亚洲评论 | 漓江山、水——我与父亲的桂林绘画
The following article is from 李玉双艺术 Author 李玉双
展名 / Title: 李玉双同名个展
Li Yushuang Solo Exhibition
策展人 / Curator: 方志凌 Fang Zhiling
艺术家 / Artist: 李玉双 Li Yushuang
展览时间 / Duration: 2020.5.16 (Sat)- 7.19 (Sun)
开幕式 / Opening: 2020.6.13 (Sat) 3:00pm
展览地点 / Venue: 亚洲艺术中心(北京)
Asia Art Center (Beijing)
北京市朝阳区酒仙桥路2号大山子798艺术区(周一休馆)
Dashanzi 798 Art District, No.2, Jiuxianqiao Rd., Chaoyang District, Beijing
引言
“桂林山水甲天下,玉碧罗青意可参”,山水的追怀自古在诗文中吸引了无数人对盛景的情思,它的神妙在古代绘画中却未见显踪,在近代,阳朔风景开始被众多画家浸染笔墨,风姿得现。
2019年1月,李玉双前往桂林阳朔写生,他试图找寻父亲李可染绘画中的阳朔场景所在地,然而寻找不得,他眼中的漓江已是另一番景象,另一种图示的世界。李可染在水墨中引入光与阴影,为中国绘画突破了一条新的路径。李玉双在青年时代就意识到“变革”的重要性,形式的创新不能解决绘画所面临的困境,也不是绘画所能回应世界的根本命题,他开始研究绘画的根本原理,经过视觉、生物科学、信息论等理论研究,发展出一套独特的绘画体系。在这一体系下的绘画,李玉双称之为“光编码”。
绘画的工作,使日常隐形的存在揭示在观者面前。中国绘画在“山水”中书写的,长久以来都是对世界认知模式的投射。因为“观看”,山水、景观的实体在观者大脑中的显影发生改变。因此,对风景的开创性绘画可以改变一处“客观事实”的山水,揭示隐藏的世界秩序,这在李玉双的编码绘画中尤为突出。
▲ 艺术家李玉双
2019年一月,李玉双先生携同儿子新天,前往桂林写生,用时二十余天。其父李可染,曾三游漓江,桂林阳朔后来成为他最主要的母题之一。
“桂林山水甲天下,阳朔山水甲桂林。我们这回去主要是画阳朔。第一个景离江边挺近,正好对着山。第一周在那儿画的,色彩的桂林山水。后来坐在船上游漓江,在船上画的速写,一边开船一边画,下着雨也画。
128x152cm
纸本设色
1977
创作于北京
桂林属于喀斯特地貌,山全是这样,出来就跟竹笋似的。
在桂林我父亲的写生,一幅著名的叫《画山侧影》。那个山的名字叫画山,山上好像有九匹马,全名叫九马画山,要坐船看,可以看到好像有九匹马。可是他画九马画山,没从正面画,他从侧面画。山他画得特别细,特别好看,不比正面看九马画山差。山脚下有些房子,有些田地, 他画得特别细。他这个就是扫描画法,看到哪画到哪,盯住看,才能看的细。
还有一张,叫《阳朔穿山渡头》,那张我也临过。一座山,中间有个洞,能通过去,有船在那,农民过江就从那儿坐船。那个画得非常好。
44.5x54.8cm
纸本水墨
1959
还有一幅叫《阳朔南山厄渡头》,画的一条路,有房子,榕树。底下是个江,有人坐船过江,画得特别仔细。这个我问他画了多长时间,他说一般的速写,他就一天,从早上画到晚上一天完成,这张他整整画了两天,树枝叶子,房子、瓦,台阶,很细。另外地上画的太阳影。一般中国画是不会画影子的。他也不是按照单点透视,仔细看这个船,江也是,房子他是从正面看,他坐得比较低的时候看这个。
有次画写生,他说我坐汽车坐到那儿,汽车说停一会儿,大家休息五分钟。他就下了车,一看前边有个桥,桥两边都是榕树,赶快就利用几分钟勾了一个稿子,回来就根据记忆创作了一张画。
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纸本丙烯水墨
2019
▲ 《桂林阳朔》局部
98x198cm
纸本丙烯水墨
2019
30x82cm
纸上炭笔
2019
