胡志穎

胡志穎

胡志穎(1959—),湖南湘陰人。中國重要的當代藝術家。被西方人稱為“終極的真正藝術家,具有強烈的個人特性和強悍的不妥協的個性。”

基本介紹

  • 中文名:胡志穎
  • 外文名:Hu Zhiying
  • 別名:玉令
  • 國籍:中國
  • 民族:漢
  • 出生地:江西省贛州市
  • 出生日期:1959年11月12日
  • 職業美術家
  • 畢業院校廣州美術學院國畫系
  • 主要成就:作品由德國路德維希博物館藏。
    獲德國“2010國際棕櫚藝術獎”
  • 代表作品:《天風海雨》,《原子》,《內典錄》,《白月》
個人簡介,主要展覽,作品分類,相關評論,

個人簡介

胡志穎
胡志穎
Hu Zhiying
著名當代藝術
1959年生,教授,博士,中國美術家協會會員。
1977~1981年就讀江西師範學院藝術系美術專業,1987~1990年就讀廣州美術學院中國畫專業研究生,1999~2002年就讀暨南大學文藝學專業博士研究生。現任教於華南師範大學美術學院。
紐約專業刊物《畫廊與工作室》(Gallery & Studio)報導展覽、刊登《重造培根——女子角斗》等作品,並發表美國著名批評家邁科馬克(Ed McCormack)文章《中國畫家胡志穎營造他的培根架構》;紐約專業刊物《畫廊指南》(Gallery Guide)刊登《天文Ⅰ》作品和發布展覽新聞;《美國藝術》(Art in America)發布在紐約舉辦展覽新聞。《紐約藝術雜誌》》(NY Arts Magazine)刊登《內典錄》等作品,並發表美國著名批評家亞當·唐納德(Adam Donald)的評論。《國際藝術博覽會報》(Art Fairs International Newspaper)介紹其藝術。
作品由路德維希博物館收藏。
個人畫冊《在幻象鎖鏈的彼岸》(中國環球文化出版社出版,2010)。
個人畫冊《胡志穎作品集》(海風出版社出版,2011)。
除藝術創作外,尚有專著《西方當代藝術狀態》(人民美術出版社出版,2003)、《文學彼岸性研究》(中國社會科學出版社出版,2003)。
胡志穎

主要展覽

上個世紀九十年代參加以下重要當代藝術展覽:
1996 德國藝術機構組織的當代藝術展“China-Aktuelles aus 15 Ateliers”(德國慕尼黑);
1996 China-Aktuelles aus 15 Ateliers, Munich, Germany
1996 瑞士“李特曼文化計畫”之“CHINA NOW!”(瑞士巴塞爾);
1996CHINA NOW! Basel, Switzerland
1997 “PLAT FORM I”(荷蘭阿姆斯特丹);
1997 "PLAT FORM", Amsterdam
1998 “CHINA NOW!”(日本東京、大坂等五個城市);
1998CHINA NOW! Tokyo, Osaka, etc., five cities, Japan
1999 油畫《古董》和系列水墨畫《內典錄》,在法國國家電視二台專題節目“Transculturelles in Canton’1999” (“1999年廣州跨文化藝術節”,由法國駐廣州總領事館策劃,國 際知名製片人Robert Cahen製作)中介紹(巴黎)。
1999 His oil painting Antiqueand ink and wash painting series Buddhist Scriptureswere introduced by the world famous producer Robert Cahen in Paris on French National TV 2 in the special program “Transculturelles in Canton 1999”.
本世紀主要展覽及獲獎:
2001 胡志穎作品展,中央美術學院美術館;
2001 Art Exhibition of Hu Zhiying, the ArtGallery of CentralAcademy of Fine Arts, Beijing
2005 胡志穎繪畫作品展,上海大學美術學院;
2005 Painting Exhibition of Hu Zhiying, College of Fine Arts of ShanghaiUniversity, Shanghai
2008 胡志穎作品展,義大利Piziarte畫廊;
2008 Art Exhibition of Hu Zhiying, Galleria Piziarte, Teramo, Italy
2009 無常與放任——胡志穎 · 黃少垠繪畫展,789-K 藝術空間,北京;
2009 Transiency and Indulge——Hu Zhiying o Huang Shaoyin’s Drawing, 798-K SPACE, Beijing
2009 胡志穎藝術展,紐約國際美術館;
2009 Art Exhibition of Hu Zhiying, WorldFineArtGallery, New York
2010 季節與色彩,紐約寫實主義畫廊;
2010 Season and Color, Realism Gallery, New York
胡志穎
2010 大型回顧展 “在幻象鎖鏈的彼岸——胡志穎繪畫作品1989—2009”,牆美術館,北京;
2010 Beyond the Chains of Illusion——Hu Zhiying’s Paintings (1989-2009), the WallArt Museum, Beijing
2010 獲德國萊比錫“2010國際棕櫚藝術獎”之“成就獎”。
2010 Winner Palm Art Award2 0 1 0, Leipzig, Germany
2011 透明的牆:中印藝術展,對比窗(上海“藝術門集團”)。
2011 Window in the Wall:India and China – Imaginary Conversations, Pearl Lam Fine Art, Shanghai
2012 藝術·前沿——當代藝術邀請展,宋莊美術館,北京
2012 ART FRONTIER Contemporary Art Exhibition, SongzhuangArt Museum, Beijing
2013 第55屆威尼斯雙年展·平行展,義大利威尼斯
2013 55th Venice Biennale · Parallel Exhibition, Venice, Italy
2013 創造的故事國際展,紐約城市畫廊,紐約
2013 The Story of the Creative International Exhibition, NYC gallery, New York

