Jiang Weitao / Art Documents No. 51 / 文獻(xiàn)之五十一
2007，Oil on Canvas / 布面油畫(huà), 50 x 50 cm
文獻(xiàn)——蔣巍濤作品展
開(kāi)幕時(shí)間：七月二十八日，星期六下午三點(diǎn)至六點(diǎn)
展覽日期：七月二十八日至八月十九日，上午十一點(diǎn)至下午六點(diǎn)（周一休息）
展覽地址：北京朝陽(yáng)區(qū)酒仙橋路2號(hào)（空白空間對(duì)面）
電話：6438 1005 傳真：6432 2624
電子郵件：redgategallery@aer.net.cn 網(wǎng)址：www.redgategallery.com
Art Documents
by
Jiang Weitao
Preview Date: Saturday, July 28, 3 - 6 pm
Exhibition Dates: July 28 - August 19, 2007
Gallery Hours
11 am - 6 pm (Tue - Sun)
Address
798 - Dashanzi, 2 Jiuxianqiao Lu (Opposite White Space)
Chaoyang District, Beijing
Tel 6438 1005 Fax 6432 2624
E-mail redgategallery@aer.net.cn Website www.redgategallery.com
Jiang Weitao / Art Documents No. 52 / 文獻(xiàn)之五十二
2007，Oil on Canvas / 布面油畫(huà), 50 x 50 cm
下意識(shí)——我與抽象藝術(shù)
我靈感應(yīng)該直接來(lái)源于中國(guó)文字以及那長(zhǎng)篇累牘的竹簡(jiǎn)。正如錢(qián)穆先生說(shuō)言：“中國(guó)文字亦可以說(shuō)是由中國(guó)人獨(dú)特創(chuàng)造，而又別具風(fēng)格的一種代表中國(guó)性的藝術(shù)品。”中國(guó)文字從象形很快提升到“意象”、“象事”；中國(guó)文字利用縱橫、曲線描繪輪廓來(lái)表達(dá)意象和事意。以至于后來(lái)的中國(guó)書(shū)法和中國(guó)繪畫(huà)依然也還利用簡(jiǎn)單的曲線來(lái)描繪意象和事意來(lái)。所以說(shuō)中國(guó)文字，中國(guó)書(shū)法，中國(guó)繪畫(huà)甚至于中國(guó)文學(xué)的本質(zhì)是同一精神。“他們同樣想用簡(jiǎn)單的代表繁復(fù)，用空靈的象征出具體，”這種精神正是許多西方藝術(shù)大師畢生所追求的；而這種精神，在什么我看來(lái)是真正的東方血液，根深蒂固，無(wú)法回避。
抽象藝術(shù)風(fēng)格的形成，基于藝術(shù)家對(duì)點(diǎn)、線、面的選擇和理解。我選擇了純粹的縱線、橫線、斜線、弧線......并且我認(rèn)為其實(shí)質(zhì)上代表著中國(guó)人觀察世界，表達(dá)意象的古來(lái)淵源。我企圖用這樣的語(yǔ)言傳遞出更多精神性的東西和中國(guó)古典哲學(xué)的內(nèi)涵。 我不太愿意關(guān)注表面的形式，更吸引我的是個(gè)人精神與環(huán)境的避讓關(guān)照、動(dòng)靜進(jìn)退，籍此而傳達(dá)出的中國(guó)人血液里哲學(xué)思想。她吸引我樂(lè)此不疲的理由，是因?yàn)樗谋举|(zhì)與純粹。
我的畫(huà)整體是理性的結(jié)果。我憑感性在下意識(shí)中完成我的繪畫(huà)。觀眾亦在下意識(shí)中完成與我的交流。我認(rèn)為一切發(fā)生的都很平靜，下意識(shí)的發(fā)生，下意識(shí)的結(jié)束。思想的傳遞從來(lái)都沒(méi)必要顯山露水 。
批評(píng)家 龔云表 先生的評(píng)論：
運(yùn)用純粹的，本質(zhì)的，個(gè)人化的符號(hào)和語(yǔ)言，建構(gòu)了個(gè)人獨(dú)特的審美意蘊(yùn)。
Subconscious------Abstract Art and Me
M
y inspiration comes directly from Chinese characters and the voluminous inscribed bamboo-slips. Quoting from Mr. Qianmu, Chinese characters can be concluded into an original and unique art form created by Chinese people. Evolved from being pictographic to imagery and emblematic, Chinese characters use horizontal, vertical and arch lines to express images or events. That’s why Chinese calligraphy and painting still describe image and events with arch lines. So we can draw the conclusion that Chinese characters, calligraphy and painting, even Chinese literature inherited the same spirit. “They all intend to represent complexity with simplicity, concrete with abstract.” This spirit is pursued constantly by European artists. I honestly believe that it is the oriental heritage, deeply, and inevitably.
The formulation of the abstract art form is based on artists’ understanding and selection of dots, lines and planes. I selected the simplest lines, horizontal, vertical, oblique, or arch, and consider them to be the archaic origin of how Chinese people see the world and express consciousness. I’m trying to use it as a language to transmit more spiritual aspect and connotation of Chinese classical philosophy.
I do not care much for external forms. Instead, what attracts me is the harmonious between individual spirit and environment, stillness and movement, forward and reverse, which thus express the philosophy in Chinese heritage. It is the pure essence that attracts me.
My work as a whole is the outcome of rationality. I draw under sensibility and sub-consciousness, and in the same way my audience communicates with me. I believe all of this happens in tranquility where sub-consciousness occur and diminish. The transmission of ideas never has to be superficial.
“The unique aesthetic conception is constructed by pure, hypostatic and personalized symbols and language.”
------ The comments by critic Yun Biao, Gong
Jiang Weitao / Art Documents No. 53 / 文獻(xiàn)之五十三
2007，Oil on Canvas / 布面油畫(huà), 100 x 80 cm
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