艺术头条 
雅昌拍卖图录 
谜·恋——陈坚、田莉双个展的文化情愫
中国美协理论委员会副主任、《美术》主编、艺术史学博士 尚辉
艺术史从现代主义到后现代主义对于艺术定义的不断质疑与改写，使何为艺术这个美学命题与创作实践充满了各种可能与创造的挑战。在当代，艺术的终极追问与表现形态像谜一样，不断吸引并激发着艺术家用各自的心智、潜能来破解和论证。
但不论艺术定义这个艺术理论命题的“谜”如何求解、如何增添新的附加值，艺术创作的初心，都离不开对于情感倾诉的表达欲望，离不开对于不平现实的人性投照，离不开由历代大师所积累起来的艺术史文化的能量释放。这也成为来自中国当代最有代表性的画家陈坚和田莉，对于何为艺术所持守的基本立场。在某种意义上，正是由每位富有创造性的艺术家对于艺术的独特解答，才赋予艺术定义以历史的、丰富而完整的内涵。而这种对于艺术命题的终极思考，又是如此地让陈坚与田莉痴迷，艺术成为他们最能照亮人生最能温暖心灵的恋人。
田莉那些小巧的画作给人带来了致深的印象。她的那些弥散着欧洲早期文艺复兴气息的作品，既没有刺激的色块，也没有奇异的官感，而是以一种宁谧恬淡的境界，熨平我们这个有些焦灼狂躁的时代被搅乱了的心绪。像许多女性画家那样，她酷爱画水果、花卉，仿佛那鲜花的娇嫩就是她必须去守护的圣洁，似乎那果实的丰满就是她必然去呵护的母爱。而这些花果都通过水性坦培拉的古技慢慢晕染，温婉而柔和的笔触似潺潺溪泉淌过人们的心田。
她并非去再现那样一枝香醇的果实，也非描摹那样几株鲜嫩的花草，而是降低色彩的饱和度，让那些花果与器皿进入历史时空的存在。她作品的耐人寻味，一方面来自那些略有些变形的物体结构处理，删繁就简，在简约之中凸显形的节奏与意蕴；另一方面来自画面整体形成的调性，那是种因此种技艺而绘就的高级灰调，并在透薄与半透明的色相埋设与覆盖之中，形成直接画法难能抵达的一种古朴而优雅的色彩。她画面的那种简静、单纯、优雅和高贵，从艺术语言来说，显然得益于她以水彩法活化的坦培拉画法；而从艺术主体来说，这些审美品格又无不是她的性格、气质与情思的一种艺术折射。阅读这些画，也就像打开她的心扉，可以尽情披览。
与田莉寄情身边微观之物不同，陈坚让我们看到了奇幻纵横、幽深莫测的大海与天空。他总是将我们的视线引入地平线消失的地方，既让我们随着他的画笔去披阅从荒滩到碧海、从日中到黄昏那些沧海桑田变幻奇特的天光云影，也让我们遥想那海的尽头、那天的边涯的广阔与无忧。与其说陈坚画出了天的灿烂与幽深、绘出了海的宽广与博大，毋宁说他写出了人性的多变与历史的浩瀚。
他是把画海作为人格来描述与塑造的，也是把画海作为他自己的经历与生命来追溯与体验的。因此，他高超的驾驭水性材质的绘画，都当作他展现自己心历的丰富语汇，而超越了对海景旖旎外象的客观再现。这种超越，还体现在他的海景对于那些荒滩上近于幽灵般伸展的随风而舞蹈的树丛枝桠的描绘上，那具有象征意义的树影枝魂，揭示的是人与自然某种更为深刻的关系。人类固然依托于海而生存，但人的存在又超越于自然。也因此，陈坚的海画出的是人的心理与表情，勾出的是历史的无常与荒渺。在陈坚的这些有关大海与人类表情的描写中，他喜爱用黑色，像哥雅黑色时期的画面，呈现出另一个世界的幽微与阴郁。这些黑黢黢的墨色，固然体现了中国文人水墨对于玄色的崇尚，但究其根本，还是源于他对于苦涩人生的感悟。其实，陈坚就是这样在人生的黑夜铸成了他坚毅、勇敢而沉默的性格。
其实，如何定义艺术并不玄妙，“谜”就在艺术本体。田莉、陈坚并没有通过新媒材的实验来追逐艺术进化的轨迹，来破解这个艺术之“谜”，而是用他们的情感、哲思和生命求索艺术的内涵。他们贪恋的不是艺术样式或表现形态的变革，而是艺术本体能够如何烛照人生、温暖生命。他们甚至于依然迷恋远古的水彩、近古的坦培拉，因为这些古风尤存的水性媒材携带了久远文明的审美基因，充满了异质文明嫁接与再造的广阔图景。他们迷恋的已不止于绘画，而是对历史与文化的致敬！
2016年12月20日于北京22院街艺术区
Riddle·Love——The Culture Sincerity of Chen Jian and Tian Li’s Art Exhibition
Deputy director of China Artists Association, Chief Editor of ART, PHD on Art History / Shang Hui
The definition of art has been kept doubting and revising by the Modernism and postmodernism in art history. The artistic proposition like WHAT IS ART makes art creation full of all the possibilities and challenges. In contemporary, the ultimate inquiry about art, in addition to different styles of art manifestation, is like a riddle, which encourages the artists to decode and demonstrate it with their intelligence and potentials.
