谜·恋 | 陈坚、田莉双个展的文化情愫

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谜 · 恋

陈坚 田莉双个展

RIDDLE · LOVE

Paintings by Chen Jian & Tian Li 

开幕酒会 / Opening 

2017.2.17 PM 6:00

展览时间 / Duration

2017.2.17 — 3.23

展览地点 / Venue

悉尼中国文化中心展厅 / China Cultural Centre in Sydney 

Level 1,151 Castlereagh St., Sydney NSW 2000

学术主持 / Academic Director

尚辉 / Shang Hui

主办单位 / Sponsor

悉尼中国文化中心 中外文化交流中心

China Cultural Centre in Sydney

Center of International Cultural Exchange

承办单位 / Organizer

签名酒业有限公司 

澳大利亚鑫澳投资有限公司 

北京赛思博艺文化艺术有限公司

Signature Wine Pty Ltd

Australia Xin Ao Investment Ltd

Beijing Boyi CICE Art Co.Ltd 

鸣谢单位 / Acknowledgement

西泠印社 / Xiling Seal Art Society (Hangzhou, China)

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• 文/尚辉（中国美协理论委员会副主任《美术》主编 艺术史学博士）

谜 · 恋

陈坚 田莉双个展的文化情愫

艺术史从现代主义到后现代主义对于艺术定义的不断质疑与改写，使何为艺术这个美学命题与创作实践充满了各种可能与创造的挑战。在当代，艺术的终极追问与表现形态像谜一样，不断吸引并激发着艺术家用各自的心智、潜能来破解和论证。

但不论艺术定义这个艺术理论命题的“谜”如何求解、如何增添新的附加值，艺术创作的初心，都离不开对于情感倾诉的表达欲望，离不开对于不平现实的人性投照，离不开由历代大师所积累起来的艺术史文化的能量释放。这也成为来自中国当代最有代表性的画家陈坚和田莉，对于何为艺术所持守的基本立场。在某种意义上，正是由每位富有创造性的艺术家对于艺术的独特解答，才赋予艺术定义以历史的、丰富而完整的内涵。而这种对于艺术命题的终极思考，又是如此地让陈坚与田莉痴迷，艺术成为他们最能照亮人生最能温暖心灵的恋人。

田莉/桃/坦培拉/41×32cm/2016

Tian Li/Peach/tempera 

田莉/浴具/坦培拉/44.5×45cm/2013  

Tian Li/Bathing Necessities/tempera

田莉那些小巧的画作给人带来了致深的印象。她的那些弥散着欧洲早期文艺复兴气息的作品，既没有刺激的色块，也没有奇异的官感，而是以一种宁谧恬淡的境界，熨平我们这个有些焦灼狂躁的时代被搅乱了的心绪。像许多女性画家那样，她酷爱画水果、花卉，仿佛那鲜花的娇嫩就是她必须去守护的圣洁，似乎那果实的丰满就是她必然去呵护的母爱。而这些花果都通过水性坦培拉的古技慢慢晕染，温婉而柔和的笔触似潺潺溪泉淌过人们的心田。

田莉/香梨/坦培拉/38×45.4cm/2014  

Tian Li/Fragrant Pear/tempera 

她并非去再现那样一枝香醇的果实，也非描摹那样几株鲜嫩的花草，而是降低色彩的饱和度，让那些花果与器皿进入历史时空的存在。她作品的耐人寻味，一方面来自那些略有些变形的物体结构处理，删繁就简，在简约之中凸显形的节奏与意蕴；另一方面来自画面整体形成的调性，那是种因此种技艺而绘就的高级灰调，并在透薄与半透明的色相埋设与覆盖之中，形成直接画法难能抵达的一种古朴而优雅的色彩。她画面的那种简静、单纯、优雅和高贵，从艺术语言来说，显然得益于她以水彩法活化的坦培拉画法；而从艺术主体来说，这些审美品格又无不是她的性格、气质与情思的一种艺术折射。阅读这些画，也就像打开她的心扉，可以尽情披览。

