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“觉醒·曼陀罗”许默个展

  • 展览海报
  • 恩典曼陀罗1 许默 50x50cm 综合材料
  • 恩典曼陀罗2 许默 50x60cm 综合材料
  • 恩典曼陀罗3 许默 60x50cm 综合材料
  • 恩典曼陀罗4 许默 90x120cm 综合材料
  • 恩典曼陀罗5 许默 50x50cm 综合材料
  • 恩典曼陀罗6 许默 50x60cm 综合材料
  • 恩典曼陀罗7 许默 90x120cm 综合材料
  • 平衡曼陀罗 许默 50x60cm 综合材料
  • 神圣曼陀罗 许默 50x60cm 综合材料
  • 时间曼陀罗 许默 120x90cm 综合材料
  • 希望曼陀罗1 许默 50x50cm 综合材料
  • 希望曼陀罗2 许默 50x60cm 综合材料
  • 希望曼陀罗3 许默 120x90cm 综合材料
  • 希望曼陀罗4 许默 50x50cm 综合材料
  • 希望曼陀罗5 许默 50x50cm 综合材料
  • 选择曼陀罗1 许默 50x50cm 综合材料
  • 选择曼陀罗2 许默 60x50cm 综合材料
  • 自爱曼陀罗1 许默 50x60cm 综合材料
  • 自爱曼陀罗2 许默 90x120cm 综合材料
  • 自爱曼陀罗3 许默 50x60cm 综合材料
展览时间:
2019-03-23 - 2019-03-29
开幕时间:
2019-03-23 15:00
展览城市:
北京 - 北京
展览机构:
凤凰含章艺术中心
展览地址:
北京市朝阳区798艺术区红石广场凤凰含章艺术中心
策 展 人:
赵羽彤
主办单位:
凤凰含章文化传媒有限公司 听雨(北京)国际文化传媒有限公司 凤凰含章艺术中心
参展人员:
许默
展览备注:
执行策展人:王英
媒体总监:海东
媒体支持:艺美视界网 雅昌艺术网 新浪新闻 搜狐新闻 今日头条 天天快报 在艺艺术 中国书画家网 中国时尚新闻 中艺书画网 华夏经典艺术网 中国艺术资讯网

展览介绍

灵感、热忱结合大量实践工作形成了艺术创作。这些能量汇聚在一起相互协作,使我们能够充分享受艺术作品诉说的语境。艺术家将她用心灵的眼睛看到的景象转换到画面中。最初只是一个想法,一种感觉,一种幻觉变成了有形的,可见的和永久的呈现。

从许默的作品中,可以欣赏到我们所说的这些品质。热情、专注的能量聚集在这些觉醒的曼陀罗周围,邀请我们反思、思考和冥想,甚至可以说我们进入了一种由观察、节奏、和谐和色彩所产生的恍惚状态。

赵羽彤

The Formula for artistic creation is given by a part of inspiration and a lot of work. All This combined with the exaltation and patience will collaborate so that we can enjoy in its Fullness of an artistic work. The Painter will translate it in the area of the fabric, the table was seen with the eyes of the Spirit. A dream becomes a lasting phenomenon and what initially was no more than an idea, a feeling, an illusion becomes tangible, visible and permanent.

The canvases of Xumo with all his Strength we can appreciate these qualities that we are talking about. The Passion and work are gathered around these awaken mandalas to invite us to reflect, to think and meditate, we could even say that we are entering a trance produced by observation, The rhythm, harmony and colors.