But no matter how art defines this theoretic proposition, how the answer is proved, what new values are added, the preliminary motivation of art creation should never be apart from the desire for emotional expression, from the projection of human nature into the unsatisfying reality, and from the energy release of culture in art history accumulated by the masters generation by generation. This is the basic standpoint where the artists Chen Jian and Tian Li persist on as the most representative contemporary artists. To some degree, it is thanks to the unique answer given by every creative artist, the definition of art is given historical, rich and complete connotations. And Chen Jian and Tian Li find them so obsessed with this kind of ultimate thinking about the art proposition, so that art has always been the love that enlightens and warms their souls.
Tian Li’s small-sized paintings are very impressive. Those of her works, full of the sense of early European renaissance, are neither painted with exciting color blocks, nor with exotic senses, but with kind of quiet and tranquil state, which comforts our emotions disturbed by the anxiety and depression of the age. Like many other female artist, she is so fascinated in painting fruits and flowers, as if the delicacy of the flowers is the holiness that she has duty to guard, as if the plump of the fruits contains the motherly love that she is born with. The fruits and flowers are all painted with traditional Tempera techniques in the nature of water materials, which make her brushworks as gentle and light as the stream water running through the hearts of people.
She doesn’t just photocopy the fruits or the flowers. Instead, she lowers the degree of saturation of the colors, so as to create kind of historical atmosphere for the fruits and flowers and vessels. Her works are very thought-provoking, first out of the deformation of the structures of the obstacles, ----in which the complicated is simplified and the simplification makes the rhyme and meaning more obvious; second, out of the tone of her paintings, the classic grey created by advanced techniques, unsophisticated and graceful, covering the frame of the painting in the thin and semi lucent way, as is what direct technique can never realize. From the perspective of art language, the simplification and purity and elegance and dignity all attribute to her flexible tempera painting techniques in nature of water materials; but from the perspective of the subjects, the aesthetic taste exactly reflects her personality, temperament and affection of art. To read her paintings is to explore her heart and to appreciate the charm of her mind.
Different from Tian Li, who is obsessed with small objects, Chen Jian presents to us the fantastic and inscrutable ocean and sky. He leads our eyes to the place where the horizon disappears, from desolate beach to the blue sea, from the sun at noon to the dusk. The fluctuation of time, the changes of lights, and the floating of clouds, arouse the wonder of the audience about the other side of the ocean and the end of the sky. It would be better to say that he depicts the variation of human nature and the vast of history, rather than that he just paints the magnificence of sky and inclusiveness of the ocean.
While he paints the sea, he is painting and depicting human, as well as his own experience and life. His superb painting techniques with the water material give him rich languages to present his own life experience. His paintings are beyond the objective reappearance of the gorgeous oceanic sceneries. His detachment is also reflected on the branches stretching like ghost fingers and swaying with the wind on the desolate beach. These symbolic trees and branches expose kind of deep relationship between man and nature. Human relies on oceans, but surpasses the nature. The ocean under Chen Jian’s brush has human emotions and feelings, indicating the variability and absurdity of history. He likes to use black colors, so that his paintings are very much like that of Goya at his dark age, which displays the gloom and depression of the other world. Surely the use of these black colors is a reflection of Chinese artists’ preference to ink, which, however, basically roots in his understanding of bitterness of life. In fact, Chen Jian’s personalities, like persistence, courage, and silence, are all formed in the bitterness of his life.
In fact, it is not mysterious to define art at all. The riddle is the art itself. Tian Li and Chen Jian do not pursue the trace of art by applying to new materials. Rather, they find the answer to the riddle, the connotation of art with their emotions, thoughts and life. They do not cling to the forms of art or the reform of style of manifestation. They shed lights on life with art itself. They are still using ancient ink colors and middle-aged tempera, as these old style water materials carry aesthetic genes of ancient civilization, and connect culture with culture, and recreate a new vision of life. They love paintings, and worship history and culture as well.