陈坚/澳洲写生之一/纸上作品/51x36cm/2016

Chen Jian//The Sketches of Australia: No.1/work on paper 

与田莉寄情身边微观之物不同，陈坚让我们看到了奇幻纵横、幽深莫测的大海与天空。他总是将我们的视线引入地平线消失的地方，既让我们随着他的画笔去披阅从荒滩到碧海、从日中到黄昏那些沧海桑田变幻奇特的天光云影，也让我们遥想那海的尽头、那天的边涯的广阔与无忧。与其说陈坚画出了天的灿烂与幽深、绘出了海的宽广与博大，毋宁说他写出了人性的多变与历史的浩瀚。

陈坚/风光无限/纸上作品/51x36cm/2016

Chen Jian/A Gorgeous View/work on paper 

他是把画海作为人格来描述与塑造的，也是把画海作为他自己的经历与生命来追溯与体验的。因此，他高超的驾驭水性材质的绘画，都当作他展现自己心历的丰富语汇，而超越了对海景旖旎外象的客观再现。这种超越，还体现在他的海景对于那些荒滩上近于幽灵般伸展的随风而舞蹈的树丛枝桠的描绘上，那具有象征意义的树影枝魂，揭示的是人与自然某种更为深刻的关系。人类固然依托于海而生存，但人的存在又超越于自然。也因此，陈坚的海画出的是人的心理与表情，勾出的是历史的无常与荒渺。在陈坚的这些有关大海与人类表情的描写中，他喜爱用黑色，像哥雅黑色时期的画面，呈现出另一个世界的幽微与阴郁。这些黑黢黢的墨色，固然体现了中国文人水墨对于玄色的崇尚，但究其根本，还是源于他对于苦涩人生的感悟。其实，陈坚就是这样在人生的黑夜铸成了他坚毅、勇敢而沉默的性格。

陈坚/晚霞/纸上作品/51x36cm/2016  

Chen Jian/The Sunset Glow/work on paper 

陈坚/清幽的海岸/纸上作品/51x36cm/2016  

Chen Jian/Quiet Coast/work on paper 

其实，如何定义艺术并不玄妙，“谜”就在艺术本体。田莉、陈坚并没有通过新媒材的实验来追逐艺术进化的轨迹，来破解这个艺术之“谜”，而是用他们的情感、哲思和生命求索艺术的内涵。他们贪恋的不是艺术样式或表现形态的变革，而是艺术本体能够如何烛照人生、温暖生命。他们甚至于依然迷恋远古的水彩、近古的坦培拉，因为这些古风尤存的水性媒材携带了久远文明的审美基因，充满了异质文明嫁接与再造的广阔图景。他们迷恋的已不止于绘画，而是对历史与文化的致敬！

2016年12月20日于北京22院街艺术区

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• Writing / Shang Hui（Deputy director of China Artists Association, Chief Editor of ART, PHD on Art History）

Riddle·Love

The Culture Sincerity of Chen Jian and Tian Li’s Art Exhibition 

The definition of art has been kept doubting and revising by the Modernism and postmodernism in art history. The artistic proposition like WHAT IS ART makes art creation full of all the possibilities and challenges. In contemporary, the ultimate inquiry about art, in addition to different styles of art manifestation, is like a riddle, which encourages the artists to decode and demonstrate it with their intelligence and potentials. 

But no matter how art defines this theoretic proposition, how the answer is proved, what new values are added, the preliminary motivation of art creation should never be apart from the desire for emotional expression, from the projection of human nature into the unsatisfying reality, and from the energy release of culture in art history accumulated by the masters generation by generation. This is the basic standpoint where the artists Chen Jian and Tian Li persist on as the most representative contemporary artists. To some degree, it is thanks to the unique answer given by every creative artist, the definition of art is given historical, rich and complete connotations. And Chen Jian and Tian Li find them so obsessed with this kind of ultimate thinking about the art proposition, so that art has always been the love that enlightens and warms their souls. 

