“未來世界”。
future world
藝術家：姚大武.
artist: yao dawu
館長：夏克軍.
curator：xia kejun
組織者：橋梁藝術空間。
organizer：art bridge gallery
開放：2024 年 3 月 2 日 在 下午 3 點 00 分
opening：mar.2,2024 at 3:00 p.m
展覽時間：2024.03.02 - 2024.03.31.
exhibition date:mar.2,2024 — mar.31,2024
展覽地點：北京798藝術區橋梁藝術空間D09-1。
venue: d09-1,798 art zone,beijing,art bridge gallery
**支援：藝術中國在藝術嗨藝術厘公尺騰訊新聞今日頭條。
media：art.china.cn /zaiart /hiart space /artcm /qq.com /toutiao.com
姚大武的繪畫文字：未來世界的超現實組合
所謂筆墨，是時代之所，因為水墨藝術必須結合兩個維度：一方面，它是改寫個人一生的歷史圖畫記錄，是個人發現自己內心心靈旅程的人生史，甚至是帶有前世記憶痕跡的某種情感和感應; 另一方面，面對時代的精神危機，甚至科學技術，賦予了新的反思形式和藝術語言，只有面對生活困境和技術挑戰的藝術才能真正表達出來。 前者與藝術家的個人修養和歷史厚度有關，後者則與藝術家的人生良知和藝術想象有關。 沒有前者，水墨就缺乏空間的深度感，沒有後者，墨水就缺乏時間的吸收力; 乙個成熟的藝術家，必然會形成一種個性化的時間空間建構。
前途
紙上墨水 上墨**
200x200厘公尺 2024.
姚大武先生近年來的一些代表作品，尤其是我們於2018年創作的傑作《巴公尺揚大佛像》，沿著佛教走向中國，尋找早期佛教的脈絡和線索，徹底摒棄一切既有的習慣性手法，完全面對超越生活的歷史痕跡， 敞開心扉，訴說個體心靈的痕跡，讓不同時代的歷史影像和個體感知跨越時空並置，素描與繪畫，水墨與油畫，即興與拼貼，各種創作手法。水墨畫以一種不可思議但內在的誘導組合，徹底吸收了藝術史上的經典影象和世界上的生活痕跡。
最偉大的佛像
紙上墨水 上墨**
370x300厘公尺 2018.
最新作品《迷茫的時間痕跡》，將現代性的各種意象與生活的危機狀態混合在一起，以“鸛”為符號的面具意象，以“鸛”為符號，反向凝視世界，將人性的慾望、當代尖端技術、物理和數學公式、自然花園、室內日常空間、明亮的小丑和馬斯克的氣球， 用時空旅行和肆無忌憚的想象力，鮮豔的色彩和美妙的線條，構建乙個超現實的未來世界，乙個兒童樂園式的未來世界。它表達了疫情後對生活“振興”和“再生”的渴望，賦予水墨藝術乙個全新的境界。
混淆的時間軌跡
紙上墨水 上墨**
200x200厘公尺 2024.
本次展覽的兩件系列作品，讓我們看到了大武先生獨特的畫面建構邏輯和精神反思的深度，即繪畫不僅僅是繪畫，水墨畫更是回歸世界的文本性和歷史性，具有跨越時空的綜合性，將可見性和可讀性結合在內， 轉向反思和世界敏感、生活面具和諷刺的影象，並書寫自己的生活和世界之書，構建歷史繪畫文字和超現實世界的影象。姚大武先生對水墨畫的突破和貢獻，是藝術的第二次誕生。
面具
紙上墨水 上墨**
144x734厘公尺 2023.
