“未来世界”。
future world
艺术家：姚大武.
artist: yao dawu
馆长：夏克军.
curator：xia kejun
组织者：桥梁艺术空间。
organizer：art bridge gallery
开放：2024 年 3 月 2 日 在 下午 3 点 00 分
opening：mar.2,2024 at 3:00 p.m
展览时间：2024.03.02 - 2024.03.31.
exhibition date:mar.2,2024 — mar.31,2024
展览地点：北京798艺术区桥梁艺术空间D09-1。
venue: d09-1,798 art zone,beijing,art bridge gallery
**支持：艺术中国在艺术嗨艺术厘米腾讯新闻今日头条。
media：art.china.cn /zaiart /hiart space /artcm /qq.com /toutiao.com
姚大武的绘画文本：未来世界的超现实组合
所谓笔墨，是时代之所，因为水墨艺术必须结合两个维度：一方面，它是改写个人一生的历史图画记录，是个人发现自己内心心灵旅程的人生史，甚至是带有前世记忆痕迹的某种情感和感应; 另一方面，面对时代的精神危机，甚至科学技术，赋予了新的反思形式和艺术语言，只有面对生活困境和技术挑战的艺术才能真正表达出来。 前者与艺术家的个人修养和历史厚度有关，后者则与艺术家的人生良知和艺术想象有关。 没有前者，水墨就缺乏空间的深度感，没有后者，墨水就缺乏时间的吸收力; 一个成熟的艺术家，必然会形成一种个性化的时间空间建构。
前途
纸上墨水 上墨**
200x200厘米 2024.
姚大武先生近年来的一些代表作品，尤其是我们于2018年创作的杰作《巴米扬大佛像》，沿着佛教走向中国，寻找早期佛教的脉络和线索，彻底摒弃一切既有的习惯性手法，完全面对超越生活的历史痕迹， 敞开心扉，诉说个体心灵的痕迹，让不同时代的历史影像和个体感知跨越时空并置，素描与绘画，水墨与油画，即兴与拼贴，各种创作手法。水墨画以一种不可思议但内在的诱导组合，彻底吸收了艺术史上的经典图像和世界上的生活痕迹。
最伟大的佛像
纸上墨水 上墨**
370x300厘米 2018.
最新作品《迷茫的时间痕迹》，将现代性的各种意象与生活的危机状态混合在一起，以“鹳”为符号的面具意象，以“鹳”为符号，反向凝视世界，将人性的欲望、当代尖端技术、物理和数学公式、自然花园、室内日常空间、明亮的小丑和马斯克的气球， 用时空旅行和肆无忌惮的想象力，鲜艳的色彩和美妙的线条，构建一个超现实的未来世界，一个儿童乐园式的未来世界。它表达了疫情后对生活“振兴”和“再生”的渴望，赋予水墨艺术一个全新的境界。
混淆的时间轨迹
纸上墨水 上墨**
200x200厘米 2024.
本次展览的两件系列作品，让我们看到了大武先生独特的画面建构逻辑和精神反思的深度，即绘画不仅仅是绘画，水墨画更是回归世界的文本性和历史性，具有跨越时空的综合性，将可见性和可读性结合在内， 转向反思和世界敏感、生活面具和讽刺的图像，并书写自己的生活和世界之书，构建历史绘画文本和超现实世界的图像。姚大武先生对水墨画的突破和贡献，是艺术的第二次诞生。
面具
纸上墨水 上墨**
144x734厘米 2023.
正是从绘画的文本性上，姚大武先生的绘画摆脱了现存的各种现代水墨范式，因为中国古代水墨艺术不是一幅画的创作，而是本来是“互文性”、书画、图像与诗词、装裱与铭文、收藏与互文性等的结合。伴随着个人生活和古代神圣友谊和历史背景的同步书写。这也要求艺术家要有勇气突破自我或自我，进入历史的大文本。 2018年，大武实现了个人酝酿已久的抱负，跟随玄奘前往阿富汗，追溯玄奘大师在西域寻佛的精神之旅，游历古墨古国，重温自然与历史的双重痕迹，在沙漠的干涸与灵魂的滋润之间重建了个体与佛性的生命感， 形成顽强而广阔的新视野，前者面对艰苦的生活环境，后者是化解无数人性幻觉的幻觉，这也导致大武彻底改变了之前水墨画的观念和方法。通过拼贴图像，人类信仰的脚印和各种经典符号以图像学和图像收藏的形式并置在一件作品上，仿佛同时打开了历史的内在画卷和卷轴的形式感。
数字孪生
纸上的墨水和颜色**
200x200厘米 2024.
