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“隔岸观火”许伟波作品展

  • 展览海报
  • 《一粒火种爆裂在郁郁葱葱的井冈山 Fire In the Luxuriant Jinggang Mountain》 许伟波 90x58cm 2019年 纸本水墨、金箔 Ink on paper, gold foil
  • 《红尘往事 Red Past》 许伟波 52x34cm 2019年 绢本水墨、银箔 Ink on silk, silver foil
  • 《火书 Fire Book》 许伟波 60x155cm 2018年 纸本水墨 Ink on paper
  • 《火阵 Fire Array》 许伟波 33x50cm 2018年 绢本水墨、金箔 Ink on silk, gold foil
  • 《没有你,哪来的光辉灿烂 There Is No Glory Without You》 许伟波 79x48cm 2018年 绢本水墨 Ink on silk
  • 《劈劈啪啪的歌 Cracking Song》 许伟波 50x74cm 2018年 绢本水墨、金箔 Ink on silk, gold foil
  • 《飘扬着一个火红的真理-星火燎原 A Single Spark Can Start a Prairie Fir》 许伟波 74x110cm 2019年 纸本水墨、金箔 Ink on paper, gold foil
  • 《有的地方热,有的地方凉 Fire And Wind》 许伟波 38.5x40.5cm 2018年 绢本水墨、金箔 Ink on silk, gold foil
展览时间:
2019-04-20 - 2019-05-31
开幕时间:
2019-04-20 15:00
展览城市:
广东 - 广州
展览机构:
逵园艺术馆
展览地址:
广州市越秀区恤孤院路9号
策 展 人:
黄轶群
学术主持:
孙晓枫
主办单位:
逵园艺术馆
参展人员:
许伟波

展览介绍

关于火的意象和象征,中外的典故数不胜数,古希腊神话里有盗火的普罗米修斯,寓含着自我牺牲的崇高感和悲剧感。古中国有凤凰涅槃,代表着苦难与升腾。东西方哲学基础不同,对于火精神性的追索,各有侧重。

中国历史上也有诸多与火有关的故事,如火烧阿房宫,火烧连营,火烧圆明园等,放一把火就一次兴衰更迭,照亮了一个历史拐点,火虽大象无形来去无踪,但“星星之火,可以燎原”却是见证了火的伟大之处。

火的利用,对于人类社会的发展有极大的意义,火改变了茹毛饮血的原始状态,改变了食物结构从而也延长了原始人的寿命,推动社会发展,恩格斯说过:“不管过去牧畜与工具的发明怎么伟大,然而人们最初征服自然的淫威却是发明了火之后。”火是促进人类社会进阶的原力,也因其神秘性,故被神化、文本化与人格化。很难想象一个没有火的世界是何等的蒙昧。

许伟波选择火作为主题和象征,需要火背后的文化系统作为依托,才不至于流于简单化的图式猎奇。手法的多样性源于他在进入对火的象征的研究和表达时的多维考量,他通过多个角度、多种技法和介质捕捉到火那种瞬息的形象。火对于他来说,似乎契合了“似与不似之间”的中国美学追求,在自由发挥和视觉经验中,火是一个绝佳的平衡点。当然,伟波笔下的火还有一种世俗化的吉祥意味——“这个人火了”或是“好好的火一把”。火是旺势也是福德。

有意思的是,水和火本是相克之物,但伟波用水画火,里面的意味又多了某种辩证。

他画他心中之火,神思之火,画火的人须具有洞若观火之力。在他的画前,我们皆是观众与他者,看一场笔墨高蹈的才华之火,抱着隔岸观火的两可心态,未尝不是一种神奇的体验。或许有人真的在等,从火中冲上云霄的凤凰。

是为序!

孙晓枫
2019.03于广州

There are countless Chinese and foreign classical and literary allusions with regard to the imagery and symbol of fire. For instance, the ancient Greek mythology of fire stolen by Prometheus, which contains the sense of sublimity and tragic feeling of self-sacrifice; and the legend of phoenix nirvana, which represents enduring the sufferings and rising from them. The philosophical foundations of the East and the West are different while their pursuit of the spirit of fire has respective focus.

There are also many stories related to fire in Chinese history, such as the burning of the E-Pang Palace, the burning of the barracks in the battle between the Kingdom of Shu Han and the Kingdom of Wu, the burning of the Summer Palace, etc., a big fire broke out and led to a new wave of changes, illuminating a historical turning point. Although fire is elusive and unpredictable, "a single spark can start a prairie fire", the greatness of fire has been witnessed by history.

The use of fire has great significance for the development of human society. Fire has changed the primitive state of eating animals raw, changed human being's food structure and thus prolonged the life of primitive people and promoted social development. Engels said that: "No matter how great the invention of tools and the development of pasturing and livestock raising in the past, the initial conquest of nature by human beings started with the discovery and use of fire." Fire is the original force that promotes the advancement of human society, and because of its mystery, it is deified, textualized and personified. It is hard to imagine how blind a world could be without fire.

Xu Weibo's choice of fire as the theme and symbol of his works requires the support of the cultural system of the image and symbol of fire as the basis, so that to avoid falling in simplistic novelty hunting for diagram. The diversity of techniques stems from his multidimensional considerations in the study and expression of the symbol of fire. He captures the instantaneous image of fire through multiple angles, techniques and media. For him, the fire seems to fit the Chinese aesthetic pursuit of being between "like and not like". In the free play and visual experience, fire is an excellent balance point. Of course, Weibo's fire also bears secular auspicious meanings - prosperity and good fortune,suggesting that "this person will be popular" or "to cause a good sensation".

Interestingly, water and fire are the opposites, but Weibo draws fire with water, and there is more dialectical meaning in it.

He paints the fire in his mind, which is the fire of thoughts, and the person who draws the fire must have the power to see clearly through. In front of his paintings, we are the audience and the other. It is a magical experience to watch "a fire" filled with talent in the state of mind of watching the fire across the river. Maybe there is really someone waiting for the phoenix rushing from the fire up to the clouds.

The above is for the foreword.

Sun Xiaofeng
Mar, 2019, in Guangzhou

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(责任编辑:张媛)

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