【邵岩近作——墨计·邵岩汉字艺术新作展】2008.8

书艺公社 · 发表于 2008-8-21 08:38

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墨计-邵岩汉字艺术新作展
策展人：柴中建
学术主持朱青生
展览地点：在3画廊（北京酒仙桥路2号798艺术区797路B10号院内）
时间：2008年8月2日-2008年8月29日
招待酒会：2008年8月16日下午4：30

INK STRATEGY – SHAO YAN’S C-CHARACTER NEW WORKS EXHIBITION
Curator - Zhu Qingsheng
Hold by - Being 3 Gallery(B10 797Road 798 Art Zone, Beijing)
Duration - Aug 2 - Aug 29, 2008
Openning - 4:30pm Aug 16 2008

【邵岩近作——现代艺术16件】

邵岩1962年出生于山东省威海市。先后就读于山东莱阳师范学校美术专业、中央美术学院书法艺术研究室。现为北京职业艺术家，兼江苏省国画院书法研究院副院长。

参加重要展览：
   2008年瑞典“卡廷娜托”中国当代水墨邀请展邀请瑞典
首尔书艺双年展韩国首尔
“字迹，痕迹” 大尺幅抽象画20人联展中国北京
“自有我在” 当代中国艺术表现美国佛罗里达

2007年中日韩现代书法二十人展韩国首尔
      “从汉字出发 ” 邵岩现代汉字艺术展中国北京
“墨缘100 中国宋庄水墨同盟第二届名家邀请展” 中国北京
2006年中国“艺术书法”百家优秀作品展中国美术馆
1976—2006中国水墨文献展中国南京
2005年 “首届国际书法双年展” 韩国首尔
2004年 “汉字作为资源艺术展” 澳大利亚悉尼
“气韵于扩散”国际现代书法展韩国首尔

      2003年韩国全北书法双年展韩国全州
香港艺术公社“二十年来汉字于书写的新经验” 中国香港
2001年国际书法文献展中国台湾
1999年 “二十世纪中国书法大展” 中国美术馆
“1979—1999世纪之门.成都.中国当代艺术邀请展” 中国四川
1998年法国首届中国书法大展法国巴黎
1996年“笔底传情”中国当代书法二十人展美国哥伦比亚
1986年至今荣获四次全国中青年书法大展现代书法金奖。

公共收藏：
美国“路丝基金会”
美国“时代周刊”
意大利“东北银行集团”
香港“艺倡画廊”
香港“艺术公社”
澳大利亚“悉尼大学”
马来西亚“集珍荘画廊”
韩国物波空间画廊
上海国际会展中心
深圳国际会展中心
北京今日美术馆
美国佛罗里达海洋海岸大学
中央美术学院美术馆
北京希尔顿酒店

  Biography of Shao Yan
Shao Yan was born in Wendeng City, Shandong Province in 1962. He used to study in Fine Arts Specialty of Shandong Laiyang Normal School and Calligraphy Art Laboratory of China Central Fine Art College. He currently is a free artist in Beijing and holds a concurrent post as an especially hires expert of Rong Bao Zhai Academy and the vise-president of Calligraphy Research Institute in Traditional Chinese Painting Academy of Jiangsu Province.
Major Exhibitions:
2008 China Contemporaty Ink Art Invitation Show Sweden
   Seoul Challigraphy Biennal    Seoul Karea
   Handwriting and Trace - Big Size 20 People's Exhibition Beijing China
   Where I Am - Contemporary Chinese Art Show Florida US
2007 Embark From Chinese Character - Shao Yan's Solo Show Being 3 Gallery Beijing
2006 China ‘Art Calligraphy’ Outstanding Hundred Art Show  China National Art Museum
  China Literature of Ink Exhibition, 1976-2006 Nanjing, China
Contemporary Calligraphy Exhibition of 20 People from China, Japan and Korea  Seoul, Korea
  China Contemporary Calligraphy Invitation Show  Beijing, China
2005 The First Session of International Calligraphy Pair of Year Unfolds Seoul, Korea
2004 ‘Chinese Character as Resource’ Art Show  Sidney, Australia
  ‘Chinese Character Scheme’ Unfolds  Beijing, China
2003 North Quanzhou Pair of Year Unfolds Quanzhou, Korea
2001 International Calligraphy Literature Exhibition Taiwan, China
1999 Eighth Session China National Art Exhibition of Mid and Young Artists (Second prize Awarded) China Art Museum
‘1979-1999 Century Gate-Chendu-China Contemporary Art Invitation Show’  Sichuan, China
Mainland China Real Power Faction Calligraphy Works Exhibition Hong Kong, China
‘Bashu Soldiers Counting’-Chinese Modern Calligraphy Retrospective 99-Chendu Sichuan, China
‘Three Swordsmen’ Show-Shao Yan, Yang Lin and Liu Yi China Art Museum
Third Session China Front Couplet Calligraphy Exhibition Beijing, China
Twentieth Century-China Calligraphy Greatly Unfolds  China Art Museum
1998 First Session Chinese Modern Calligraphy Exhibition in France Paris, France
1996 ‘Cordiality From Brush’ China Contemporary Calligraphy 20 People’s Group Exhibition Colombia, US
Second Session China Front Couplet Calligraphy Exhibition Beijing, China
1986 Second Session National Art Exhibition of Mid and Young Artists (Outstanding Prize Awarded)  China Art Museum
Major Published Works:
‘Three Swordsmen Modern Calligraphy Works Collection’
‘Modern China Well-known Young Calligraphers’ Hi-Quality Works Collection-Shao Yan’s Volume’
‘Today Museum Art Calligraphy Nomination Calligraphers’ Selects Collection-Shao Yan’
Public Collection:
Silk Road Foundation, US
Times, US
Northeast Bank Group, Italy
Skill Leads Gallery, Hong Kong
Art Commune, Hong Kong
Sidney University, Australia
Ji Zhen Zhuang Gallery, Malaysia
Mulpa Space Gallery, Korea
Shanghai International Exhibition Center, China
Shenzhen International Exhibition Center, China
Beijing Today’s Museum
‘Ke Yuan’ Museum, Guangdong Province, China
Three Water Museum Yantai, China
Beijing Kechuangjiaming Art Museum
China Central Fine Art College Museum
Hilton Hotel Beijing

