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展览丨游目骋怀——当代山水观摩展
2018-05-09

展览丨游目骋怀——当代山水观摩展

 

  展览内容

   

  游目骋怀——当代山水观摩展

  策展人:贾云涛

  展览日期:

  2018年5月15日 – 6月15日  

  开放时间:

  每周二至周日  14:00 – 18:00

  展览地点:

  嘉德艺术中心 B2层(B2 空间)

  北京市东城区王府井大街1号

  Eye-catching and Mind-opening

  Contemporary Landscape

  Ink Painting Exhibition

  Curator: Jia Yuntao

  Date: 15 May 2018 - 15 June 2018

  Hours: 2 pm - 6 pm ( Closed on Mondays )

  Venue: 

  B2 Gallery, Guardian Art Center,

  No.1 Wangfujing Street

  Dongcheng District, Beijing

展览丨游目骋怀——当代山水观摩展

【展览海报】

 

  参展艺术家

   

展览丨游目骋怀——当代山水观摩展

 

  序言   

  横墨数尺,百里之迴

  手卷是中国画的一种装裱形式,可以握在手中展开阅览,因其长度和宽幅的特点,又称为“长卷”或“横卷”。手卷最初的原型来自竹、木简,中国古代的书、图都是卷装的形式。从装裱形制看,手卷是最为复杂的一种装裱形式。一卷书画从打开各部分依次为:引首、前隔水、画心、后隔水、尾纸。画心当然就是手卷的主体,其他的部分最初的装裱目的是用来保护画心的,之后渐渐发展成画心的衬托。引首的题字,尾纸的跋文,都成为一件手卷的有机部分。传世越久的作品,包含的信息量也就越丰富,随着流传或再次的装帧,尾纸不断延长,甚至隔水处也题满赏鉴文字。一件的作品的完成只是初生,在鉴赏的目光中它不断丰富,继续成长。

  手卷最大的特点体现在富有延展性的画面格局。一幅手卷的表现内容、经营位置都是以此为创作基础,而恰当的内容,得宜的构图又可以更好的凸显这种格局的美妙之处。“竖画三寸,当千仞之高,横墨数尺,体百里之迥”,这是山水长卷。元代巨匠黄公望的不朽名作《富春山居图》就是以长卷的形式描绘富春江的百里山川。画卷展开只见起首一座高岗,继而平坡沙渚,再接层峦叠嶂,之后一路平缓,结尾处又是一座山岭陡立,与卷首呼应。整幅作品中,起伏的山形自成段落,水势贯穿始终,景物疏密有致,起承转合。使观者如行舟江上,目随景移,景随人迁。

  长卷的形式还可以配合绘画的叙事功能。东晋顾恺之的《洛神赋图》,以曹植的《洛神赋》为蓝本,将曹植与洛神女神相遇的故事娓娓道来,将富有想象力的文字描述转换优美的图像表现。五代顾闳中的《韩熙载夜宴图》更是在叙事功能的基础上增添了纪实性,画卷分几段将一场贵族的夜宴表现的淋漓尽致。这样的叙事长卷还有明代的《明宣宗行乐图》、清代的《康熙南巡图》等。著名的《清明上河图》,既是风俗画也是人物画,画面景物之多样,细节之丰富,刻画之精妙,再无能及。

  画面是画家内心的影像投射,长卷作品的创作过程中融入了时间的线性参与。之后,画卷每一次的展开,都将是这段时光的重放。观赏者的目光随着画卷流动,一如创作者笔端物象的徐徐呈现。古人在欣赏手卷时,通常都是展开一部分,随看随卷。现在即便是在展厅中画卷全部展开,观赏者也因视角所限,只能随着画卷一段段欣赏。因此与挂轴和册页的一览无余不同,观赏手卷只能是流动性的,观赏的过程也必然是流动的。观赏者的体验既包括了对眼前所见的品阅,也带着对之前画面的回味和余想,更多的可能还是对后续的期待和想象。这一刻,时间或许变得不那么重要了。