Zhao Yutong

关于曼陀罗花
文/赵羽彤

曼陀罗创作有很多种方式。有些人是用一朵花设计的,其中心是Mandala的光源,花瓣向外照射。另一些则含有多种不同颜色、形状和大小的鲜花图像。有些是花卉的艺术复制品,有些是数字设计用花卉的真实照片作为模型。

生命之花是由一系列相互重叠的圆圈组成的,这些圆圈形成了整个生命之花。

曼陀罗也提到了一个神圣的几何学,人们认为它会带来精神的启示。

曼陀罗的一般含义取决于所用的花类型以及曼陀罗是否包含一个或多个曼陀罗花图像。曼陀罗花有些共同的意义是:爱,美,成长,激情,联系,希望。

曼陀罗可以用于冥想,集中注意力,表现个人或精神的成长,展示自己的艺术。

虽然象征性的结合花朵和颜色有不同的解释,但大多数人都认为,曼陀罗的意义往往是个人的。

荣格在回忆录中写道:

我每天早上都在笔记本上画了一幅圆形的小图画,它似乎符合我当时的内心状况。渐渐的,我发现什么是真正的曼陀罗:他自己,整个性格,如果一切圆融归顺,就是和谐。

(卡尔·荣格,回忆、梦想、反思195-196页)

“曼陀罗”在当代西方的重新引入来自瑞士分析心理学家荣格(根据艺术治疗师苏珊娜·芬奇的说法)。当荣格通过自己的创造探索潜意识的时候他发现这个圈子的动机是自发的圆形的图纸反映了他当时的内心状态由于熟悉印度的哲学著作,郑博士采用了“发送”一词来描述他和他的病人制作的这些圆形图画。因此,曼陀罗成为当代意义的一个密切部分。

根据梅里亚姆韦伯斯特在线词典(2008-11-19),曼陀罗(强调第一个音节;梵语字面意义上的“圆”)是印度教和佛教的精神和仪式象征,代表着宇宙。发送者通常也有无线电平衡。

因此,在普通用法中,“曼陀罗”已成为代表形而上或象征性宇宙的任何几何图表、表格或图案的通用术语:宇宙的缩影。

大多数主机的基本形状是一个方形,有四个门,包含一个圆圈和一个中心点。每个门的形状都是T(赫珀,佛教教宗——神圣的几何和艺术)。

荣格先生承认,在个人增长强劲的时候,就有必要进行管理。它的出现表明,一个深刻的重新平衡过程正在精神上展开。这一进程的结果是使个人更加复杂和更加一体化。即使寄信人也被用于佛教(这个词出现在地下室里)。韦迪卡人的仪式也像纳瓦格拉那样使用作为一种实际的思维方式,指挥官也有一个保守的目的,即恢复以前存在的秩序。但是,根据分析师容圭亚那玛丽·路易丝·冯·弗兰兹的说法,发送这些信件的目的也是为了表达和塑造一种尚不存在的东西,一种新的和独特的东西。这意味着,这一进程是一个不断上升的过程,它在不断上升,同时又回到同一点。因此,永恒回归的神话存在于任何一个统治者,甚至最简单的统治者。在一些精神传统中,可以利用这些传统来吸引信徒的注意力,作为一种精神指导工具,建立一个神圣的空间,并帮助沉思和催眠。简单地说,创建有助于稳定、整合和重新安排内部生活。

我们甚至可以说,发送者的象征性性质可以帮助我们成为宇宙的一员,正如心理学家大卫方塔纳所说:“逐渐进入更深的潜意识,最终帮助冥想者体验到最终团结的神秘感,宇宙以多种形式出现”。

(约翰·安克伯格,约翰·韦尔登,《新时代信仰百科全书:新时代的运动》343页)

色即是空,艺术中的一个共同规则也可以适用于绘画,而且应当适用于整个美学领域,这正是艺术家有能力用尽可能少的元素来表达他想要表达的。

许默的作品强调了这一特性,正确地选择了半透明的透亮的画布,除了不可或缺的主题之外,没有其他任何图像,

使作品本身能够在没有艺术家帮助的情况下展示一个随机的图案。我们可以说,大自然模仿大自然的一切所作所为,把它变成艺术。

“但归根结底,这不正是曼陀罗的职责之一吗?”

About flower mandala
Zhao Yutong

Flower mandalas come in many forms. Some are designed with one flower whose center is the focus of the mandala and its petals radiate outward. Others contain multiple images of flowers in a variety of colors, shapes and sizes. While some are artistic replications of flowers, others are digital designs using a real photo of the flower as the base of the mandala. The flower of life mandala consists of a series of overlapping circles that form flowers throughout the mandala. This mandala is also referred to a sacred geometry and is thought to bring spiritual enlightenment.

