展讯丨风景的意义——中国版画博物馆馆藏风景版画展
文化和旅游部
2023年全国美术馆馆藏精品展出季活动入选项目
风景的意义
Meaning of Landscape
中国版画博物馆馆藏风景版画展
Landscape Prints Collection Exhibition of China Printmaking Museum
展览时间 Exhibition Dates:
2023.7.19-8.31
展览地点 Exhibition Place:
中国版画博物馆2号展厅
Exhibition Hall 2, China Printmaking Museum
主办单位 Organizer:
深圳市龙华区中国·观澜版画艺术博物馆
China Printmaking Museum
如果说儒家美学、道家美学和禅宗美学滋养了中国山水画的艺术精神，产生了诸如“仁者乐山，智者乐水”的美学思想，以及“外师造化，中得心源”的艺术创作理论，那么，欧洲的文艺复兴则孕育了西方风景画。16世纪初，丢勒在他的美学文章中提出“艺术存在于自然中”，西方画家们就这样不停通过感悟和实践，一步一步探索“美”与大自然的关系，直到17世纪，在荷兰画家的努力下，风景画才逐渐发展为独立的画种。18世纪和19世纪，艺术家对风景画有了越来越全面和深刻的认识，英国风景画家透纳认为：“风景画能够传达出全方位的艺术、历史和情感意义”。
The aesthetic spirits of Confucianism, Taoism, and Zen Buddhism have nourished the art of Chinese landscape painting, giving rise to aesthetic concepts such as “The benevolent rejoice in mountains, the wise rejoice in water.” and the artistic theory of “drawing inspiration from the patterns of nature, and attaining profound understanding within one’s innermost being”. The Renaissance in Europe, on the other hand, gave birth to Western landscape painting. In his writings on aesthetics, Dürer proposed that “art exists in nature”. Western painters have continuously explored the relationship between beauty and nature step by step through perception and practice. It was not until the 17th century, with the efforts of Dutch painters, that landscape painting gradually developed into a genre in its own right. As the 18th and 19th centuries progressed, artists gained a broader and deeper understanding of landscape painting. J.M.W. Turner, the British landscape painter, believed that “landscapes could convey a full range of artistic, historical, and emotional meanings”.
随着绘画实践和艺术理论的发展，西方哲学家们也在不断发展源自大自然的艺术美学，主张用艺术之美陶冶情操，展现人性。康德认为，“一个转向那大自然之美，且在艺术判断上品位高雅的人，有着美的灵魂”。梅洛·庞蒂说：“艺术家就是要捕捉人们没有看到就投身其中的景观（spectacle), 并将其传达给人类心中最‘人性’的部分。”如今，随着当代艺术观念深入人心，一些人开始深入挖掘“风景的意义”。美国哲学家约翰·萨利斯从哲学角度对中外风景画进行审视，提出风景画的三种含义：即“大地的、自然的、场所的”。认为风景的含义就是“风景的自身显现”等观念，为风景绘画的美学研究提供了新的视角。
As painting practice and artistic theory developed, Western philosophers have also continuously developed an artistic aesthetic derived from nature, advocating the use of the beauty of art to refine feelings and reveal the essence of humanity. Kant believed that “a man who turns to the beauty of nature and possesses a refined taste in artistic judgment has a soul imbued with beauty”. Merleau-Ponty said, “The artists’ task is to capture the spectacle that people have not seen, but are immersed in, and to convey them to the most ‘human’ part of the human heart. Nowadays, as the concepts of contemporary art enjoy popular support, some individuals have begun to delve deeper into the “meaning of landscapes”. From a philosophical perspective, American philosopher John Sallis critically examined landscape painting in both the Eastern and Western traditions. He proposed three meanings of landscape painting: “earthly,” “natural”, and “topographic”. He believed that the meaning of landscape lies in concepts such as the “self-revelation of landscape”, which offers new perspectives for the aesthetic study of landscape painting.