At 22 Yard Street Art District, Beijing
Dec. 20, 2016
中国美协理论委员会副主任、《美术》主编、艺术史学博士 尚辉
艺术史从现代主义到后现代主义对于艺术定义的不断质疑与改写，使何为艺术这个美学命题与创作实践充满了各种可能与创造的挑战。在当代，艺术的终极追问与表现形态像谜一样，不断吸引并激发着艺术家用各自的心智、潜能来破解和论证。
但不论艺术定义这个艺术理论命题的“谜”如何求解、如何增添新的附加值，艺术创作的初心，都离不开对于情感倾诉的表达欲望，离不开对于不平现实的人性投照，离不开由历代大师所积累起来的艺术史文化的能量释放。这也成为来自中国当代最有代表性的画家陈坚和田莉，对于何为艺术所持守的基本立场。在某种意义上，正是由每位富有创造性的艺术家对于艺术的独特解答，才赋予艺术定义以历史的、丰富而完整的内涵。而这种对于艺术命题的终极思考，又是如此地让陈坚与田莉痴迷，艺术成为他们最能照亮人生最能温暖心灵的恋人。
田莉那些小巧的画作给人带来了致深的印象。她的那些弥散着欧洲早期文艺复兴气息的作品，既没有刺激的色块，也没有奇异的官感，而是以一种宁谧恬淡的境界，熨平我们这个有些焦灼狂躁的时代被搅乱了的心绪。像许多女性画家那样，她酷爱画水果、花卉，仿佛那鲜花的娇嫩就是她必须去守护的圣洁，似乎那果实的丰满就是她必然去呵护的母爱。而这些花果都通过水性坦培拉的古技慢慢晕染，温婉而柔和的笔触似潺潺溪泉淌过人们的心田。
她并非去再现那样一枝香醇的果实，也非描摹那样几株鲜嫩的花草，而是降低色彩的饱和度，让那些花果与器皿进入历史时空的存在。她作品的耐人寻味，一方面来自那些略有些变形的物体结构处理，删繁就简，在简约之中凸显形的节奏与意蕴；另一方面来自画面整体形成的调性，那是种因此种技艺而绘就的高级灰调，并在透薄与半透明的色相埋设与覆盖之中，形成直接画法难能抵达的一种古朴而优雅的色彩。她画面的那种简静、单纯、优雅和高贵，从艺术语言来说，显然得益于她以水彩法活化的坦培拉画法；而从艺术主体来说，这些审美品格又无不是她的性格、气质与情思的一种艺术折射。阅读这些画，也就像打开她的心扉，可以尽情披览。
与田莉寄情身边微观之物不同，陈坚让我们看到了奇幻纵横、幽深莫测的大海与天空。他总是将我们的视线引入地平线消失的地方，既让我们随着他的画笔去披阅从荒滩到碧海、从日中到黄昏那些沧海桑田变幻奇特的天光云影，也让我们遥想那海的尽头、那天的边涯的广阔与无忧。与其说陈坚画出了天的灿烂与幽深、绘出了海的宽广与博大，毋宁说他写出了人性的多变与历史的浩瀚。
他是把画海作为人格来描述与塑造的，也是把画海作为他自己的经历与生命来追溯与体验的。因此，他高超的驾驭水性材质的绘画，都当作他展现自己心历的丰富语汇，而超越了对海景旖旎外象的客观再现。这种超越，还体现在他的海景对于那些荒滩上近于幽灵般伸展的随风而舞蹈的树丛枝桠的描绘上，那具有象征意义的树影枝魂，揭示的是人与自然某种更为深刻的关系。人类固然依托于海而生存，但人的存在又超越于自然。也因此，陈坚的海画出的是人的心理与表情，勾出的是历史的无常与荒渺。在陈坚的这些有关大海与人类表情的描写中，他喜爱用黑色，像哥雅黑色时期的画面，呈现出另一个世界的幽微与阴郁。这些黑黢黢的墨色，固然体现了中国文人水墨对于玄色的崇尚，但究其根本，还是源于他对于苦涩人生的感悟。其实，陈坚就是这样在人生的黑夜铸成了他坚毅、勇敢而沉默的性格。
其实，如何定义艺术并不玄妙，“谜”就在艺术本体。田莉、陈坚并没有通过新媒材的实验来追逐艺术进化的轨迹，来破解这个艺术之“谜”，而是用他们的情感、哲思和生命求索艺术的内涵。他们贪恋的不是艺术样式或表现形态的变革，而是艺术本体能够如何烛照人生、温暖生命。他们甚至于依然迷恋远古的水彩、近古的坦培拉，因为这些古风尤存的水性媒材携带了久远文明的审美基因，充满了异质文明嫁接与再造的广阔图景。他们迷恋的已不止于绘画，而是对历史与文化的致敬！
2016年12月20日于北京22院街艺术区
Riddle·Love——The Culture Sincerity of Chen Jian and Tian Li’s Art Exhibition
Deputy director of China Artists Association, Chief Editor of ART, PHD on Art History / Shang Hui
The definition of art has been kept doubting and revising by the Modernism and postmodernism in art history. The artistic proposition like WHAT IS ART makes art creation full of all the possibilities and challenges. In contemporary, the ultimate inquiry about art, in addition to different styles of art manifestation, is like a riddle, which encourages the artists to decode and demonstrate it with their intelligence and potentials.