  Several Feet of Horizontal Strokes 

  Makes the Width of a Hundred Miles

  Handscroll, a form of mounting for traditional Chinese painting, allows the viewers to hold both ends of the painting and unfold it for viewing. Due to its features of length and width, it is also called "long scroll" or "lateral scroll." Handscroll was originated from bamboo or wood slips, and ancient books and paintings of China were all in the form of scrolls. Handscroll is the most complicated mounting form. When unfolded, a scroll of painting or calligraphy work will show the following parts in order: frontispiece, front vertical strip, artwork, back vertical strip and colophon panel. The artwork is certainly the main body of the handscroll, and the other parts were originally designated for protecting the artwork and then gradually developed into setoffs of the artwork. The inscription on the frontispiece and the postscript on the colophon panel have both become organic components of a handscroll. The older the work is, the richer information it contains. With the handscroll being passed down or remounted repeatedly, the colophon panel continuously extends, and even the vertical strips are filled with text of appreciation. The creation of an artwork is just the beginning of its life. It will be continuously enriched in the eyes of appreciation and then keep growing.

  The greatest feature of handscroll is the expandable layout. The content and composition of a handscroll are both based on this feature; and proper content and reasonable composition in turn can better highlight the charm of such layout. "Several inches of vertical strokes create the height of a thousand meters; several feet of horizontal strokes makes the width of a hundred miles", which describes a landscape long scroll. The immortal masterpiece Dwelling in the Fuchun Mountains of Huang Gongwang, the great master of the Yuan Dynasty just portrays the scenery along the Fuchun River and Fuchun mountains for hundreds of miles in the form of a long scroll. After unfolding the scroll, you can first see a high hill, then gentle slopes and sandy islets, which are followed by continuous mountains, and then gentle landforms and finallyanother steep mountain echoing the front.In this work, wavy mountains naturally form a paragraph of their own, the river runs throughout the full width, and the sceneries are perfectly arranged and linked.It makes the viewer feel rowing on the river, enjoying the sceneries that seem to move with the viewers.

  Long scroll can also utilize the narrative function of the painting. The Painting of Goddess Luo Rhapsody by Gu Kaizhi in the Eastern Jin Dynasty, based on Cao Zhi's Goddess Luo Rhapsody, charmingly tells the encounter of Cao Zhi and the Goddess Luo by converting imaginative text into graceful image. The Painting of Han Xizai's Dinner Party by Gu Hongzhong in the Five Dynasties adds the actuality to the narrative function and gives full expression of a noble dinner in several sections. Such narrative long scrolls also include the Amusement of Emperor Xuande in the Ming Dynasty and Emperor Kangxi's Southern Inspection Tour in the Qing Dynasty, etc. The famous Riverside Scene at Qingming Festival is both a genre painting and a figure painting. It is incomparable in terms of the diversity of sceneries, the richness of details and the refinement of description.

  The scenes are the imagery projection of the artist's inner state, and the linear participation of time is incorporated in the creation of the long scroll work. Afterwards, every unfolding of the scroll is a replay of such period. The viewer's eyes move along with the scroll, just like the creations of the artist displayed slowly. When appreciating a handscroll, the ancient people often unfold part of the scroll first and then the rest gradually. Today, even if a scroll is fully unfolded in the exhibition hall, the viewers can only enjoy the scroll section for section due to limited angle of view. Therefore, unlike hanging scrolls and albums that allow viewers to see the full pictures, handscrolls can only be viewed in a flowing manner, and so the appreciation must also be a flowing process. The viewer's experience includes both the appreciation of what they are watching now and the lingering thoughts about the previous scenes, and, more possibly, the expectation and imagination of the following works. At this moment, perhaps, time is not that important. 

展览丨游目骋怀——当代山水观摩展

【嘉德艺术中心夜景】

 

展览丨游目骋怀——当代山水观摩展

联络人:贾云涛  吴晨明

展   洽:(86-10)85928276

邮   箱:innovate@cguardian.com

Contact: Jia Yuntao  Wu Chenming

Tel.: (86-10)85928276

Email: innovate@cguardian.com