此次展览很荣幸入选由文化和旅游部组织实施的2023年全国美术馆馆藏精品展出季活动项目。展览分为：“自然的回归”、“隐匿的风景”和“风景的共振”三个版块，共展出中外风景版画作品58件。从风景题材的表现，可以看到艺术家对自然、对自我以及艺术本体的认识和态度。瑞士思想家阿米尔曾说：“一片自然风景是一个心灵的境界”。这些刻画风景的艺术家都是心灵极为丰富、细腻和敏感的人，他们能看到风景的冷暖，听见风景的歌声，他们能捕捉到大自然的精妙光色和独特意义。但他们恰恰选择了具有概括、简约精神的版画，用以少胜多的色彩关系来刻画无限丰富的大千世界。
It is an honor that this exhibition, held at China Printmaking Museum, has been selected as part of 2023 Project of National Arts Museum Refined Collection Exhibition Season organized by the Ministry of Culture and Tourism. The exhibition is divided into three sections: “The Return of Nature”, “The Hidden Beauty of Landscape”, and “Resonance of Landscapes”, featuring a total of 58 landscape artworks from both Eastern and Western traditions. From the depiction of landscape themes in these works, one can observe the artists’ understanding and attitude toward nature, the self, and the essence of art. “Every landscape is, as it were, a state of the soul”, said the Swiss philosopher Henri Frederic Amiel. There is a rich, delicate and sensitive soul in these artists who painted these landscapes, for which they are able to feel the warm and cool tones of landscapes, hear the melodies of spectacle, and capture the exquisite colors and unique meanings of nature. However, they deliberately choose printmaking, which is characterized by condensation and a spirit of simplicity, to depict the infinitely rich world of beauty with minimal color relationships that triumph over an abundance of colors.
鲁迅指出版画是具有“力之美”的艺术。希望观众能够通过风景的美妙和版画的力量之美，感受到艺术家的丰富心灵，并与艺术家产生心灵的共振，一同穿越文化和自然，追寻风景中那些敞开的和隐匿的意义。
Lu Xun pointed out that printmaking is an art form with the beauty of “power”. In this exhibition, we hope that the audience can appreciate and experience the beauty of landscapes and the power of printmaking, perceive the rich souls of the artists, and resonate with them. Let’s embark on a journey of culture and nature alongside the artists, seeking out the open and hidden meanings within the landscapes.
1
自然的回归
The Return of Nature
自上世纪50年代，中国版画的题材和内容转向，抒情与歌颂成为主流，刻画山河之美和对家乡的眷恋是风景版画自然的回归。
Since the 1950s, there has been a transformation in the theme and content of Chinese printmaking, with expression of emotions and celebration of life becoming the mainstream ones, which aims to portray the magnificent scenery in this land and the painters’ homesickness. This marks the return of Chinese printmaking to nature.
江畔丨莫测
木版丨33.6×35.8cm丨1962年
小屯之夜丨于承佑
木版丨47.3×58.8cm丨1984年
村屋丨彦涵
木版丨43×46cm丨1998年
春染渔港丨张新予
木版丨47×62cm丨1984年
高原晚秋丨董其中
木版丨52×64.8cm丨1981年
春沐丨郝伯義
木版丨46.7×70.5cm丨1983年
松谷丨晁楣
套色木刻丨74x102cm丨1984年
2
隐匿的风景
The Hidden Beauty of Landscape
绘画为观赏者提供了风景的一种特殊视角，是海德格尔意义上的敞开，真理与存在的敞开，让人看见不可见的那个部分。
Painting offers the audience a unique perspective to appreciate landscapes. It is a form of Heidegger's concept of world disclosure, an opening to truth and existence, allowing people to see the invisible part of beauty.
奥雷耶之景丨让-克劳德·奎里西（法国）
石版丨41.7×66cm
春，夏，秋，冬丨赵无极（法国）
石版丨76×64cm丨2000年
重构山水--5丨曹欧
木版丨50×68cm丨2015年
境迁丨钟曦
丝网丨55×40cm丨2017年
秋月观鱼之二丨黄启明
套色木刻丨66×54cm丨2003年
解忧湖边丨孔国桥
铜版丨25×24.7cm丨1993年
浮云丨李忠翔
木版丨59×150.5cm丨2015年
春丨斋藤清
套色木刻丨40×32cm丨1971年
3
风景的共振
The Resonance of Scenery
有的风景版画，具有自然元素的力量，以至于人们在它面前只能静静站立，感受心灵的震颤。
Some landscape prints, as if imbued with the power of natural elements, evoke a sense of awe that leaves people standing in silence, experiencing the tremor in their souls.
光芒山脉丨庄漫
铜版丨36.5×60cm丨2016年
湖泊中被遗忘的木舟丨克里斯托夫·维乔雷克（波兰）
铜版丨19.8×59.6cm丨2017年
长城十景组画：“天下第一关”、“饮马古北”
陆放 陈聿强丨套色木刻丨30×39.5cm丨1981年
霞光照山寨丨贺昆
木版丨59.8×90cm丨2012年
摄影丨陈嘉明
编辑丨刘畅
审核丨王俊
◎展览地址：
中国版画博物馆2号展厅
◎开放时间：
每日10:00-17:00（周二闭馆，逢法定节假日照常开放）
◎入馆方式：
关注“观澜版画”公众号，点击下方“预约”菜单栏；
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