正是從繪畫的文本性上，姚大武先生的繪畫擺脫了現存的各種現代水墨正規化，因為中國古代水墨藝術不是一幅畫的創作，而是本來是“互文性”、書畫、影象與詩詞、裝裱與銘文、收藏與互文性等的結合。伴隨著個人生活和古代神聖友誼和歷史背景的同步書寫。這也要求藝術家要有勇氣突破自我或自我，進入歷史的大文字。 2018年，大武實現了個人醞釀已久的抱負，跟隨玄奘前往阿富汗，追溯玄奘大師在西域尋佛的精神之旅，遊歷古墨古國，重溫自然與歷史的雙重痕跡，在沙漠的乾涸與靈魂的滋潤之間重建了個體與佛性的生命感， 形成頑強而廣闊的新視野，前者面對艱苦的生活環境，後者是化解無數人性幻覺的幻覺，這也導致大武徹底改變了之前水墨畫的觀念和方法。通過拼貼影象，人類信仰的腳印和各種經典符號以影象學和影象收藏的形式並置在一件作品上，彷彿同時開啟了歷史的內在畫卷和卷軸的形式感。
數字孿生
紙上的墨水和顏色**
200x200厘公尺 2024.
從此，世界是一本書，心靈的痕跡也是一本書，而繪畫就是將生命的痕跡與不同歷史、不同場景、不同時空、不同文化、漢字與影象、地圖與數學、佛像與宇宙飛船、大地與天空的隱秘痕跡“結合”，無不並置， 使繪畫成為世界之書，生命之書，未來之書。
廣博的吸收和頑強的步伐，重塑了生活的性格和繪畫的風格，也符合我們“混合現代性”時代的處境。 中國近40年的改革開放，使中國從傳統的農業文明走向現代化的城市化和個性化，進入了全球網路虛擬時代。藝術也失去了它的價值。
效能和嘗試 - 01
expression and experimentation—01
紙上墨水 上墨**
64.5x39cm 2023.
水墨藝術必須啟用自身的吸收和文本性，從繪畫到文字，以這樣的開放性和重新覺醒的生命力，以及對繪畫作為文字和世界性的理解，當大武先生面對這三年的疫情危機時，他看到了世界的另一端，即通過飛鸛來暗示生命的病理症狀， 給這些動物的生活戴上面具，彷彿人性在過去三年裡被迫戴上了面具，疊加了這個生命形象，象徵著生命失去了原貌，我們都是蒙面人，我們不得不想象另一種人性。通過將這些鸛與不同的場景疊加在一起，藝術家讓我們想起了巴洛克荷蘭畫家博世的《人間天堂》，這也是一幅寓言式的百科全書式的世界圖景，同時將不同生活狀態的場景並置在一起。 大武在疫情期間的鸛系列畫作，將許多鸛與人類的日常場景並置，看似突兀，實則是為了傳達世界的共生感，人類生活與自然生活的不可分割性，而這些無家可歸的鸛才是生命的真相！ 無論是鸛與孩子天真無邪的景象並置，還是傳統花鳥畫與人物畫的奇特並置，其實都是對前作的文字表達。
笑聲 *笑聲
紙上墨水 上墨**
369x248厘公尺 2023.
一旦藝術家直面世界的混合性與生命的普遍危機，鸛鳥的自然性與人工性的人工性形成強烈的對比，開啟了反思的深度，開啟了未來的大門。這就是墨他夢寐以求的時間和空間？
鳥島編年史 - 04”。
notes from bird island—04
紙上墨水 上墨**
38.7x64.2023年為5厘公尺。
在藝術表現力上，藝術家沒有放棄筆墨的微妙和線條的表現力、玉石的觸感、色彩的溫暖和強烈，傳統的精髓以顛倒的方式保留了下來，徹底打破了繪畫的侷限，回歸了孩子的純真， 並置了科技時代的視窗，尤其最可貴的是，幽默與諷刺相結合的超現實想象，來自內心生活中無比強烈的寫作自由感，是人生“重生”的絕妙表達！
大理紀事
紙上墨水 上墨**
39x65厘公尺 2019.
這讓我們對姚大武先生未來的畫作充滿期待，如此全面而廣闊的水墨文字，勢必會改變當下水墨畫的格局，使其具有當代歷史文明的反思，以及對未來科學技術的接納，當大武尋找玄奘大師的蹤跡時， 他的心一直向世界和文明敞開，向著某個超然的維度，它的未來前景和自由想象，將是無限的！
（溫夏克君）。
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）
藝術家簡介
姚大武.
1963年生於北京。
2006年轉入北京美術學院。
2016年調任中國國家畫院。
現為中國畫院藝術專業委員會委員、研究員。
一流的藝術家。
中國傳媒大學博士生導師。
他是中國美術家協會會員。
中國畫學會理事。