作品分類

相關評論

中外批評家評胡志穎的藝術
Chinese and Foreign Critics on Hu Zhiying’s Art
個體的深度性和獨立性才能真正地表現自由,因為自由永遠不是從外部來的,它是內在的生成,它來自自由的品質本身。所以,從這個意義上講,自由永遠不屬於流行大眾,而只屬於孤獨的行者。不加入時尚,始終默默地在如何書寫和視覺化這個終極關懷方面雙向探索,胡志穎就是其中的一位。
——高名潞(《孤獨行者的自由》,海風出版社,2011)
It is an individual’s profoundness and independence of this kind that make it possible to truly express freedom, for freedom never comes from external things but instead it comes from within, and from free quality itself. In this sense, therefore, freedom never belongs to common people who follow the trend but only belongs to lonely passengers. They have the common characteristic of keeping away from fashion and making two way exploration in writing about and visualizing ultimate concern. Hu Zhiying is one of them.
——Gao Minglu (“Freedom of a Lonely Passenger”, Haifeng Publish House, 2011)
胡志穎命題奇異,思路幽玄,很有一些特立獨行的遊俠色彩。
——趙一凡(《文學彼岸性研究·序》,中國社會科學出版社,2003)
Hu Zhiying, with his unusual propositions and profound and abstruse trains of thought, is something of an independently minded roving brave.
——Zhao Yifan (“Preface to On the Paramitality in Literature”,China Social Sciences Press, 2003)
胡志穎正是重視於意識的過程,以意識的過程來表述文化的狀態。於是,在他的畫面,意識一層層地展開,文化的影像層疊顯現出來,追問、懷疑、撞擊成了文化意識本身。
——王璜生(《江蘇畫刊》,1997,江蘇美術出版社)
Hu Zhiying thinks highly of the process of consciousness and represents the state of culture with it. So in his paintings, consciousness is unfolded layer by layer and cultural images emerged; questioning, suspecting and colliding become the cultural consciousness itself.
——Wang Huangsheng (Jiangsu Art Monthly, 1997, Jiangsu Fine Arts Publishing House)
80年代中期之後的中國美術對歐美現代藝術的吸收與仿效並不是按歐美現代藝術發展軌跡而複述的,而是在“同時性”中效制“歷時性”的行動,在這一行動中所展示的樣式即是多元同發的……胡志穎的《偽望遠鏡》分別在多元的探索中為今日中國畫壇所矚目與肯定。
——張晴(《新中國美術文獻博物館》,2001,黑龍江教育出版社)
Chinese art after the mid-1980s does not repeat the course of development of European and American modern art when absorbing and imitating modern art of Europe and America. Instead, it takes an action of imitating “diachronic” things in a “synchronic” way, and diversified modes of art are manifested simultaneously in this action….Hu Zhiying’s Pseudo-Telescope, for its manifold exploration, becomes the focus of public attention and is approved in the painting circles of China today.
——Zhang Qing (Museum of Art Documents in New China, 2001, Heilongjiang Education Press)
閱讀胡志穎的作品給人一種東方虛化境界的感受,而他對整個畫面的光滑的處理又提醒我們面對一個物質的實存空間。畫布、畫板以及材料的色彩、形態、質感把我們所體驗到的虛化境界懸隔在物質空間之外。
——趙冰(《當代藝術》,1993,湖南美術出版社)
When beholding Hu Zhiying’s work, we are impressed by its etherealness peculiar to Oriental art, while we are reminded by the smooth effect of the whole painting that we are confronted with a substantial space. The canvas, the panel and the colors, forms and textures of materials exclude the etherealness we have sensed from the material space.
——Zhao Bing (Contemporary Art, 1993, Hunan Fine Arts Publishing House)
胡志穎的作品形式新穎、含義多元而蘊涵著永恆、莊嚴之美,從而構築了一種“高貴的世界”(馬爾庫塞語),十分難得。他的藝術就是他自己的性靈獨白。
胡志穎的作品的意義不僅僅是對中西方藝術的融合,他對經典藝術的引用不是簡單的引用,更重要的是對經典的東西方藝術(包括傳統和現代)的重構,即在東方和西方的偉大藝術成就基礎上重造藝術,創造出屬於他自己的藝術。
——青宇
