中国当代艺术家｜手稿研究展（第一回）开幕
『纵观艺术之态 尽享艺术之美』
Throughout the State of Art
Enjoy the Charm of Art
研讨会现场
序
言
鲁 虹
“手稿”（Manuscript）从窄义的角度看，专指艺术家根据特定创作想法所画的各种小构图；而从广义的角度看，还应该包括与此相关的文字或各种视觉素材，如速写、照片等。比较起正规的艺术创作来，窄义的手稿虽然具有即兴、随意、尺寸不大、制作时间较短等特点，但却具有独立欣赏的价值。资料表明，西方的艺术史学者素来注重对于著名艺术家的手稿研究，这是因为：首先，手稿研究可以更好地揭示特定作品的意义和内涵；其次，通过手稿研究还可以体会艺术家在面对不同问题时是如何加以解决，又如何对传统进行有效的继承或创造的；再其次，人们从具体手稿研究中甚至可以发现在不同的时代，艺术观念或表现手法产生演变的迹象。也正因为这样，很多年来，不仅有许多高水平的相关研究论文先后在西方学术界出现，也促使相当多的西方美术馆接连举办了一些非常好的艺术家手稿展。于是，这些艺术家的手稿就和他们的创作一样广为人知、价值连城。反观中国，无论是学者们对于著名艺术家的手稿研究，还是各美术馆、艺术机构对著名艺术家手稿展的举办，都是极为少见的。多年来我们所形成的习惯是，对于艺术家的创作，更多地将精力集中在了作为结果的作品上。但事实足以表明，作为具体过程的手稿其实是学术研究不可或缺的重要部分，倘若不做好这一环节的工作，我们就很难真正进入那些优秀艺术家的具体创作情境之中，并掌握其思维的全过程，而这也必然会给艺术创作研究和艺术史研究留下了重大缺憾。我们之所以要在艺凯旋画廊成立十周年之际隆重举办“中国当代艺术大家手稿研究展（第一回）”就是希望能在手稿研究上做一点补课与推动的工作。如果本展的举办能够引发学者们对中国当代艺术家手稿研究的兴趣，并激励更多相关文章的出现与展览的举办，我们将非常高兴。不过，由于场地有限，本次展览只能选择10位中国当代艺术家携手稿参展。按照我们的计划，类似展览今后每年会举办一次，而且每次展览都要邀请10位著名的中国当代艺术家参加，衷心盼望我们的想法能继续得到大家有力的支持！另外，相信所有了解中国当代艺术进程的人都会同意我们所做的如下判断，即此次参展的10位艺术家一方面是中国当代艺术具有标志性的人物，另一方面也分别在中国当代绘画、当代雕塑、装置、行为、影像等领域取得了骄人的成绩，值得大家认真对待！而以他们的手稿作为研究对象，无疑将为中国当代艺术研究或艺术史写作开启一条全新的路径。更为重要的是，还会对中国当代艺术界的同行们有所启迪，并引以为借鉴！从这个意义上看，尽管我们的工作还刚刚起步，甚至是初浅的，但因为涉及了一个可以深入展开或大有可为的领域，所以是有深刻意义的！我们会继续为之努力！
是为序。
2017年10月8日于武汉合美术馆
Lu Hong
United Art Museum
Wuhan, Hubei
October 8, 2017
FORWORD
The manuscript, from the narrow point of view, specifically refers to the variety of small compositions by the artist based on specific creative ideas; from a broader perspective however, it should also include the relevant texts and visual materials, such as sketches, photos, etc. Compared with the formal art creation, the narrower sense of manuscript features improvisation, casualness, small sizes and shorter production time. Nevertheless, they are inherently valuable for appreciation. It has been well-documented that Western art historians have always paid special attention to the manuscripts of famous artists for three reasons. First, studies of manuscripts help better reveal the meaning and connotation of specific works; second, manuscript studies help us understand how the artist solved different problems, and how they inherited or recreated tradition in an effective manner; third, signs of evolution can be detected in terms of artistic concepts or media in different ages.
