雅昌首页
求购单(0) 消息
首页展览正文

“诗·书·画”夏蕙瑛联合国个展

  • 展览海报
  • 《处处洛阳红 Luoyang Red Peony》 夏蕙瑛 33x137cm 2011年
  • 《风雨天一阁》 夏蕙瑛 39x276cm 2008年
  • 《老梅面壁 PlumTree in Sui Dynasty》 夏蕙瑛 97x180cm 2014年
  • 《瑞陶山 Ruitao Mountain》 夏蕙瑛 162x37cm 2018年
  • 《绍兴兰亭》 夏蕙瑛 36x162cm 1998年
  • 《沈园柳老 Willow in Shenyuan Garden》 夏蕙瑛 100x63cm 1997年
  • 《望兄亭 the Brother Pavilion》 夏蕙瑛 68x137cm 1999年
  • 《五彩亚龙湾 Colorful Yalong Bay》 夏蕙瑛 50x131cm 2011年
  • 《永嘉山水 Water and Mountian in Yongjia》 夏蕙瑛 68x32cm 2018年
展览时间:
2018-04-01 - 2018-04-20
展览城市:
美国 - 纽约
展览机构:
联合国总部
展览地址:
纽约曼哈顿东河沿岸
参展人员:
夏蕙瑛
展览备注:
演讲:2018年4月19日

展览介绍

中文与诗书画

中国文字与中国画是密不可分的。从起源说,史传仓颉造文字,史皇造图画。其象形字与图画,在当时几乎是一样的。中国古代的甲骨文、金文,都是一些类似图像的文字,比如“月”、“日”、“象”、“车”,这些文字也同时是最早的中国绘画。

随着中国文字的成熟,又产生了诗和书法。以后诗书与画更加紧密相连。一开始的中国画,鲜有文字。至宋代,米芾、苏轼之辈作为文人兼画师,于画上长篇题跋,具有画龙点睛的效果。其时赏书赏画,二者兼备。时至南宋,才出现“题画诗”,中国人创造了世界上唯一的诗与画结合的形式,成为中国艺术表达的独特的综合载体。

任何艺术形式都是在继承的基础上才有发展,现代中国绘画依然离不开中国汉字与诗,尽管在形式与主题两方面都充满了现代性,却又时刻保有着中国本土文化和传统美学的独有韵味。

艺术并非空泛之词,由中国文字开启的书法艺术、诗歌艺术、绘画艺术,都是在叙述人生,以及在人生当中对宇宙万物的感受,三者互为载体和主题,相辅相成,成为中国古典艺术的核心。作为继承者,既崇拜先人,又希望将它发展,所以在任何现代的主题当中,都寻求中国传统的根源,这根源就在集体意识里存在着,找到它们,“援活水清流,我笔无尘。”

Chinese Language in Poetry, Calligraphy and Painting

Chinese characters and Chinesepainting are inseparable. According to the legend of their origins, characters werecreated by Cang Ji, and painted images were created by Shi Huang, (the YellowEmperor, around 4 500 years ago). The hieroglyphic-like characters of that timeclosely resembled painted images. In ancient China, character inscriptions onbones, tortoise shells and bronze were, in essence, the earliest Chinesepaintings. Therefore, Chinese calligraphy and painting have common origins.

With the development of Chinese characters,poetry and calligraphy came into being. Ever since, poetry and calligraphy havebeen closely connected with painting. Prior to the Song Dynasty (A.D.960-1279), it was rare to find characters in a Chinese painting. It was duringthat time that masters of literati painter like Mi Fu and Su Shi startedto write long postscripts on their paintings, which had the effect of providinga finishing touch. Doing so allowed calligraphy and painting to be appreciated simultaneously.It was during the Southern Song Dynasty (A.D. 1127-1279) that poems firstappeared in paintings. By combining poetry with painting, the Chinese created aunique art form that became a vehicle for distinctly Chinese artisticexpression.

The heritage of an art form servesas the foundation for its development. Therefore, contemporary Chinese paintingcannot be separated from its heritage of Chinese characters and poetry. Althoughthe artistic forms and subjects of contemporary Chinese painting are modern,they still reflect the specific charm of Chinese national culture andtraditional aesthetics.

Rather than being limited to the Chinesecharacters from which they are derived, Chinese calligraphy, poetry andpainting tell the story of the artist’s life and reflect his or her feelings towardsall things in the universe. The three artistic forms serve as both vehicles andsubjects, thereby complementing one another. They constitute the core of classicalChinese art. As a recipient of that legacy, Xia Huiying, while grateful to herpredecessors, seeks to develop art beyond that legacy by finding the root of Chinese tradition in her work with modern subjects. Creating art that is rootedin our collective consciousness is "to find that which is fresh and original anduse it to create something extraordinary".

展开阅读

(责任编辑:杨红柳)

您可能感兴趣的展览

我要评论

已有0位网友发表评论
验证码

注:网友评论只供表达个人看法,并不代表本网站同意其看法或者证实其描述

已有0位网友发表评论
合作媒体机构

责任编辑:杨晓萌010-80486788-896exhibit@artron.net

关于我们产品介绍人才招聘雅昌动态联系我们网站地图版权说明免责声明隐私权保护友情链接雅昌集团专家顾问法律顾问
  • 艺术看展二维码
    艺术看展
返回顶部
意见反馈