二维光编码对于动物来说没有用,用不着感知它,但是画画,对于二维的画家来说,那个是基本的一个基本功。我研究的三个重点,一个就是绘画的基本原理是什么,而不是说中国画的原理。现代画的原理,绘画本体的原理在哪儿,这是第一条。第二条,绘画的系统是什么。第三条就是绘画的艺术性在哪儿,艺术理论”。
李玉双的绘画系统
其实你要看的东西,山水树,甚至一棵小草,它们本身是进不到视网膜里的。进到眼睛里是什么?是光,是它反射的光的编码。到底是照眼睛里的视像画,还是照外面物体的轮廓来画?我的最后的结论是照眼睛里面的视像在描。
我用我的方法来画。第一个,我不把它看成具体的树、房子,我就把它看成是一个平面的,自然界的密码,它里边是乱七八糟的,包括色彩,包括线。另外就是整体观察,把它放在视网膜中间。所以我那个画很整体,把自然界看成一个整体。
绘画的根本原理就是模仿自然界和视觉里的二维视像。自然界二维的什么样,我就把它画成什么样,不改。这个二维世界比三维更原始。
小花小草皆可识宇宙、自然、生命之化机。任何一件事物,比如说感知一个苹果,也是一套系统。笔墨是一个系统,色彩也是一个系统,而不是单独的某一个东西。绘画是个系统工程,每画一笔都得这样,整个的系统,大小画,都是这样的循环。
98.5x198cm
纸本丙烯水墨
2019
About Critic
方志凌,1970年出生于湖北,副教授,湖北美术学院学士、武汉理工大学硕士、中央美术学院访问学者。 2007年以后介入当代艺术批评以来,在《美术》、《世界美术》、《当代艺术》、《国家美术》等各类专业杂志、书籍上发表艺术批评文章50余篇;并于威尼斯、曼谷、香港、北京、杭州、厦门等地主办过一系列展览。 重要策展项目:“李玉双同名个展”(亚洲艺术中心,北京,2020)、“疏离之境 - 尹朝辉、尹朝宇作品展” (亚洲艺术中心,北京,2018)、“群贤·白露文慧 - 中国当代艺术邀请展”(华中农业大学艺术馆,武汉,2018)、“群贤·狮山夏至 - 中国当代艺术邀请展”(华中农业大学艺术馆,武汉,2018)、“另一个阿莱夫 - 中德当代艺术对话展暨德美术馆开幕展”(德·美术馆,厦门,2018)、“诗性的共同体 - 厦门自贸区成立一周年国际当代艺术展”(厦门国际邮轮城博乐德艺术空间,厦门,2016)、“不一不异 - 中国青年艺术家试验展”(中国美术学院美术馆,杭州,2013)、“风物纪 - 中意青年艺术家对话展”(威内托科技艺术馆,威尼斯,2011)、“70后艺术的十个个案”(香港展览中心,香港,2010)等。 重要编辑出版画册:《纸象 - 尹朝阳的纸上绘画》(四川美术出版社,2015)、《王劼音》(安徽美术出版社,2014)、《木兰溪》(中国美术学院出版社,2012)、《70后艺术的十个个案》(中国经济出版社,2010)等当代艺术画册。
Fang Zhiling was born in 1970, associate professor, bachelor of arts in Hubei Institute of Fine Arts, master of arts in Wuhan University of Technology, he is also the visiting scholar of Central Academy of Fine Arts. When he involved in contemporary art criticism since 2007, he has published more than 50 art criticism articles in various academical journals and books such as Art, World Art, Contemporary Art and National Arts. As a curator, he has curated a series of exhibitions in Venice, Bangkok, Hong Kong, Beijing, Hangzhou, Xiamen and other places.