With their novel style, diversified implications and eternal and imposing beauty, Hu Zhiying’s works, very valuable, constitute a “noble world” (Herbert Marcuse). His art is a monologue of his own soul.
The significance of Hu Zhiying’s art lies not only in his combination of Chinese and Western art. He does not make use of classical art in a simple way. What is more important is the reconstruction of classical Eastern and Western art (including traditional and modern),i.e., he reshapes art on the basis of the great artistic achievements of the East and the West and creates his own art.
——Qing Yu
在胡志穎的作品中,我們似乎感到他個人文化影像的一層層剝離和呈現、一次次拆解和重組,而同時,這種文化影象卻又不僅僅是個人的意義,而是一次次地指向更廣闊的地域和文化空間,對重大的文化構成提出既具有理性又充滿激情的質疑。
——王璜生(《文化權力的無常——解讀胡志穎》,江蘇美術出版社)
In Hu Zhiying’s works, it seems that we could sense his uncovering and representing, dissembling and re-grouping of his personal cultural images again and again. While at the same time, these cultural images not only have personal significance, but also refer to wider regional and cultural spaces, proposed rational and willful questions of important cultural structures.
——Wang Huangsheng (The Transiency of Cultural Power – Reading Hu Zhiying, JiangsuFine Arts Publishing House)
胡志穎的作品均為綜合材料,材料的具象性正是在它自身與其所負載的藝術含義之間,脫離直接關聯的變異中失卻其具象性質,而受限於藝術的自律性。媒介材料的具體物質性與其在藝術作品中所呈現的抽象性之間又產生一種懸隔。是靠作為與現實世界等量齊觀的藝術現實本身還是靠對現實世界的詮釋,恐怕是難以解決的,也許這是不必糾纏的一個形而上問題,切入其語言言說的句詞之中進行分辯也許是最終的目的。
——《中國當代美術家圖鑑》(京華出版社,1995)
Mixed media is used in Hu Zhiying’s works without exception. The lack of direct link between the materials and the artistic meanings they carry deprives the materials of their figurative nature and subjects them to the autonomy of art. A gap arises between the concrete materiality of the materials and the abstractness they manifest in works of art. It is difficult, I am afraid, to decide whether we should base our understanding on the artistic reality itself on a par with the real world or on the explanation of the real world. Perhaps this is a metaphysical problem unnecessary for us to be involved in. Maybe our final aim is to analyse the context of the artistic language.
——PictorialHandbook of Contemporary Artists in China(Jinghua Publishing House, 1995)
胡志穎運用中國傳統題材,並以難以想像的特殊技巧將耀眼的紅色和黃色恰如其分地協調在巨幅畫面上。其藝術是通過多元美學觀念直率地闡說畫中的象徵意義。
——[歐洲]巴巴拉·羅曼(Barbara Rollmann)
Hu Zhiying uses traditional subject matters of China and harmonizes dazzling red and yellow appropriately on his huge paintings with an unimaginable special technique. His art lies in the straightforward expounding of the symbolic meanings in his paintings through diversified aesthetic concepts.
——Barbara Rollmann (Europe)
胡志穎的畫面運用金粉、銀粉和中國大漆形成閃光的效果,而這種效果在中國藝術中是最容易引起爭議的。但這正是他藝術之所在:利用外來文化同時又瓦解它使之滲透到自己的傳統之中。
——[德] 薩比內·阿德勒(Sabine Adler)
The use of gold powder, silver powder and Chinese lacquer in Hu Zhiying’s paintings brings about a shining effect, an effect easiest to arouse controversy in Chinese art. However, this is exactly where his art lies: making use of foreign cultures but at the same time disintegrating them and incorporating them into his own tradition.
—— Sabine Adler (Switzerland)
胡志穎的藝術蘊藏著他對中國古典文化的深刻眷戀,他將這種眷戀融合西方當代藝術的奇異方式體現其個人化的實驗不為時尚所左右。
——[德] 克勞迪亞·泰布勒(Claudia Teibler)