从此，世界是一本书，心灵的痕迹也是一本书，而绘画就是将生命的痕迹与不同历史、不同场景、不同时空、不同文化、汉字与图像、地图与数学、佛像与宇宙飞船、大地与天空的隐秘痕迹“结合”，无不并置， 使绘画成为世界之书，生命之书，未来之书。
广博的吸收和顽强的步伐，重塑了生活的性格和绘画的风格，也符合我们“混合现代性”时代的处境。 中国近40年的改革开放，使中国从传统的农业文明走向现代化的城市化和个性化，进入了全球网络虚拟时代。艺术也失去了它的价值。
性能和尝试 - 01
expression and experimentation—01
纸上墨水 上墨**
64.5x39cm 2023.
水墨艺术必须激活自身的吸收和文本性，从绘画到文本，以这样的开放性和重新觉醒的生命力，以及对绘画作为文本和世界性的理解，当大武先生面对这三年的疫情危机时，他看到了世界的另一端，即通过飞鹳来暗示生命的病理症状， 给这些动物的生活戴上面具，仿佛人性在过去三年里被迫戴上了面具，叠加了这个生命形象，象征着生命失去了原貌，我们都是蒙面人，我们不得不想象另一种人性。通过将这些鹳与不同的场景叠加在一起，艺术家让我们想起了巴洛克荷兰画家博世的《人间天堂》，这也是一幅寓言式的百科全书式的世界图景，同时将不同生活状态的场景并置在一起。 大武在疫情期间的鹳系列画作，将许多鹳与人类的日常场景并置，看似突兀，实则是为了传达世界的共生感，人类生活与自然生活的不可分割性，而这些无家可归的鹳才是生命的真相！ 无论是鹳与孩子天真无邪的景象并置，还是传统花鸟画与人物画的奇特并置，其实都是对前作的文字表达。
笑声 *笑声
纸上墨水 上墨**
369x248厘米 2023.
一旦艺术家直面世界的混合性与生命的普遍危机，鹳鸟的自然性与人工性的人工性形成强烈的对比，打开了反思的深度，打开了未来的大门。这就是墨他梦寐以求的时间和空间？
鸟岛编年史 - 04”。
notes from bird island—04
纸上墨水 上墨**
38.7x64.2023年为5厘米。
在艺术表现力上，艺术家没有放弃笔墨的微妙和线条的表现力、玉石的触感、色彩的温暖和强烈，传统的精髓以颠倒的方式保留了下来，彻底打破了绘画的局限，回归了孩子的纯真， 并置了科技时代的窗口，尤其最可贵的是，幽默与讽刺相结合的超现实想象，来自内心生活中无比强烈的写作自由感，是人生“重生”的绝妙表达！
大理纪事
纸上墨水 上墨**
39x65厘米 2019.
这让我们对姚大武先生未来的画作充满期待，如此全面而广阔的水墨文字，势必会改变当下水墨画的格局，使其具有当代历史文明的反思，以及对未来科学技术的接纳，当大武寻找玄奘大师的踪迹时， 他的心一直向世界和文明敞开，向着某个超然的维度，它的未来前景和自由想象，将是无限的！
（温夏克君）。
the painting text of yao dawu:
surreal combination of the future world
the so-called ink and brush must keep pace with the times, as ink painting must integrate two dimensions. on one hand, it involves rewriting the historical images and aspirations of individual lives—discovering the life history of inner journeys and even emotions with traces of past memories. on the other hand, facing the spiritual crisis of the era and even scientific and technological advancements, it imparts new reflective forms and artistic languages. only art confronting life's challenges and technological advancements truly expresses authenticity. the artist's individual cultivation and historical depth relate to the former, while the artist's moral conscience and artistic imagination relate to the latter. a mature artist inevitably forms a personalized construction of time and space.
in some recent representative works by mr. yao dawu, especially the monumental piece "bamiyan buddha sculpture chronicle," created in 2018 during his solitary journey along the buddhist route into china, we witness a departure from conventional techniques. he completely confronts the historical traces beyond life, opens his heart, and narrates individual sentiments. different historical images and individual insights from various eras are juxtaposed through sketching, painting, ink, oil, improvisation, and collage—a combination that is both astonishing and rich in internal resonance. ink painting thoroughly absorbs classical images from art history and global life experiences. his recent work, "confused time - traces," constructs a surreal future world with bright colors and vibrant lines, portraying a childlike playground. it expresses the desire for life's "revival" and "regeneration" after the pandemic, endowing ink art with an entirely new realm.
the two series of works in this exhibition allow us to see the unique logic of image construction and profound spiritual reflections by mr. yao dawu. that is, painting is not just painting; ink painting aims to return to the textuality and historicity of the world. it has a comprehensive nature across time and space, integrating visibility and readability, moving towards reflexivity and a sense of the world. the mask-like nature of life and the metaphorical imagery, writing one's own book of life and the world, constructing historical painting texts and surreal world images—yao dawu's breakthroughs and contributions to ink art declare a second birth of art.