But no matter how art defines this theoretic proposition, how the answer is proved, what new values are added, the preliminary motivation of art creation should never be apart from the desire for emotional expression, from the projection of human nature into the unsatisfying reality, and from the energy release of culture in art history accumulated by the masters generation by generation. This is the basic standpoint where the artists Chen Jian and Tian Li persist on as the most representative contemporary artists. To some degree, it is thanks to the unique answer given by every creative artist, the definition of art is given historical, rich and complete connotations. And Chen Jian and Tian Li find them so obsessed with this kind of ultimate thinking about the art proposition, so that art has always been the love that enlightens and warms their souls.
Tian Li’s small-sized paintings are very impressive. Those of her works, full of the sense of early European renaissance, are neither painted with exciting color blocks, nor with exotic senses, but with kind of quiet and tranquil state, which comforts our emotions disturbed by the anxiety and depression of the age. Like many other female artist, she is so fascinated in painting fruits and flowers, as if the delicacy of the flowers is the holiness that she has duty to guard, as if the plump of the fruits contains the motherly love that she is born with. The fruits and flowers are all painted with traditional Tempera techniques in the nature of water materials, which make her brushworks as gentle and light as the stream water running through the hearts of people.
She doesn’t just photocopy the fruits or the flowers. Instead, she lowers the degree of saturation of the colors, so as to create kind of historical atmosphere for the fruits and flowers and vessels. Her works are very thought-provoking, first out of the deformation of the structures of the obstacles, ----in which the complicated is simplified and the simplification makes the rhyme and meaning more obvious; second, out of the tone of her paintings, the classic grey created by advanced techniques, unsophisticated and graceful, covering the frame of the painting in the thin and semi lucent way, as is what direct technique can never realize. From the perspective of art language, the simplification and purity and elegance and dignity all attribute to her flexible tempera painting techniques in nature of water materials; but from the perspective of the subjects, the aesthetic taste exactly reflects her personality, temperament and affection of art. To read her paintings is to explore her heart and to appreciate the charm of her mind.
Different from Tian Li, who is obsessed with small objects, Chen Jian presents to us the fantastic and inscrutable ocean and sky. He leads our eyes to the place where the horizon disappears, from desolate beach to the blue sea, from the sun at noon to the dusk. The fluctuation of time, the changes of lights, and the floating of clouds, arouse the wonder of the audience about the other side of the ocean and the end of the sky. It would be better to say that he depicts the variation of human nature and the vast of history, rather than that he just paints the magnificence of sky and inclusiveness of the ocean.
While he paints the sea, he is painting and depicting human, as well as his own experience and life. His superb painting techniques with the water material give him rich languages to present his own life experience. His paintings are beyond the objective reappearance of the gorgeous oceanic sceneries. His detachment is also reflected on the branches stretching like ghost fingers and swaying with the wind on the desolate beach. These symbolic trees and branches expose kind of deep relationship between man and nature. Human relies on oceans, but surpasses the nature. The ocean under Chen Jian’s brush has human emotions and feelings, indicating the variability and absurdity of history. He likes to use black colors, so that his paintings are very much like that of Goya at his dark age, which displays the gloom and depression of the other world. Surely the use of these black colors is a reflection of Chinese artists’ preference to ink, which, however, basically roots in his understanding of bitterness of life. In fact, Chen Jian’s personalities, like persistence, courage, and silence, are all formed in the bitterness of his life.
In fact, it is not mysterious to define art at all. The riddle is the art itself. Tian Li and Chen Jian do not pursue the trace of art by applying to new materials. Rather, they find the answer to the riddle, the connotation of art with their emotions, thoughts and life. They do not cling to the forms of art or the reform of style of manifestation. They shed lights on life with art itself. They are still using ancient ink colors and middle-aged tempera, as these old style water materials carry aesthetic genes of ancient civilization, and connect culture with culture, and recreate a new vision of life. They love paintings, and worship history and culture as well.
At 22 Yard Street Art District, Beijing
Dec. 20, 2016
... 展开
艺术家
学术主持
尚辉
主办单位
悉尼中国文化中心（China Cultural Centre in Sydney） 中外文化交流中心（Center of International Cultural Exchange）
承办单位
签名酒业有限公司（Signature Wine Pty Ltd） 澳大利亚鑫澳投资有限公司（Australia Xin Ao Investment Ltd） 北京赛思博艺文化艺术有限公司（Beijing CICE Boyi Art Co.Ltd）
展览备注
鸣谢单位/Acknowledgement：西泠印社（Xiling Seal Art Society Hangzhou, China）
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