推荐艺术展览（杭州） | 《秘境-王朝刚作品展》即将亮相三清上

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王朝刚，1975年出生于中国重庆，1995年考入四川美术学院油画系本科，1999年考入四川美术学院油画系研究生，2002年获四川美术学院油画系硕士学位并留校任教，2006-2007年，前往法国巴黎第一大学留学访问，2018年考入上海大学上海美术学院博士研究生。现任四川美术学院创作科研处处长、教授、硕士生导师、中国油画学会理事、重庆市油画学会秘书长、重庆市美协油画艺委会办公室主任。作品被中国美术馆、成都市美术馆、四川美术学院、南京有润美术馆、恒大集团等多家机构、企业和私人收藏。

此次展览将集中展出艺术家王朝刚四个主要创作阶段的系列性作品：《中国式风景》系列、《镜花缘》系列、《荼靡》系列和《秘境》系列。

艺术家王朝刚的作品极具戏剧性，具有现实与荒诞、异质与奇幻等多重特征。他以绘画本体语言为切口，用荒诞诙谐的手法，将传统山水、花鸟等图式以律动的笔触和色彩的并列、分割、重组，同时将蜥蜴、神兽等动物置于现实的花盆里或虚拟的舞台上，把中国传统的精神性力量，融汇到当代的视觉理念中，展现出一幅幅绚丽斑斓、抽象荒诞的现实镜像，一幕幕揭示生活本质的悖论情境，从而构筑起一个个与众不同的“言说空间”，表达其自身对当下社会的追问与反思。

近期新作《秘境》系列则在创作方法上发生了跳跃性的变化，采用植物肌理拓印、综合材料创作的形式构建更加斑斓绚丽的神秘境地，将对景的中国式演绎拉回到现实的映照。那些不同形状、大小的叶片所拓印的斑驳印记依稀可辨，空气弥漫其间，光斑闪烁迷离，枯草和枝叶还残留期间，演变为“有生命力”的色彩和笔触，丙烯、油画颜料泼洒流淌于画布。秘境系列制造的迷幻视觉和蛮横强劲突破了传统文人式的内敛和婉转，让血脉更加沸腾，充满时代精神的张力。

秘境 — 王朝刚作品展前言

Land of Mystery - Wang Chaogang Solo Exhibition Foreword

文 / 韩晶 Han Jing

[ 韩晶，1999年就读于四川美术学院美术学（史论专业），2003年留校任教，2016年至今，任四川美术学院《当代美术家》杂志社执行主编；资深艺术媒体人、策展人。]

[ Han Jing, September, 1999, Matriculated in Sichuan Fine Arts Institute, majoring in Art, Art History and Art Criticsm. From 2003 to Now, Working in Contemporary Artists Magazine of SiChuan Fine Arts Institute.From 2016 to Now, Executive Editor-in-chief of Contemporary Artists Magazine, Curator. ]

王朝刚出生于重庆大足。这是一个在中国古代造像和石窟雕刻艺术上都占据着浓墨重彩的地方。在大足北山石刻下长大的他，从小就被自然和人文的双重景观所裹挟。这也许就是他后来的艺术创作，始终对中国传统艺术的符号和形式保持着若即若离姿态的原因。

Being born in Dazu, Chongqing, a district that is significant in terms of ancient Chinese statues and art of cave carvings. Wang Chaogang grew up with the Beishan stone carvings of Dazu and has been surrounded by the dual scenes of nature and cultural resources. Perhaps that became the reason why his following artworks always maintain an ambiguous relationship with symbols and forms of traditional Chinese culture.

王朝刚《夏天的肌理4》 2022年

（The Texture of Summer 4）

布面丙烯油画 70X60cm

©️三清上 Sinceren Art Center

王朝刚《秘境-红》 2021年

（Place of Mystery- The Redness）

布面丙烯油画 210X270cm

©️三清上 Sinceren Art Center

1995年，王朝刚以专业和文化第一名的成绩，考入四川美术学院油画系，开始接受系统的学院式艺术教育。在扎实的写实基础和技法训练之余，也尝试过多媒介、跨领域的艺术探索和实验。这成为他后来艺术创作中很明显的两条轨迹：一方面，他日益精进的绘画语言，在色彩、笔触、结构的细微处不断深入，追求更加娴熟、个性、收放自如的表达，力图回归对绘画本体性问题的研究；另一方面，他不断形成的个人图式，借用流行图像、主观色彩、挪用符号、拼贴的二手图像……对流行文化、消费主义、传统艺术、自然生态的多维度思考，又呈现出观念上的严肃和深刻。这双重轨迹使他的作品具有非常鲜明的个人特质。