starting from the textuality of painting, mr. yao dawu's art breaks free from various existing paradigms of modern ink art. this is because ancient chinese ink art was not about creating a single painting; it was inherently intertextual—combining painting with calligraphy, images with poetry, mounting with inscriptions, and collecting with intertextuality. chinese ink artworks can expand and grow, not limited to a single painting or constrained by a particular style. it requires artists to h**e the courage to break self-boundaries and enter the grand narrative of history. in 2018, dawu realized his long-nurtured aspiration, tr**eling to afghanistan to trace the journey of the master xuanzang seeking enlightenment in the western regions. crossing ancient lands, revisiting the dual traces of nature and history in the dryness of the desert and the moisture of the soul, he reconstructed the connection between individual and buddhahood, forming a resilient and broadened perspective. while the former faced harsh living conditions, the latter dissolved countless illusions of human nature. this led dawu to completely change his previous notions and methods of ink painting, collaging myriad images—human footprints of belief, various classical symbols—in a single artwork, seemingly simultaneously unfolding the intrinsic scroll of history.
from this point onward, the world is a book, and the heart is also a book. painting is about "combining" the different historical traces and hidden sentiments of life—different scenes, times, cultures, chinese characters and images, maps and mathematics, buddha statues and spaceships, earth and sky, all juxtaposed. therefore, painting becomes a book of the world, a book of life, and a book of the future.
the extensive absorption and resilient steps reshape the character of life and the style of painting, corresponding to the contemporary situation of our "mixed modernity." china's reform and opening up over the past 40 years h**e shifted the country from a traditional agricultural civilization to modern urbanization and individualization, entering the globalized era of virtual networks. hence, ink painting is not only about traditional brushwork and individual artistic styles but also involves the spatiotemporal juxtaposition and free tr**ersal of the internet age. however, it cannot be merely visual replication; it must incorporate the unique life paths and heart traces of individuals. without the singular strokes of individuality, art loses its value.
ink art must activate its absorptive and textual nature, shifting from painting to text. with such openness and reawakened vitality, along with an understanding of art as textuality and universality, when facing the pandemic crisis of the past three years, mr. dawu sees another aspect of the world. this is indicated through flying storks, subtly implying the pathology of life by placing masks on these animals. similar to how humanity has been forced to wear masks in the past three years, the overlay of these life images symbolizes the loss of the original face of life. we all wear masks; we must imagine another kind of humanity. by overlaying these storks with different scenes, the artist reminds us of the baroque-era dutch painter bosch's "garden of earthly delights," a satirical encyclopedic world view juxtaposing scenes of different life states. dawu's stork series paintings during the pandemic juxtapose many storks with human daily scenes, seemingly abrupt but actually conveying a sense of symbiosis in the world, emphasizing the inseparability of human and natural life. these homeless storks represent the truth of life! whether it's the juxtaposition of storks with innocent scenes of children or the peculiar juxtaposition of traditional bird-and-flower paintings with figures, it all reflects the previous textual expression in painting.
once an artist directly confronts the complexity of the world and the universal crisis of life, the contrast between the naturalness of storks and the artifice of human intervention creates a profound reflection. it opens up towards the future. dawu juxtaposes different times and compares the climate migration of storks with the self-imprisonment of humans, creating a whimsical metaphorical scene across spacetime. balloons and arks, the marvelous connection between human past and future, the curiosity of the clown, childhood dreams of space tr**el—all are combined in a surreal way. is this not a spacetime that ink art has ever dreamed of?
in terms of artistic expression, the artist has not abandoned the subtlety of brush and the power of lines. the jade-like texture, the warmth and intensity of colors, the reversal of traditional essence are preserved, while completely breaking the constraints of painting genres. returning to the innocence of childhood and h**ing the juxtaposition and tr**ersal sense of the technological era, the most valuable aspect is the surreal imagination combined with humor and satire, emanating from an intense sense of internal life's liberating expression—it's the wonderful expression of life's "second birth"!
this fills us with anticipation for mr. yao dawu's future paintings. such comprehensive and expansive ink art texts will undoubtedly change the current landscape of ink painting, infusing it with contemporary historicity, reflective civilization, and an acceptance of future technology. as dawu searches for the traces of master xuanzang, his inner self has already opened up to the world and civilization, progressing towards some transcendent dimension. the future prospects and boundless imagination will be limitless!
（by xia kejun）
艺术家简介
姚大武.
1963年生于北京。
2006年转入北京美术学院。
2016年调任中国国家画院。
现为中国画院艺术专业委员会委员、研究员。
一流的艺术家。
中国传媒大学博士生导师。
他是中国美术家协会会员。
中国画学会理事。