The overall meaning of a flower mandala depends on the type of flower used and whether the mandala contains one or many images of flowers. Some common meanings for flower mandalas are: Love, Beauty, Growth, Passion, Connection, Hope, Compassion ...

Flower mandalas can be used in meditation to focus attention and manifest personal or spiritual growth, displayed as art or used in coloring books as a form of entertainment or relaxation. They allow ample room for creativity as individual flowers or flower parts can be colored in any hue to create the effect you desire. Colored mandalas make excellent gifts and can be tailored to meet the recipient’s taste or coordinated to match home décor.

Carl Jung in his Memories wrote:

I sketched every morning in a notebook a small circular drawing, ... which seemed to correspond to my inner situation at the time. ... Only gradually did I discover what the mandala really is: ... the Self, the wholeness of the personality, which if all goes well is harmonious.

— Carl Jung, Memories, Dreams, Reflections, pp. 195–196.

The re-introduction of mandalas in the contemporary Western come from the Swiss analytical phsychologist Carl Jung (according to art therapist Susanne F. Fincher).

When Jung was exploring the unconscious through his own making, he observed the motif of the circle spontaneously appearing. The circle drawings reflected his inner state at that moment. Familiarity with the philosophical writings of India prompted Jung to adopt the word "mandala" to describe these circle drawings he and his patients made. This is the way how the mandala become a close part of the contemporary meaning.

According with the Merriam-Webster Online Dictionary (Retrieved 2008-11-19.), a mandala (emphasis on first syllable; Sanskrit, maṇḍala – literally "circle") is a spiritual and ritual symbol in Hinduism and Buddhism, representing the universe. Also mandalas often have radial balance.

So, in common use, "mandala" has become a generic term for any diagram, chart or geometric pattern that represents the cosmos metaphysically or symbolically; a microcosm of the universe.

The basic form of most mandalas is a square with four gates containing a circle with a center point. Each gate is in the general shape of a T. (Kheper,The Buddhist Mandala – Sacred Geometry and Art.)

Jung recognized that the urge to make mandalas emerges during moments of intense personal growth. Their appearance indicates a profound re-balancing process is underway in the psyche. The result of the process is a more complex and better integrated personality. Even if mandalas are also used in Buddhism (the term appears in the Rigveda. Also Vedic rituals use mandalas such as the Navagraha). As a practical way to think the mandala also serves a conservative purpose -namely, to restore a previously existing order. But according to the Jungian analyst Marie- Louise von Franz, mandalas also serves the creative purpose of giving expression and form to something that does not yet exist, something new and unique. That means, the process is that of the ascending spiral, which grows upward while simultaneously returning again and again to the same point. So the eternal return myth is inside any mandalas, even the most simple of them. In various spiritual traditions, mandalas may be employed for focusing attention of practitioners and adepts, as a spiritual guidance tool, for establishing a sacred space and as an aid to meditation and trance induction. In short: Creating mandalas helps stabilize, integrate, and re-order inner life.

We even can far away saying the symbolic nature of mandalas can help us in a way to be one with the universe, as the psychologist David Fontana says:
“to access progressively deeper levels of the unconscious, ultimately assisting the meditator to experience a mystical sense of oneness with the ultimate unity from which the cosmos in all its manifold forms arises." (John Ankerberg, John Weldon, Encyclopedia of New Age Beliefs: The New Age Movement, p. 343)

When less is more. A common rule in the art of drawing that can also be applied to painting and that should apply to all art in general, is precisely that, the ability of the artist to synthesize with the minimum possible elements what he wants to express.

In the work of Xumo this quality is evident, the right choice of a semitransparent, translucent canvas, together with the absence of an image in the background, beyond the indispensable one, allows the work itself to show us a plus random image, without the help of the artist's hand, and this is a revolutionary phrase that was also used for photography. We could say that nature thus imitates what nature has done, transforming it into art.

After all, is not that one of the functions of the mandalas?

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