Over the years, the significance of manuscripts has not only driven the appearance of quality research papers in the Western academic circles, but also led to a string of exhibitions of manuscripts in a considerable number of galleries and museums in the west. As a result, these manuscripts, having been well promoted both academically and publicly, have become as well-known and valuable as the completed works. In contrast, China is an entirely different picture. We have been inclined to devote more energy on the finished works rather than the unfinished ones. Few scholars are engaged in manuscript studies, and manuscript exhibitions at galleries or art institutes, even of famous artists, are rare. However, facts are sufficient to show that the manuscript as part of the creation process, constitutes an unalienable part of academic research, without which we can hardly involve ourselves in the creative minds of the artists, let alone to form a panorama of their thinking process, a lack that will inevitably be a shame to the studies of art creation and art history.
Therefore, it is in the hope of engaging more scholars in manuscript studies that Triumph Art Space decides to hold the First Chinese Contemporary Manuscript Research Exhibition on the occasion of its tenth anniversary of establishment. We would be delighted if this exhibition could spark the interest among scholars in the study of manuscripts by Chinese contemporary artists, and inspire the emergence of more relevant articles and exhibitions. However, due to limited space, only 10 Chinese contemporary artists have been selected for their manuscripts. As planned, this series of exhibitions will be held on an annual basis, and each exhibition will invite 10 well-known Chinese contemporary artists to participate. We sincerely hope that our efforts will continue to get strong support from all of you!
As those familiar with the evolution of Chinese contemporary art will agree, the 10 participating artists are all of them iconic figures who have made remarkable achievements in Chinese contemporary painting, sculpture, installation, performance art and photography. Studies on their manuscripts will undoubtedly chart a new course for Chinese contemporary art research and art history writing. More importantly, peers from the Chinese contemporary art field might be inspired to make further references upon what we are doing. In this sense, although we’re just taking off on a trial basis, I believe that we are driving a meaningful cause, and will continue to work for it with all our hearts.
开幕现场
左起：李燕玲、俞可、杨小彦、孙振华、王春辰、刘淳、王广义、马六明、段君、鲁虹、王端廷、盛葳、张国华、周旭君、冀少峰、丁大立、刘钢、方力钧 、李兰芳、吴慧玉
左起：杨小彦、孙振华、王春辰、刘淳、王广义、马六明、段君、鲁虹、王端廷、盛葳、张国华、周旭君、冀少峰、丁大立、李兰芳、吴慧玉、方力钧
王广义、马六明、段君、鲁虹、王端廷、盛葳、张国华、周旭君
王端廷接受媒体采访
段君、鲁虹、王端廷、盛葳
方力钧
刘淳
马六明
杨小彦
俞可
Thomas Eller
布展场景
方力钧
傅中望
马六明
马六明、尹秀珍
宋冬
隋建国
王广义
徐冰
尹秀珍
张晓刚
周春芽
艺术家肖像
参展作品
方力钧Fang Lijun
2017.8.15
35×45.5cm
纸本水墨Ink on Paper
2017年
傅中望Fu Zhongwang
《榫与卯2号》创作手稿 Manuscript for Tenon and Mortise No.2
21.1×28.2cm
纸本、钢笔Paper, Fountain pen
2001年
马六明Ma Liuming
草图之一
Manuscript part 1
21×29.8cm
纸本Paper
2001年
宋冬Song Dong
《印水》（行为）手稿Manuscript for Stamping the Water（Performance）
26.5×29cm
纸上铅笔Pencil on Paper
1996年
隋建国Sui Jianguo
“盲人”泥稿
“Blind”Manuscript
高12cm×H12cm
喷绘Print：78x109cm
2012年
王广义Wang Guangyi
《门徒》草图
Draft for Disciple
42×30cm
纸上丙烯、综合材料
Acrylic on paper，Mixed media
2013年
徐冰Xu Bing
《猴子捞月》手稿 SG575
Manuscript SG575 for Monkeys Grasp for the Moon
38×26.5cm
硫酸纸、铅笔Tracing Paper, Pencil
2001年
尹秀珍Yin Xiuzhen
《洗河》（行为）手稿
Manuscript for Washing River （Performance）
25×31cm
纸上铅笔Pencil on Paper
1995年
张晓刚Zhang Xiaogang
失忆与记忆1号
Amnesia and Memory No.1
42×67cm
纸上油画Oil Painting on Paper
2007年
周春芽Zhou Chunya
《豫园小景》手稿
The Manuscript of A View of Yuyuan Garden
33×44cm
纸上丙烯Acrylic on Paper
2017年
感
谢
阅
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