书艺公社 · 发表于 2008-8-21 08:39

【邵岩近作——现代艺术16件】

作为抽象艺术的现代书法
【邵岩作品解读】

朱青生

抽象艺术在中国的一个重要源流是“现代书法”。

邵岩的字意派书法在这样一个艺术领域中是有所侧重和选择的。在其早期作品中就避开了画字这条路，不同于张光宇、王方宇、古干和一批现代书法创作者，而是着重字的结体来构造作品。他在北大现代书法研究生班讲课时（2000年），大谈他对字的理解，使北大这个古文字学重镇不能接受。但是，作为艺术学研究角度还是看出了另外一种价值,这种价值就是并不是解释文字，文字学目标是解释音形义，当时邵岩特别注重形义方面，未涉及文字学中任何音韵方面的内容。而艺术家反过来发挥结字方法的各种表现可能。一个“海”字，对于文字学家，首先将之规定为一个标准字（隶定），指出其异体字和假借字，用科学的方法把繁杂的现象简化和归纳到一个最典型的公式。对于邵岩，正好是反过来，尽可能多地提供复杂性，一个“海”字，用无限多的可能性书写，这个方法使我们不得不提起井上有一，他用了长达多年，甚至可以说一生的精力写过一个字——“贫”，应该说是字意派的极高的境界。
但是，邵岩并没有在书法的笔墨上深化开拓，而是用墨法形成画意，加强对字的结构的表达的力量字的符号结构可以产生视觉的力量，这是现代书法作为一种抽象艺术贡献给人类文明的重要遗产。而汉字作为符号，其结构的方法更为丰富，一个字可以有多种结构，根据《汉语大字典》中国可辨读汉字被收入五万六千左右。所以邵岩把深化的重点放在结构之上，就是书法中的“结体”问题。因此邵岩的现代书法是解决结构问题的书法。

现在邵岩开始做新的作品，并写了一篇创作感想。表示了他对汉字的热衷。汉字的意义符号化的过程，这种意义如果可以通过一个画面直接诉诸人的感观。那么，邵岩实践又超过了汉字符号的结构，而水墨画的象征和比喻方法运用得相当充分。过去他的“海”一看就会感觉到海洋本身，只不过每次表达海的某一种状态和风貌，但并不抽象，而是诉诸了直观。但是我们在新作品中看到了新的努力，这就是如果汉字隐蔽了，而且字义从一个名词变成为一个抽象的概念，并使现代书法进一步成为抽象艺术。

Modern Calligraphy, Abstract Art – A Brief Evaluation of Shao Yan’s Work

Zhu Qingsheng

A major resource of abstract art in China is modern calligraphy.
Shao Yan has his own consideration and choice in this field of art. He has avoided the path of just drawing words in his earlier works. To be different with some modern calligraphers such as Zhang Guangyu, Wang Fangyu, Gu Gan, etc, he focus on creating works by the structure of the words.
When he give speech in the master course of modern calligraphy research in Beijing University, his talk about his understanding of characters can not be accepted by the people there as a very important place for ancient Chinese. But from a point view of art study we can see another kind of value exist in his works. This kind of value is not explaining words. The target of philology is to explain pronunciation, shape and meaning meanwhile Shao was focusing on shape and meaning without touching any thing about pronunciation in philology.
On the other hand the artist displayed all kind of possibilities of the way to construct words. As philologers, for example, to the word ‘sea’, they will consider is as a standard word at first, and point out its variant and borrowing form, and then they will simplify and induct the complicated phenomenon to a typical formula by scientific method. On the contrary, Shao Yan as an artist is providing complexities as many as possible. There are unlimited possible writing ways by Shao Yan for the word ‘Sea’. We have to mentioned INOUE Yuichi, he took several years, almost his whole life to write one word ‘贫’. That can be considered as the peak station of this kind of writing.
Shao Yan did not stay at the relationship between brush and ink as a big issue of calligraphy. He has turned to strengthen the power of structure’s expression. The structure of character could create the visual power. This is a very important contribution to human civilization by the modern calligraphy as a kind of abstract art. And Chinese character, as a kind of symbol, its means of contracture are much more abundant. There used to be many different structures for one word. Shao Yan focus his effort on structure which is the major field of calligraphy.
Shao Yan’s new works shows his craving to Chinese character. He shows the process of the meaning of character’s symbolizing. If such kind of meaning can directly reach people’s feeling through an image, Shao Yan’s experience has exceeded the structure of Chinese characters and he has fully used the symbol and metaphor of ink painting. In the past we can see the ocean itself from his works of ‘海’(the Ocean) that have different style and appearance of ocean, but not abstractive, only a direct expression. But from his new works we saw new effort that Chinese character has been hidden and the meaning of a noun word became an abstractive concept.

