展览现场｜世界——叶剑青个展开幕

叶剑青·世界

The Wonderland of Ye

展 期 Duration｜2020.10.17 - 12.12

地 点 Venue｜東京画廊+BTAP

（北京市朝阳区798艺术区陶瓷三街E02）

“

自然之于东方文化，有着特殊的情感和文化归属。亚洲人眼中的自然是神圣的，他们的“神灵”存在于自然中，人只是作为自然的部分而存在。所以通常东方人所绘画的风景，也并非眼睛所见的真实自然，更是精神上的桃花源。

在全球化语境下的当代艺术范畴中，风景画看起来似乎过于传统，所以长期以来一直在描绘自然的叶剑青，便容易让人误解。但是我会给予叶剑青很高的评价，不仅仅是因为他着力描绘的自然灵动、深邃，越看越会被他的画面所吸引，忘却现实的痛苦，得到心灵的慰藉，可以说叶剑青描绘出了东方人理想的精神家园。更在于叶剑青绘画中对单一的东西方媒介和绘画架构的突破和融合，为当代艺术提供了新的东方属性，是亚洲当代艺术新的生命力所在。

田畑幸人

Nature, within Asian culture, has always loaded with a special kind of emotion and a sense of cultural belonging. In the eyes of Asians, nature has always been sacred, where their “gods” inhabit within, and humans only exist as a part of nature. Therefore, the landscapes painted by Easterners never replicate the physical nature perceived by the eyes but acting more of a spiritual utopia.

Within the varied categories of contemporary art under a globalized context, landscape paintings seem to be a rather outmoded genre. Therefore Ye Jianqing, who has always been a devotee in capturing nature in his works, is easily misunderstood. I, however, still speak highly of Ye Jianqing’s practice—not only the nature he depicts is dynamic and profound, but his compositions are intensely spellbinding to one’s eyes, which is both consoling and soul-soothing. One could argue that Ye Jianqing successfully delineated a spiritual homeland in accordance with the Eastern ideal. It is also the singular pursuit in Ye Jianqing’s painterly practice, which strives for a breakthrough and fusion of the Eastern and Western mediums and painting structure, that offers contemporary art a novel Eastern attribute, making them a source of vitality for contemporary Asian art.

Yukihito Tabata

”

展 览 现 场

部分展出作品

世界7，290x592cm ，布面油彩 矿物色，2020

世界7（局部），145x148cm ，布面油彩 矿物色，2020

世界8，300x1250cm ，布面油彩 矿物色，2020

世界8（局部），150x200cm ，布面油彩 矿物色，2020

世界9，150x200cm，布面油彩 矿物色，2020

世界10，150x200cm，布面油彩 矿物色，2020

「 关于艺术家 」

叶剑青 ，1972年生于浙江宁波，1994年就读于中央美院，2007年获造型类油画博士学位，现为中央美院壁画系副教授。

一直以来，叶剑青都在研究尝试用自己的经验和方法，重新演绎中国传统绘画观念的核心要义。在“新朦朧主义”展览中，他以其二十六米的《富春山居图》重新演绎了元代画家黄公望笔下的文人情。对于叶剑青，绘画不仅只是一种再现物理自然的语言，更是进一步认识自我，关照自我的方式。这与中国传统思想的根本是相契合的，即寻求一种超越世俗的空间和语境。被突如其来的大雾包围时，大部分人会感到恐惧，同时也会感觉到这种神秘的“气”。中国古代的画家们正是致力于思考，如何用绘画语言把这种“气”感表现出来。这种思想甚至影响了整个亚洲。叶剑青的作品向我们展现的不仅仅是一种超脱高远的空间体验，更是一种时间与“我”的存在。

Ye Jianqing was born in 1972 in Ningbo, Zhejiang Province. He studied at the Central Academy of Fine Arts in 1994 and received a Ph.D. in Plastic Arts-Oil Painting in 2007, where he now teaches as an associate professor in the Mural Department.

For a long time, Ye Jianqing has been researching and attempting to reinterpret the core concept of traditional Chinese painting. In the exhibition “New Mōrōism”, he reenacted the literati sentiments in the works of the Yuan-Dynasty painter Huang Gongwang by way of a 26-meter scroll titled Dwelling in the Fuchun Mountains. For Ye Jianqing, painting isn’t merely a language that represents the physical nature, but rather, a mean to better comprehend and approach the self. This is in accordance with the fundaments of traditional Chinese thoughts, which strives for space and context that exceed the earthly mundane. When surround by a thick fog out of a sudden, most people will often feel anxious and at the same time, notice the mysterious presence of “qi”. Many ancient Chinese painters were devoted to express this sense of “qi” through the language of painting. This school of thought even influences the rest of Asia. Ye Jianqing’s works not only offer us a numinous spatial experience, but also a coexistence between time and “I”.

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叶剑青·世界

The Wonderland of Ye

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Tokyo|Japan

东京都中央区银座8-10-5第四秀和大厦7层7F, 8-10-5 Ginza, Chuo-ku, Tokyo104-0061 Japan

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