In 1995, Wang Chaogang was admitted by painting department of Sichuan Fine Arts Institute with the highest scores in both profession and literacy courses, from there he started the systematic education in academy. Besides training of realism basis and techniques, he has also tried multi-media, interdisciplinary exploration, and concept development. That became two tracks of his later creations. On the one hand, he kept developing color, brushstrokes, and composition to construct a progressive painting language, expressing himself in a more proper and freer way, and aiming at combing back to the study of ontological questions about art. On the other hand, he learned from pop images, subjective colors, borrowed signs and collage of second-hand images to form up his own visual style. The multidimensional thoughts into pop culture, consumerism, traditional art, and natural ecology suggest the seriousness and depth of concept. The dual tracks give his artworks distinctive personal style.

本次展览，集中展出了王朝刚四个主要创作阶段的作品：《中国式风景》、《镜花缘》、《荼靡》和《秘境》系列。

The exhibition centralizes on works from four main stages of Wang Chaogang’s creations, The Chinese Style Landscape, Flowers in the Mirror, Rosa Rubus, and Land of Mystery series.

王朝刚《溪水江山图》NO2 2022年

（The Painting of Landscape with River and Mountains）

布面油画 180X100cm

©️三清上 Sinceren Art Center

这其中，最早的创作可以追溯到1997年的《向日葵》。这是艺术家在大学本科学习阶段的绘画实践、也是开启其个体语言的实验性作品。无论是命名、还是画面构图，都不难对应到梵高的名作《向日葵》。但王朝刚对于这件公众耳熟能详的大师作品、或者说，对于西方艺术史，宣告了自己的态度。我们从王朝刚戏仿解构的《向日葵》中，可以读到西方经典艺术是如何作用于大众的视觉经验的，也能看到静物写生作为基础训练和创作路径在学院艺术中随处可见的影子。更重要的是，在这件作品中，他开始自创了一种抖动扭曲、富有生命形态的笔触——尽管当下回溯，那时的绘画语言还如此生涩、稚嫩，但却是对绘画本体的回归和探讨，充满了旺盛的生命力和情感的律动。后来的《解析-中国花卉》中，艺术家又在此基础上，纳入了中国传统文人画的意趣，通过虚构、抽象、概念化的花卉形态、剧烈冲突的色彩、剥离了现实空间和透视法则的平涂式背景，进一步强调绘画笔法的书写性和精神的主观性，获得了当年油画系学生年展“马利艺术奖学金一等奖”。

Among all the exhibited works, the earliest one is The Sunflowers, which can be traced back to 1997. It is a painting practice from the artist’s undergraduate session and is also one of his representative works from the early stage. Not only from the title, but also from the composition, it is not hard to relate it to Vincent van Gogh’s Sunflowers. However, Wang Chaogang declared his attitude toward this well-known masterpiece, or in other words, the Western art history. We can tell from Wang Chaogang’s simulated Sunflowers the experience of how classic western art visually effects the audiences, as well as still life drawing, which is seen everywhere in academicism art as basic training and path of creation. What is more important, he invented a trembling and swirling brushstroke, which was given a form of life in that piece of work, even if it was still immature and lacked in fluency at that time. It was a return to art itself and a discussion about it. It was full of exuberant vitality and rhythm of emotions. In the following Study-The Chinese Flowers and Plants, the artist brought interest and charm from traditional Chinese scholars painting onto the basis. With more abstract floral forms, the intensive and dramatic color palette, the flatly painted background that gets rid of realistic space and rule of perspective, the calligraphical feature and spiritual subjectivity of brush technique are furtherly emphasized. And in that year, the work has won the first prize of Maries Arts Scholarship in annual exhibition for students from painting department.