田莉/无名野草/坦培拉/27×22cm/2012 

Tian Li/Unnamed Weeds/tempera 

田莉/青柿子/坦培拉/30×30cm/2016  

Tian Li/Green Persimmon/tempera 

Tian Li’s small-sized paintings are very impressive. Those of her works, full of the sense of early European renaissance, are neither painted with exciting color blocks, nor with exotic senses, but with kind of quiet and tranquil state, which comforts our emotions disturbed by the anxiety and depression of the age. Like many other female artist, she is so fascinated in painting fruits and flowers, as if the delicacy of the flowers is the holiness that she has duty to guard, as if the plump of the fruits contains the motherly love that she is born with. The fruits and flowers are all painted with traditional Tempera techniques in the nature of water materials, which make her brushworks as gentle and light as the stream water running through the hearts of people.

田莉/鸢尾花/坦培拉/41×24cm/2015  

Tian Li/Irises/tempera 

She doesn’t just photocopy the fruits or the flowers. Instead, she lowers the degree of saturation of the colors, so as to create kind of historical atmosphere for the fruits and flowers and vessels. Her works are very thought-provoking, first out of the deformation of the structures of the obstacles, ----in which the complicated is simplified and the simplification makes the rhyme and meaning more obvious; second, out of the tone of her paintings, the classic grey created by advanced techniques, unsophisticated and graceful, covering the frame of the painting in the thin and semi lucent way, as is what direct technique can never realize. From the perspective of art language, the simplification and purity and elegance and dignity all attribute to her flexible tempera painting techniques in nature of water materials; but from the perspective of the subjects, the aesthetic taste exactly reflects her personality, temperament and affection of art. To read her paintings is to explore her heart and to appreciate the charm of her mind.

陈坚/清晨的海岸/纸上作品/51x36cm/2016  

Chen Jian/Morning Coast/work on paper 

Different from Tian Li, who is obsessed with small objects, Chen Jian presents to us the fantastic and inscrutable ocean and sky. He leads our eyes to the place where the horizon disappears, from desolate beach to the blue sea, from the sun at noon to the dusk. The fluctuation of time, the changes of lights, and the floating of clouds, arouse the wonder of the audience about the other side of the ocean and the end of the sky. It would be better to say that he depicts the variation of human nature and the vast of history, rather than that he just paints the magnificence of sky and inclusiveness of the ocean.

陈坚/去大洋路的路上/纸上作品/51x36cm/2016 

Chen Jian/On the Way to Great Ocean Road/work on paper 

While he paints the sea, he is painting and depicting human, as well as his own experience and life. His superb painting techniques with the water material give him rich languages to present his own life experience. His paintings are beyond the objective reappearance of the gorgeous oceanic sceneries. His detachment is also reflected on the branches stretching like ghost fingers and swaying with the wind on the desolate beach. These symbolic trees and branches expose kind of deep relationship between man and nature. Human relies on oceans, but surpasses the nature. The ocean under Chen Jian’s brush has human emotions and feelings, indicating the variability and absurdity of history. He likes to use black colors, so that his paintings are very much like that of Goya at his dark age, which displays the gloom and depression of the other world. Surely the use of these black colors is a reflection of Chinese artists’ preference to ink, which, however, basically roots in his understanding of bitterness of life. In fact, Chen Jian’s personalities, like persistence, courage, and silence, are all formed in the bitterness of his life.  

陈坚/蔚蓝海岸/纸上作品/51x36cm/2016  

Chen Jian/Blue Coast/work on paper 

In fact, it is not mysterious to define art at all. The riddle is the art itself. Tian Li and Chen Jian do not pursue the trace of art by applying to new materials. Rather, they find the answer to the riddle, the connotation of art with their emotions, thoughts and life. They do not cling to the forms of art or the reform of style of manifestation. They shed lights on life with art itself. They are still using ancient ink colors and middle-aged tempera, as these old style water materials carry aesthetic genes of ancient civilization, and connect culture with culture, and recreate a new vision of life. They love paintings, and worship history and culture as well. 