Significant Curatorial Programs: "Li Yushuang Solo Exhibition" (Asia Art Center, Beijing, 2020), "The Distant Landscape - Exhibition of Yin Zhaohui & Yin Zhaoyu" (Asia Art Center, Beijing, 2018), "Gathering of Masters · South Lake · The White Dew - Contemporary Chinese Exhibition" (The Art Museum of HZAU, Wuhan, 2018), "Gathering of Masters · Lion Hill · Summer Solstice - Contemporary Chinese Exhibition" (The Art Museum of HZAU, Wuhan, 2018), "Another Aleph - Chinese and German Contemporary Art Exhibition & DE Gallery Opening Exhibition" (DE Gallery, Xiamen, 2018), "The Poetic Community – First Anniversary of Xiamen Pilot Free Trade Zone International Contemporary Art Exhibition of Xiamen" (Blanc Art Space of Xiamen International Cruise Center, Xiamen, 2016), "Bu yi Bu yi - Experimental Exhibition of Young Chinese Artists" (Art Museum of China Academy of Fine Art, Hangzhou, 2013), "Fengwu Ji - An Exhibition of Dialogue between Chinese and Italian Young Artists" (The Veneto Museum of Technology, Venice, 2011), "Ten Cases Studies of Post-70s Artist" (Hong Kong Exhibition Center, Hong Kong, 2010). Significant Edited and Published Catalogues: Images on Paper - Yin Zhaoyang's Works on Paper (Sichuan Fine Arts Publishing, 2015), Wang Jieyin (Anhui Fine Arts Publishing, 2014), Mulan River (China Academy of Art Press, 2012), Ten Cases Studies of Post-70s Art (China Economic Publishing House, 2010) and other contemporary arts catalogues.
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关于艺术家
About Artist
李玉双,1935年出生于江苏徐州,是国画大师李可染的长子,母亲苏娥为沪上戏曲名家苏少卿长女,少年在家学熏陶下开始了创作之路。1956年,毕业于北京机械制造学校的李玉双赴上海交通大学造船学院进修,之后分配到郑州机器制造学校教授工程力学,在工作之余坚持艺术创作,这一时期以水彩画创作为主,多为描绘学校及周边村庄的景色,创作了大量以自然风景为题材的水彩画和速写作品。1969年,开始常赴河南鲁山、平顶山等地写生。1971年,李玉双开始研究人类视觉与艺术的关系,制作相关模型并尝试视觉试验,逐步形成一套独特的观察方法和绘画体系。李玉双称之为“光编码”画法。1986年返回北京,逐渐开始探索水墨、丙烯等综合材料的运用,探索中国材料对色彩的表现力,并坚持写生创作从未间断。2010年,工作室建好,不过所有写生依然在室外完成。李玉双开始大幅面的作品创作,使用综合材料,尝试西方材料与中国传统纸张的结合。2015年,今日美术馆举办六十年艺术个展,共展出作品60余幅。2017年,前往日本、台湾、新西兰等地写生;2018年5月,中国国家大剧院举办个人绘画展。 艺术理念:李玉双先生认为绘画系统与认知系统是同一个系统,作画的过程就是对世界,对生活的认知,而李玉双的画就是其生活本身。六十余年埋首于科学研究与绘画艺术,并近于朝圣般地热爱着自然。李玉双先生六十余年如一日以自然为唯一主题进行写生创作和独立研究。在李玉双看来,“光编码”是上帝传递给人类的最初信息,李玉双只是忠实地将这些信息呈现出来,并无丝毫增减。而能看到“光编码”,则是其基于视觉研究、长期不懈的观察训练的结果。李玉双的绘画既非机械的“画物本体”,也非主观的“画心像”,其眼光已经超越了绘画的光影色彩,而触及到宇宙自然、天地万物的本质。在探索“光编码”奥秘的艺术之旅中,李玉双看到的是一个无穷尽的世界。作为一位八十五岁高龄的中国当代艺术家,李玉双是中国艺术领域罕有的坚持以自然为题材、坚持在自然中创作的艺术家;有工程学背景和科学知识背景,以系统化的科学方法进行艺术创作,又在科学之眼的帮助下,用艺术表达对宇宙和自然的理解。
重要展览:“李玉双同名个展” (亚洲艺术中心,北京,2020)、“玉双的写生 - 2018年越洋行走写生展”(白盒子之家,北京,2018)、“田野的色彩 - 李玉双艺术巡回展美国站”(世界粮食奖总部,艾奥瓦州得梅因,2018)、“画我眼中所见 - 李玉双绘画艺术展”(国家大剧院,北京,2018)、“自然 - 李玉双艺术·展览·雅集”(圣之空间,北京,2018)、“自然而来:光编码观照下的风景 - 李玉双写生创作六十年艺术展”(今日美术馆,北京,2015)等。
Li Yushuang, born in Xuzhou, Jiangsu in 1935, is the eldest son of Chinese painting master Li Keran. His mother, Su'e, was the eldest daughter of the Shanghai opera master Su Shaoqing. The specific artistic atmosphere started to impress Li Yushuang since his childhood. In 1956, Li Yushuang, who graduated from Beijing Mechanical Manufacturing School, went to the Shipbuilding Institute of Shanghai Jiao Tong University for further studies. Afterwards, he was assigned to Zhengzhou Machine Manufacturing School to teach engineering mechanics, meanwhile he insisted on artistic creation during his spare time. At this period, he mainly focused on watercolor painting, mostly depicted the scenery of schools and surrounding villages, and created a large number of watercolor