自在观展｜真山：笔墨·自在新空间之常设展|中国画|书法作品|傅山|山水画|当代|新空间|真山|绘画|艺术|黄公望

前言

FOREWORD

吴晏如

“众峰如相揖逊，万树相从，如大军领卒，森然有不可犯之色，此写真山之形也。”在此篇《写山水诀》中，黄公望挪用了风水的意象，以 “写真山之形”比喻山水画中隐藏的宇宙秩序。“真山”是道教中一哲学概念，指超越现象界的无形之山。道教认为，一切可见之现象，都只是暂时的、阶段性的，而真正的“真形”，或许是超脱了现象界的“无形”，“真形”也是道教徒修炼的最高境界。因此，“真山”并非指具体的地理山岳，而是指一种精神上的存在，一种形而上的体悟，是与道合真的境界。

傅山在清兵入关后自号“真山”，此举大抵是望见世俗之虚妄而投身无形之大道。在本次展览中，我们挑选多位当代中国画艺术家的作品，他们试以写山之真形，体悟自然、宇宙与生命，力求突破凡有相之物，将自中古之不可知书写于当代语境，开拓当代中国画的界域，其呈现的多样性与创新性，成为传统文化与现今社会相隔千年的对谈。

艺术家们由心出发，用其独特的视角和语言，来探索与表现自己对山水之内、山水之外的理解和态度。其中有延续传统山水画的笔墨技法和构图规则，有突破传统山水画的形式和内容，有融合西方绘画的元素和理念。他们的作品单纯如展现对万千世界的描绘与想象，深刻如诉说世态人情、流风遗韵、万千思绪。如此对中国画的重新诠释和再创造，试图突破形象的束缚，达到意境的自由，同时也无形中反作用于对山水画的视觉重塑。艺术家们转向对内心与真理的探索。不是对传统的否定，而是对当代的贡献。不是对西方的模仿，而是对东方的彰显，这也是中国画的实验精神所在。

柏拉图认为，存在于感官世界中的事物都是不完美和变化的，而存在于理性世界中的理念才是真实和永恒的。这些理念不仅存在于心灵之外，而且构成了一个独立于物质世界的理性世界。通过认识自我与表达世界，反映中国艺术家们在当代社会中力图构建的思想与情感，也展示了他们在跨文化和跨时代中的视野和格局，投身自我与万千世界的连接。它不是一种对自我和世界的简化，而是一种对自我和世界的复杂化。

艺术家们明心见性，运笔墨写心神，神生而形具，遂成此二十余件作品。笔墨Gallery旨在发掘艺术之天籁，与电魂自在里空间融合，以笔墨·自在新空间之常设展为新的开启，期望顺天地之纯性，而游心于真形之极。

"The peaks of the mountains are like greeting each other, and all the trees follow each other, like a great army leading pawns, and there is an unoffendable look in the forest, and this is also the shape of the real mountains." In this essay, "The Skill of Writing Landscape," Huang Gongwang appropriates the imagery of feng shui and uses the metaphor of "writing the shape of the true mountain" to describe the cosmic order hidden in landscape painting. The term "true mountain" is a philosophical concept in Taoism that refers to an invisible mountain that transcends the phenomenal realm. Taoism believes that all visible phenomena are only temporary and phases, while the real "true form" may be the "formlessness" that transcends the phenomenal world, and the "true form" is the highest level of Taoist cultivation. The "true form" is also the highest state of Taoist cultivation. Therefore, the "true mountain" does not refer to specific geographical mountains, but refers to a spiritual existence, a metaphysical realization, is the realm of the truth with the Tao.

Fu Shan called himself "Zhen Shan" after the Qing soldiers entered the country, which was probably an attempt to see the illusions of the world and devote himself to the invisible Way. In this exhibition, we have selected the works of many contemporary Chinese painting artists, who try to write the true form of the mountain, to realize the nature, the universe and the life, and strive to break through all the tangible things, to write the unknowable from the Middle Ages in the contemporary context, and to open up the boundaries of the contemporary Chinese paintings, which present the diversity and creativity, and become the dialogue between the traditional culture and the present society thousands of years apart.

Artists start from the heart and use their unique perspectives and languages to explore and express their understanding and attitudes towards the landscape and beyond. Some of them continue the traditional brush and ink techniques and compositional rules of landscape painting, some of them break through the form and content of traditional landscape painting, and some of them integrate elements and concepts of Western painting. Their works are as simple as depicting and imagining the world, and as profound as telling the world's conditions, customs, and thoughts. Such reinterpretation and re-creation of Chinese painting tries to break through the constraints of image and achieve the freedom of meaning, and at the same time invariably counteracts the visual remodeling of landscape painting. Artists turned to the exploration of heart and truth. Not a rejection of tradition, but a contribution to the contemporary. Not an imitation of the West, but a manifestation of the East, which is the experimental spirit of Chinese painting.

According to Plato, the things that exist in the world of the senses are imperfect and changing, while the ideas that exist in the world of reason are true and eternal. These ideas not only exist outside the mind, but also constitute a rational world independent of the material world. By recognizing the self and expressing the world, it reflects the thoughts and feelings that Chinese artists are trying to construct in contemporary society, and also shows their vision and pattern in cross-culture and cross-era, plunging into the connection between the self and the thousands of worlds. It is not a simplification of the self and the world, but a complication of the self and the world.

The artists are aware of their mind and see their nature, and write their mind with brush and ink. Once the consciousness is formed, the form is also available, and thus these twenty pieces of works are created. The BIMO Gallery aims to explore the naturalness of art and integrate it with the space of Electric Soul ZIZAILI, and the permanent exhibition of BIMO - ZIZAINew Space is a new opening, hoping to follow the purity of naturalness and to roam the heart in the extreme of the true form.

真山

笔墨·自在新空间之常设展

REALMOUNTAIN

A Permanent Exhibition in Bimo·Zizai New Space

出品

朱靖刘张蕾

Produce by Zhu Jing , Liu Zhanglei

策展

吴晏如

Curated by Wu Yanru

视觉

因子