At 22 Yard Street Art District, Beijing 

Dec. 20, 2016

田莉/TIan Li

田莉/团扇/坦培拉/30×40cm/2014 

Tian Li/Circular Fan/tempera 

田莉/菠萝/坦培拉/30×50cm/2013

Tian Li/Pineapple/tempera 

田莉/静夜思/坦培拉/30×30cm/2016 

Tian Li/In the Quiet Night/tempera 

田莉/维也纳马会/坦培拉/40×40cm/2015  

Tian Li/Vienna Horse Show/tempera 

田莉/陈酿二锅头/坦培拉/30×40cm/2015  

Tian Li/Ageing Erguotou/tempera 

田莉/释迦果/坦培拉/24×19cm/2016 

Tian Li/Sugarapple/tempera 

田莉/一池春水/坦培拉/27×45.5cm/2014

Tian Li/Pond Water/tempera

田莉/木瓜·柠檬与蜜瓜/坦培拉/50×40cm/2016  

Tian Li/Papaya, Lemon and Melon/tempera 

田莉/六月巴黎/坦培拉/20×20cm/2014  

Tian Li/June in Paris/tempera 

田莉/看巴尔蒂斯/坦培拉/45×53cm/2014

Tian Li/Balthus in My Eye/tempera 

田莉/香/坦培拉/30×40cm/2014  

Tian Li/Perfume/tempera 

田莉/异乡盆景/坦培拉/30×30cm/2014  

Tian Li/A Bonsai Tree of Another Country/tempera 

田莉/火龙果/坦培拉/35×27cm/2013

Tian Li/Pitaya/tempera 

田莉/菠萝/坦培拉/45×53cm/2014 

Tian Li/Pineapple/tempera

田莉/原野/坦培拉/27×22cm/2016 

Tian Li/The Field/tempera 

田莉/鸢尾花/坦培拉/40×30cm/2015

Tian Li/Irises/tempera 

陈坚/Chen Jian

陈坚/秋日弄色/纸上作品/51x36cm/2016  

Chen Jian/Fall Colors/work on paper 

陈坚/有云的风景/纸上作品/51x36cm/2016 

Chen Jian/The Scenery with Clouds/work on paper 

陈坚/有白云的海面/纸上作品/51x36cm/2016 

Chen Jian/White Clouds on the Sea/work on paper 

陈坚/有树的风景/纸上作品/51x36cm/2016 

Chen Jian/The Scenery with Trees/work on paper 

陈坚/海岛/纸上作品/51x36cm/2016  

Chen Jian/The Island/work on paper 

陈坚/秋季的路旁/纸上作品/51x36cm/2016  

Chen Jian/The Roadside of Autumn/work on paper 

陈坚/澳大利亚农场/纸上作品/51x36cm/2016

Chen Jian/Australian Farm/work on paper

陈坚/树林/纸上作品/51x36cm/2016

Chen Jian/Woods/work on paper 

陈坚/灰色的草/纸上作品/51x36cm/2016 

Chen Jian/Grey grass/work on paper 

陈坚/大洋路写生/纸上作品/51x36cm/2016

Chen Jian/The Sketch of Great Ocean Road/work on paper 

陈坚/澳洲牧场写生/纸上作品/51x36cm/2016  

Chen Jian/The Sketch of Australian Ranch/work on paper 

陈坚/回首凝看/纸上作品/51x36cm/2016

Chen Jian/Looking Back/work on paper 

陈坚/回响/纸上作品/51x36cm/2016  

Chen Jian/Echo/work on paper 

陈坚/霞光/纸上作品/51x36cm/2014 

Chen Jian/Sunglow/work on paper 

陈坚/庄园里的灰色草地/纸上作品/51x36cm/2016 

Chen Jian/Grey Grass in the Manor/work on paper 

陈坚/枝蔓/纸上作品/51x36cm/2016  

Chen Jian/Branches/work on paper 

陈坚/有白云的海面/纸上作品/51x36cm/2016  

Chen Jian/White Clouds on the Sea/work on paper 

陈坚/澳洲大洋路的风景/纸上作品/51x36cm/2016  

Chen Jian/Great Ocean Road/work on paper 

陈坚/澳大利亚写生/纸上作品/51x36cm/2016  

Chen Jian/The Sketch of Australi/work on paper 

陈坚/中午的海边/纸上作品/51x36cm/2016  

Chen Jian/The Seaside at Noon/work on paper 

陈坚/悉尼的郊外风景/纸上作品/51x36cm/2016  