paintings and sketches based on the subject of natural scenery. In 1969, he went to Lushan, Pingdingshan in Henan Province and other places for outdoors sketch, and began to paint mountain scenery, river beaches and folk customs with xuan paper and ink. In 1971, Li Yushuang started researching the relationship between art and visual sight. He operated relative models and visual experiments, and gradually formed a unique set of observation methods and painting systems, which is so called as "light coding method". Li Yushuang returned to Beijing in 1986, afterwards he gradually began to explore the comprehensive use of ink, acrylic and other materials, persisting in the creation of sketches. His studio was built in 2010, however since then all the sketching was still finished outdoors. He began to create large-scale works, using comprehensive materials, intending to combine Western materials with the traditional materials of Chinese paper. In 2015, Today Art Museum held Li Yushuang's solo exhibition, displaying more than 60 artworks. In 2017, he visited Japan, Taiwan, New Zealand and other places for sketching. In May 2018, National Centre for the Performing Arts of China held a solo art exhibition for Li Yushuang.
Artistic Theory: Li Yushuang believes that the painting system and the cognitive system are comparable. He regards the process of painting as the recognition towards the world and life, thus his painting faithfully represents his life. He has been immersed in scientific research and art creations for more than 60 years, pursuing nature almost like a pilgrimage. Li Yushuang believes that "light coding" is the first message God sent to mankind, thus he faithfully presented these messages without any increase or decrease. The system of "light coding" triggers his presentation of long-term tireless observation training based on visual research. His paintings neither depicted mechanical "artificial objects" nor subjective "painting images". His vision has surpassed the color of light and shadow in painting, touching the nature of the universe which consists of all mundane objects in the world. In this regard, through the artistic journey of exploring the mystery of "light coding", Li Yushuang witnessed an endless world. As an 85-year-old Chinese contemporary artist, Li Yushuang insists in drawing from nature and creating in nature, which is quite rare in Chinese art field; with a science and engineering background, he creates art in a systematic and scientific way and expresses his understanding of the universe and nature through his "science eyes". Significant Exhibitions: "Li Yushuang Solo Exhibition" (Asia Art Center, Beijing, 2020), "Yushuang's Sketches - 2018 Transoceanic Travelling Sketches Exhibition" (Whitebox Choice, Beijing, 2018), "Colors in the Field - Solo Exhibition of Li Yushuang" (World Food Prize Hall of Laureates, Des Moines, Lowa, 2018), "Draw what I see - Li Yushuang Painting Solo Exhibitions" (National Centre for the Performing Arts, Beijing, 2018), "The Nature Showed by my eyes Li Yushuang " (SZ Art Center, Beijing, 2018), "From and For Nature: Landscape in the perspective of Light-Code Art Exhibition of Li Yushuang's six decades on sketches and paintings" (Today Art Museum, Beijing, 2015).
策 划:李冬梅
摄 影:李新天
编 辑:韩淏
相关阅读
* 亚洲评论 | 方志凌 “一超直入,独晤自然——李玉双的‘编码画法’ ”
* 亚洲现场 | 李玉双同名个展
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