书艺公社 · 发表于 2008-8-21 08:40

【邵岩近作——现代艺术16件】

创作随想
邵岩
汉字起源于对自然物特征的抽离成像,而做为语言载体出现时,它又是具象的符号.我们忽略了它造型上的抽象性及奇思妙构,甚至没有人感知到它诞生时的"天地泣,鬼夜哭"......
汉字结构之间的空间变幻.攮括所有视觉艺术下的节奏和秩序.这个抽象符号王国也曾被汉字文化圈外的西方艺术家在抽象艺术的演进中进行折借和利用,不幸的是由于对它的不可识读而无法破译它的形式组合"密码",以及其背后的哲学,美学深意.
汉字书写艺术是人类共同的资源和财富.抽象表现与抒情艺术,汉字艺术都是对人类视觉形式的贡献,我们每一步涉足,都是一个揭密的过程.每一次创造都是这个过程中的不断发现和自我价值的判断.
在审视已走过与书法相关的诸类艺术时,我通常删除那些人类身心体验中的不约而同而去发现他们的"发现",象运笔速度至高潮状态下的图式,这些问题同样是人类体验的必然.象形式上的对比关系:曲直,方圆,大小,疏密,向背等早在汉字的诞生时就已具备.比如:埃及艺术,非洲艺术等早期艺术中都能找到这些组合特征,这是人类共有的智慧和共识,而艺术家在创作中经营的又是这些关系的组合方式,和如何呈现节奏感和秩序感.
每一种材料的运用和表现,在肌理及表象领域内都会有"似曾见"之嫌,但气韵的连承及精神的蕴涵无可复制.汉字书写刹那间的极限表达,更是人类心智和视觉经验高度谐调的迹化,图式不尽相同,异彩分呈.
汉字结构再结构元素间的极佳组合,在刹那间呈现的状态是我目前创作的方向,这区别于任意挥洒开来的野蛮和无助与风格的单一和重复.如何利用对古文字的储量和对书写性的感悟,作如上探索,能否体现自我价值有待后人评说.
我不满足我的创作只赢得少数人的愉悦和欣赏,我会不断的做出选择和决断,奉献新的作品给您---中国人,外国人,老友,新朋......

Artist’s Brief
Chinese character is from the abstractive image of the characteristics of natural subject. But when it shows out as linguistic factors, it becomes such specific symbol that makes us forget the abstract and fantastic structure, even almost nobody remembers the circumstance of the ‘shocking of universe and crying of god and ghosts’ when it was born.
The changing of space within the structure of Chinese Character envelops all rhythm and order under visual art. In the development of abstractive art, the symbols in the abstractive kingdom have been borrowed and used by western artists out of the circle of Chinese culture. Unfortunately they can not break the code in its form combination and the backward philosophical and esthetic meaning because they can not read and understand the characters.
The art of Chinese writing is common resource and wealth of human being. Abstractive expressionism, emotional art and Chinese Character art are all contributions to visual world of mankind. Every step on our road is a progress of revealing, every creative work is a discovery and judgment of self-value in the process.
When I looked inside the categories of art around calligraphy I have experienced. I always get rid of the common discovery that people discovered in their body and mind experience as if by prior agreement. Such as the image by moving brush in the highest speed and the contrast relations between curving and straight, circle and square, big and small, face and back are all exist just as the born of Chinese Characters. This is the common sense in human brain. We can find such kind of characteristics in the art of early Europe, Egypt and Africa. And what an artist manages in his work is the method of combination and how to show the rhythm and order.
The usage and behave of every kind of material always give a feeling of ‘met before’ in the field of mechanism and expression. But the connection of art conception and spiritual intension can not be copied. The limit expression in the sudden of Chinese handwriting is also a coordinated tracing of human brain and visual experience. It is very alternative and colorful.
The best combination among the factors of structure and restructure, and the status of expression in an instant are directing my current work. They are different with the barbaric of willfully wielding and sprinkling, and also different with sole and redundant.