Chen Jian/The Outskirts of Sydney/work on paper 

陈坚/澳大利亚郊区/纸上作品/51x36cm/2016  

Chen Jian/The Australian Suburb/work on paper 

陈坚/有干黄草的风景/纸上作品/51x36cm/2016  

Chen Jian/The Scenery with Dry Yellow Grass/work on paper 

陈坚/暖光/纸上作品/51x36cm/2016 

Chen Jian/Warm Light/work on paper 

陈坚/又观秋水色/纸上作品/51x36cm/2016  

Chen Jian/See the Autumn Water Again/ work on paper 

陈坚/大洋路海岸线/纸上作品/51x36cm/2016  

Chen Jian/The Coast of Great Ocean Road/work on paper 

艺术家/Artist

田莉，1993年毕业于新疆师范大学美术系，获学士学位。2004年毕业于中央美术学院版画系，获硕士学位。2001-2007年特聘清华大学美术学院坦培拉材料教师。美术作品曾获世界造型艺术大会展银奖、全国小幅水彩画展铜奖、第四届中国画作品展优秀奖；曾参加第七届全国水彩、粉画展；其作品曾入选第十届全国美术作品展等。

Tian Li, got her bachelor degree in 1993 when she graduated from Art Academy of Xinjiang Normal University, and continued studying in Print Department of CAFA and got master degree in 2004. She worked in Academy of Fine Arts Tsinghua University for tempera material course teaching in 2001 – 2007. Her works once won silver medal in the 16th General Assembly of IAA, the bronze medal in the First National Watercolor Exhibition, the excellence award in the 4th Chinese Painting Exhibition; and many of others have participated in the 7th China Water Color and Pastel Exhibition, the10th National Art Exhibition, etc.

陈坚，1959年出生于山东青岛，现任中国美术家协会水彩画艺术委员会副主任兼秘书长、第八、九、十届全国水彩、粉画展评委。第十一、十二届全国美术作品展评委、第三、四届全国青年美术作品展评委、上海朱家角国际水彩画双年展首届、二届评委、第一届全国水粉画展评委、第十届中国艺术节评委、深圳国际水彩画双年展首届评委，第二届深圳国际水彩入选获奖评委会主席，作品被中国美术馆、中央美术学院美术馆、中国美术学院美术馆、广州美术学院美术馆、湖北美术馆等国家重点美术馆收藏。

Chen Jian, born in Shandong, China in 1959, is associate director and secretary-in-chief of the water color art commission of China Artists Association. He was on the judging panel of the 8th ,9th and 10th China Water Color and Pastel Exhibition, the 11th and 12th China Fine Arts Works Exhibition, the 3rd and 4th China Youth Fine Arts Works Exhibition, the first round and second round of Shanghai Zhujiajiao International Water Color Biennale of China, the 2nd China Pastel Exhibition, the first China Pastel Exhibition, the 10th China Art Festival, the first round of Shenzhen International Water Color Biennale of China, and he was named Chairman of the Jury of the second round of Shenzhen International Water Color Biennale of China. His works have been collected by many key art institutions of China, including National Art Museum of China, CAFA Art Museum, China Academy of Fine Arts Art Museum, Guangzhou Academy of Fine Arts Art Museum of China, Hubei Art Museum of China, etc.

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