王朝刚《梵高梵高NO1》 1997年

（Van Gogh Van Gogh No.1）

布面油画 70×60cm

©️三清上 Sinceren Art Center

王朝刚《解析-中国花卉6》 2001年

（Study-The Chinese Flowers and Plants 6）

布面油画 130×90cm

©️三清上 Sinceren Art Center

《中国式花卉》最终演绎成了《荼蘼》和《镜花缘》的系列作品，语言上既有个性化的延续，保持了娴熟的书写性笔法和表现性张力，色彩表达和形体塑造也更加成熟饱满，张扬中不失沉稳，理性中暗藏激情。就如同画面中伪装性极好的蜥蜴一样，心灵的“小怪兽”被装扮得十分可爱和滑稽。同时，艺术家通过图像、现实、符号、意象、梦境、舞台的叠合冲撞，“导演”出一幕幕在现实和心境、传统与当代穿梭跨越的荒诞华丽的剧。

The Chinese Flowers and Plants was finally presented as Rosa Rubus and Flowers in the Mirror series. There is a continuity of personalized artistic language, the calligraphical feature and expressional tension are carried on, the color application and shape modeling are more distinguishable, they are flamboyant while remain calm, passionate while still rational. Just like lizard with camouflage in those works, the little monster in heart is adorned as a lovely and amusing figure. In the meantime, the artist has directed scenes of surreal and magnificent drama that cross and connect tradition and the present, reality and state of mind through the coincidence and collision of graphics, reality, symbol, images, dream, and stage.

王朝刚《镜花缘-海棠与蜥蜴》 2018年

（Flowers in the Mirror-Begonia and Lizard）

布面油画 180×120cm

©️三清上 Sinceren Art Center

王朝刚《桃花2》 2022年

（The Peach Blossoms 2）

布面油画 80×60cm

©️三清上 Sinceren Art Center

王朝刚《栖息之地》 2022年

（The Habitat）

布面油画 80×60cm

©️三清上 Sinceren Art Center

《中国式风景》则最早可以追溯到2005年。艺术家从中国传统文人画中，提取出山、水、花、石等经典元素，并把它们符号化，意向化，以非常主观的色彩和抖动的笔触在画面上呈现；同时，也许是2006年到法国巴黎第一大学作访问学者的经历，让他对西方工业文明和流行文化的图式有了更直观的感受，王朝刚开始把西方当代平面广告式的条纹图案与传统中国山水进行并置。中国古代书画的写意、纵情、大开大合与西方工业文明的严谨、冷静、一丝不苟，在同一画面上形成了巨大的反差、冲突和张力。值得一提的是，这种工业化、装饰性极强的色彩条纹，被机械化、模块化的复制，贯穿了艺术家后来的许多创作。在数码技术带来全新视觉体验的当下，我们再反过去看，这些条纹图案和电子图像时代偶然破损的图片文件或刻意打码的画面格式，有着异曲同工之妙。可以说，王朝刚很早就敏锐地捕捉到了NFT时代来临之际全新的审美经验。

The earliest work of The Chinese Style Landscape can be traced back to 2005. The artist extracted classic elements such as mountains, water, flowers, rocks out of traditional Chinese scholars painting and made them symbolized. They were painted with extremely subjective colors and trembling brushstrokes. In the meantime, his visit to Panthéon-Sorbonne University in France in 2006 gave him a more direct perception of images in pop culture of western industrial civilization. That was when Wang Chaogang started the juxtaposition of stripes imagery of contemporary western graphics and traditional Chinese landscape. The freehand brushes, bold and vivid expression, shift between loose and tight in ancient Chinese calligraphy and painting form up huge contrast, conflict and tension with the exactness, detachment, and meticulousness of western industrial civilization. It is necessary to mention that such industrialized and decorative color stripes were then mechanically duplicated as a stereotype in massive works of the artist. When we look back from today with a completely new visual experience brought by digital technology, the imagery of stripes shares equal meaning with the damaged picture files or intentionally pixelated picture format, but with different approaches. We can say that Wang Chaogang has captured the updated aesthetic experience with his sensitivity since so much earlier when the time of NFT was just about to come.

