的薄纱，不乏一种想象中的朦胧美。“他以独特的抒情能力和超凡的创作技巧为20世纪80年代以来的中国当代绘画艺术开启了新的维度”，成为新中国美术史上的一个符号，这是我们记忆中的何多苓。

He Duoling’s paintings are the shared past of a generation, even several generations. They are the continuous withered grasslands and the girls, and they are the encounter of Philip and Phyllis at the lighthouse... Sentimental memories rewind the timeline to those leisurely years when the spring breeze gradually awoke. For younger audiences, separated by a thin veil of time, there is an imagined, hazy beauty. With his unique lyrical ability and extraordinary creative skills, he has opened up new dimensions for Chinese contemporary painting art since the 1980s, becoming a symbol in the history of New China’s fine arts. This is the He Duoling in our memories.

在此后当代艺术观念迭出的40余年进程中，何多苓始终从一切潮流中抽离，不断突破自我创作的边界，为作品带来了新的可能性，也成就了现在的何多苓。他将中国传统书画的技法与精神以及建筑、音乐等元素落笔于自身创作，在艺术形式和语言上进一步完善，精神上却愈发平和、宽容与自由。这也是何多苓自己的艺术目标——不断跨越过重重春山，“把自然、社会、个人、思想与行为在画布上——表面与深处——溶为一个伟大整体”，并在时代的主流叙事里找到自我的定位。

In the more than 40 years that followed, during which contemporary artistic concepts emerged in rapid succession, He Duoling has always withdrawn himself from all trends, observing from the sidelines but introspecting, and constantly breaking through the boundaries of his own creations, bringing new possibilities to his works, and making the present He Duoling what he is now. He continues to integrate the techniques and spirit of traditional Chinese painting and calligraphy, as well as elements of architecture and music, into his own creations, further refining his artistic form and language, while becoming more and more peaceful, tolerant and free in spirit. This is also He Duoling’s own artistic goal—to constantly cross over the layers of spring mountains, “to blend nature, society, the individual, thoughts, and actions into a great whole on the canvas—both on the surface and in the depths,” and to find his own positioning within the mainstream narratives of the times.

诗性与传统是被何多苓及其策展人和评论家反复提及的词汇，亦是他的艺术中最重要的精神和表现方式。以此为中心，我们集中展示了何多苓近年来包括《杂花写生》《野园》《庭院》《兔子》等多个系列的持续创作，以及《春风已经苏醒》和《雪雁》这样的代表性作品，呈现了何多苓对时代变迁的诠释以及对内心自我的探寻和回归。展览与苏州的地域文化和苏博的建筑空间共生，融入造园“借景”与“抑景”之法，将传统苏式造园中的留白、叠石等元素进一步抽象化处理，用朦胧的意象来定格作品诗化的瞬间，旨在营造一个“春山之外”的诗意的彼岸。

Poetry and tradition are words repeatedly mentioned by He Duoling, his curators and critics, and are also the most important spirit and expression in his art. With this in mind, we have focused on displaying He Duoling’s continuous creations in recent years, including several series such as Miscellaneous Flowers Sketches, Wild Garden, Courtyard, and Rabbits, as well as representative works like The Spring Wind Has Awakened and Snow Geese, which present He Duoling’s interpretation of the changing times as well as his search and return to his inner self. The exhibition coexists with the regional culture of Suzhou and the architectural space of the Suzhou Museum. It incorporates the traditional Chinese garden-making technique of “borrowing scenery” and further abstracts elements such as blank space and stacked stones from traditional Suzhou-style gardens. By using hazy imagery to capture the poetic moments of the works, it aims to create a poetic realm “beyond spring mountains.”

本次展览的成功举办，离不开中国美术馆的大力支持，出借馆藏《春风已经苏醒》和《雪雁》，在此致以诚挚的感谢！当我们今天再度与何多苓一同回望这些作品，从仰视到平视，从回首到展望，不禁感叹它们早已超越了特定历史时期的局限，也抹平了传统与未来、古典与当代之间的间隙。过往时代的叙事语境终会渐渐散去，但画面中永恒的草色仍会长久地触动当下的我们，它们是穿越时空的存在，亦是此岸和彼岸的携手。

The success of this exhibition owes much to the strong support from the National Art Museum of China, which lent its collection of The Spring Wind Has Awakened and Snow Geese, for which we would like to express our sincere gratitude! When we look back at these works with He Duoling today, from looking up to looking down, from looking back to looking forward, we cannot help but marvel that they have long since transcended the limitations of a specific historical period, and have also erased the gap between tradition and the future, and between the classical and the contemporary. The narrative context of bygone eras will eventually fade away gradually, but the eternal greenery in the paintings will continue to touch us in the present for a long time. They are beings that transcend time and space and are also a joining of this shore and the other shore.

是为序。

So much for the foreword.

谢晓婷

苏州博物馆馆长

Xie Xiaoting

Director of Suzhou Museum