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作者:徐聚一2011-10-08 17:17:15 來源:藝術(shù)家提供
2006年初冬，陳家泠先生應(yīng)邀來《藝術(shù)跟蹤》畫室畫油畫。
起因是本刊當(dāng)時想在2007年主辦“藝術(shù)跟蹤第一回大展”。從已跟蹤的當(dāng)代藝術(shù)名家和國畫名家中各選十位適合者，由當(dāng)代藝術(shù)名家展出他以國畫為材料的作品，而由國畫名家展出他以油畫為材料的作品。這一想法幾乎得到了藝術(shù)家們的一致贊同。但此后至今，特別是當(dāng)代藝術(shù)名家們國內(nèi)外的個展聯(lián)展接連不斷，實已無暇來專門對待本刊的大展，所以且讓大展暫緩登場可也。將來也許當(dāng)代藝術(shù)名家畫國畫與國畫名家畫油畫可以分開展覽，甚至還可分成個展。我到現(xiàn)在仍以為這個策展思路有可行的價值，因為雖然也有類似的想法乃至展覽，實際效果卻并不理想。大概是去年2007，李小山先生策劃了一次當(dāng)代藝術(shù)家的紙上作品展，其中除尚揚、方力鈞等幾位的作品之外，其它當(dāng)代藝術(shù)名家的作品大多是紙上的素描或稿子——這與宣紙和中國墨肯定不可能是一樣的效果。
當(dāng)時在本刊專門租用的畫室中，除了陳先生畫成了油畫，還有尚揚先生畫成了國畫——全部作品已發(fā)表于《藝術(shù)跟蹤》第11、12兩期，其中部分作品還參加過兩個聯(lián)展。
陳先生以油畫的材料來創(chuàng)作尚屬首次。在試過兩張小畫之后，他馬上進(jìn)入狀態(tài)。在一旁權(quán)充助手的我，分明感覺到了一位成熟藝術(shù)家在運用并不熟悉的手法時所驟然集結(jié)的那股力量。我相信是藝術(shù)家數(shù)十年藝術(shù)的、生活的經(jīng)驗，加上他獨一無二的藝術(shù)才華，才綜匯成這一股力量。
現(xiàn)在收入這本“讀圖記”里的陳氏作品，沒有諸如主義、觀念、風(fēng)格之類的困惑；沒有或中或西或中西結(jié)合之類的疑慮；有的是沉靜篤定、圓潤蒼勁和流暢又不失澀味的線條；有的是輕盈靈活又內(nèi)斂到位的構(gòu)圖；有的是陳氏作品一貫的空朦通暢、祥和清遠(yuǎn)與陰柔淡雅的意蘊。
同樣是這些作品的形式與手法，如果讓一位就算是才華出眾的初出茅廬者來駕御，可能也很難奏效，因為其中線條、構(gòu)圖與意蘊諸節(jié)，非陳氏這樣的藝術(shù)老手則不易到位。
陳氏這批作品，雖然并不在乎主義、觀念與風(fēng)格等各式各樣的說法，卻仍不失當(dāng)代意義。乍看仍是他一貫的面貌，但其實卻平添了一種他紙面作品所不易見到的淡又濃、輕又重、空又實等等的感覺。雖然仍是他一向來的內(nèi)容，卻因材料與手法的變換而大有新意。這也再次證明畫什么題材并不重要，重要的還是怎樣來畫。而所謂當(dāng)代意義，不僅激憤批判現(xiàn)實，且有舒暢頌揚自然，陳氏作品當(dāng)屬后者。我個人甚至以為，先不必計較什么當(dāng)代意義，只要是好畫就成了。
陳氏這批作品，還可與形式上相近者有得一比。有不少此類的相近作品，雖然于形式一節(jié)頗為用心，卻終難脫寫生之拘，又因傳統(tǒng)藝術(shù)修為之淺，無論用筆意蘊與構(gòu)圖章法，不免輕佻。而陳氏之畫更多出于傳統(tǒng)，雖亦曾不少寫生，卻能脫于寫生之限而臻符號組合之境，無論用筆意蘊與構(gòu)圖章法，更多渾厚沉著與酣暢淋漓。所以我以為陳氏的這批作品堪稱杰出。是為序。
2008年5月于北京天起樓南窗下
Foreword
XuJuYi
The early winter in 2006, Mr.Chen Jialing came to the studio of "Track Art" on invitation.
The cause of that was we managed to host "The 1st Art Exhibition by Track Art." 10 artists will be chosen from each group of famous contemporary art and traditional art, then contemporary artists exhibite their works that created by traditional ink and paper, and traditional artists display works by oil on canvas. The idea received almost unanimous support from artists. But since then, especially the famous contemporary artists had a busy schedule on exhibitions at home and abroad, so the exhibition has to be suspended. Perhaps the works by contemporary and traditional artists can be separated from exhibitions, and even can be solo exhibition. I still believe till now this idea is feasible on value, although there are similar ideas and exhibitions, the final results are not satisfactory. Last year, Mr. Li Xiaoshan curated an exhibition of contemporary works on paper,except Shang yang, Fang Lijun and a few artists, most works were sketches and drafts - it certainly didn't make any sense to Chinese ink and rice paper.
Mr.Chen had produced his oil painting in studio and meanwhile Chinese painting by Shang Yang, all works had been published in "Track Art" edition 11and 12. Some of these works have also participated in two exhibitions.
It's the first time for Mr.Chen to create oil on canvas.he tried two small paintings and immediately found his way. As his assistant, I clearly noticed the force to use the unfamiliar practices. I believed that was from decades experience of life and his unparalleled artistic talents.
Chen's works selected in the book "Reading Image", there is no concern of concept and style ; no worry of Western or Oriental, only left us the lines of stability and smoothness; flexible and proper layout; Chen's work has always been airy and harmony with the connotation of feminine and elegant.
Even if the same forms and techniques on the painting, it's hardlyly to handle by an inexperienced talent, since the lines, layout and intention, only the veteran Mr.Chen can reach.
Although Chen's works have noting to do with concepts and styles. The works are likely the same look at first glance, but it shows more sense which is hard to find on paper works, such as light and strong, gentle and bold, empty and solid. It looks fresh in different materials and techniques. This is further evidence of what painting subject is not important, more important is how to draw it. The so-called contemporary significance, not only criticize the reality indignantly and praise the free nature, while Chen's works define as the latter. Personally, I even believe that, no need to care for what contemporary significance is, as long as it's a good painting.
We also had seen many other similar works in forms, it's still hard to succeed in the traditional meaning and layout, inevitably frivolous. Chen's paintings proceed from tradition at large,he could go beyond the limit of sketch and attain the condition of assembling symbols. Therefore, I think the works of Mr.Chen are master piece.
May 2008, Beijing
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