王朝刚《中国式风景NO3》 2005年

（The Chinese Style Landscape No.3）

布面油画 70×60cm

©️三清上 Sinceren Art Center

王朝刚《解析-中国山水之十一》 2005年

（Study-The Chinese Landscape 11）

布面油画 120×90cm

©️三清上 Sinceren Art Center

《秘境》既是本次展览的主题，也是王朝刚最新系列作品。也许是席卷全球的新冠疫情所引发的对自然、生态、环境、生存的思考；也许是对于笔触、肌理的探索需要找到新的表达路径，王朝刚近年的创作，开始利用身边唾手可得的植物，用它们的根茎花叶等，以拓印、拼贴的方式作为绘画元素。一方面，综合材料及现成物的引入，无论是在观念上、还是视觉上，都增加了画面的丰富结构，在随机和偶然中呈现艺术表达的可能性；另一方面，作品进一步剥离了具象的图案和对象，以更纯粹的形式、色彩、肌理，再次回到艺术创作本身；与此同时，王朝刚过往对中国传统艺术的借用，也以一种更加隐秘、含蓄、寓言的方式匿藏起来。例如，用松针拓印的机理，对应了“松”在中国传统文化中所隐喻的高洁品质和精神内涵。

Land of Mystery is the subject of this exhibition, as well as the title of Wang Chaogang’s latest series of works. Probably is because of the thoughts about nature, ecology, environment, and survival under pandemic, or is because the exploration of brushstrokes and texture need a new path of expression. Wang Chaogang has been painted plants and flora that are readily available, using their roots, stems, flowers and leaves to make monotype or collages as painting elements. For one thing the introduction of mixed media and ready-made objects has increased the richness of image construction both conceptually and visually, showing possibilities of artistic expression within randomness and occasionality. For another thing the works take a further step away from the figurative image and subject, they come back to the creation itself once again with pure forms, colors, and textures. Meanwhile, Wang Chaogang has concealed the borrow and deconstruction of traditional Chinese art in a more obscure and metaphorical way. For instance, the monotype of pine tree texture responds to the metaphorized noble quality and spiritual connotation of pine trees in traditional Chinese culture.

本次展览，也是《秘境》系列第一次完整性、大规模的出现在公众视野。

This exhibition is also the first complete and large-scale display of Land of Mystery series in front of the public.

王朝刚《野山》2 2021年

（The Wild Mountains 2）

布面丙烯油画 150×200cm

©️三清上 Sinceren Art Center

王朝刚《显露出来的宝藏》 2022年

（The Revealed Treasures）

布面油画 100×100cm

©️三清上 Sinceren Art Center

作为这一代中国学院派绘画的代表性艺术家和依然坚持架上艺术的践行者，王朝刚看似坚持着最传统的绘画语言，但实际已经打破了既往媒介对于艺术创作的界定和限制；既秉承了油画源自西方最基本的法则和技巧、又在中国传统文化中吸取经验和养分，但同时突破了中西方二元对立、非此即彼的壁垒，有更多元和包容的艺术态度。

As the representative artist of Chinese academism painting and a practitioner of easel art of our generation, it seems that Wang Chaogang insists working with the most traditional painting language. In fact, however, he has already stepped beyond the boundary and limitation of media to creation. He inherits not only the most basic painting technique and skills from the West, but also the experiences and nutrition from traditional Chinese culture. At the same time, he breaks the binary opposition of Chinese and western art, and the rule of either this or that, having a more diverse and opened attitude toward arts.

王朝刚《红色的忧伤》 2021年

（The Red Sorrow）

布面丙烯油画 100×80cm

王朝刚《水塘边的野草》 2021年

（Weeds by the Pond）

布面丙烯油画 150×180cm

木心先生曾说：作品是艺术家公开的隐私。所以，试图去解读一件艺术作品，就是走进和窥探一个艺术家精神和内心世界的旅程。那通常是一个充满修饰、隐喻、复杂又丰富的秘境。希望本次展览，能为公众打开一条通往王朝刚艺术秘境的路径。

Mr. Muxin has once said, artwork is a privacy of artist that is transparent to the public. Therefore, the process of interpreting an artwork is also a journey of walking into and peeking at the inner and spiritual world of an artist, which is usually a complex and rich land of mystery and is filled with embellishments and metaphors. We hope that the exhibition would pave a path toward Wang Chaogang’s land of mystery for the public.

关于艺术家

About the artist

王朝刚