Hu Zhiying’s deep affection for Chinese classical culture is contained in his art. The unusual ways in which he combines this affection with Western contemporary art indicate that his individualized experiment is not influenced by any fashion.
——Claudia Teibler (Austria)
胡志穎的藝術把經典的傳統西方藝術如塞尚和諸如安塞爾·亞當斯這種西方現代攝影巧妙地交織於經典的中國藝術形式之中。
——[歐洲] 馮·彼得·米夏茨克(Von Peter Michalzik)
Hu Zhiying’s art skillfully interweaves classical and traditional Western art such as Cezanne’s and Western modern photography such as Ansel Adams’s with classical Chinese art form.
——Von Peter Michalzik (Europe)
胡志穎的繪畫方式是解構中西方藝術的不同元素而后綜合之。胡志穎用西方的材料表現中國藝術的因素並體現饒有個性的平整的表面效果,從而使其藝術富於複合的現代意義。
——[德] 英格·林德曼(Inge Lindemann)
Hu Zhiying’s mode of painting lies in the disintegrating and subsequent integrating of different elements of Chinese and Western art. Hu Zhiying expresses elements of Chinese art with Western materials and enhances the distinct flat effect of the painting surface so that his art is full of multiple modern meanings.
——Inge Lindemann (Germany)
胡志穎的畫面常常是多種物象的綜合,作為物象的背景與背景中的物象往往交替互換。胡志穎的作品真正例示了他所謂的“文化反差”具體而又抽象的感知範圍,當人們意欲追溯這種感知範圍的歷史原型時,當人們意欲追究其母題與主題的聯繫時,卻又很容易陷入畫中不可名狀的虛化的夢境之中。其作品中呈現的那些具體物質材料把一種古典色調與多元並置的圖象所表現的文化反差置於精緻的物質性感受當中,從而體驗其多種懸隔感。複雜的材料、變幻的圖象、光潔如鏡的表面與我們身處其中瞬息萬變、充滿奇光異彩的世界正相暗合,而從浮光之下又透出與此相隔的幽冥神秘的境界。
——《十五位中國當代藝術家工作室》
Hu Zhiying’s works illustrate “cultural contrast” as an abstract and concrete field of knowledge. When the viewer tries to discern the origin of this field and identify the relationship between the themes of art and their prototypes, they are likely to lose themselves in the dreamlike realm of the paintings. In my easel paintings on canvas or board, apart from conventional materials like ink, oil and acrylic colors, I apply gold and silver power, Chinese Varnish. These materials, expressing an archaic mood in a multitude of imagines, add substance to the “cultural contrast”. The various materials, the diversity of images and the glossy surface are easily identifiable with the bright yet unstable reality of the world in which we live, and at the same time, imply a dark, mysterious world lurking beneath the dazzling surface.
——《China-Aktuelles aus 15 Ateliers》
因為胡志穎對兩幅畫中的形象都進行了比培根通常所做的更大的意象性解構,結果形成了這樣一種構圖,甚至儘管保留了培根的整體的構圖衝擊力和基調,實際上卻似乎引用了朱利安·施納貝爾(Julian Schnabel)的抽象性的某些方面。……胡志穎對多元文化的潮流作出重要的說明,在這股潮流中,將往昔、現今和未來的畫家們聯繫在一起的影響、靈感與創新相交融。
——[美] 麥科馬克(Ed McCormack,《中國畫家胡志穎以培根贏得聲望》,原載《畫廊與工作室》2008年11/12月號與2009年1月號合刊,紐約
For Hu Zhiying has subjected the figures in both canvases to considerably more imagistic deconstruction than Bacon usually did, creating a composition that, in fact, appears to reference certain aspects of Julian Schnabel’s abstractions even while retaining the overall compositional thrust and mood of Bacon…Hu Zhiying makes a major statement about the multicultural currents of cross-fertilization of influence, inspiration and innovation that unite painters of the past, present, and future.
——Ed McCormack: Chinese Painter Hu Zhiying Makes His Bones with Bacon (Gallery & Studio, Nov/Dec 2008-Jan 2009, New York)
從胡志穎1989年的早期紙上水墨作品到他最近的向培根表示敬意的作品,他一直不墨守成規,而是不斷嘗試將西方與東方影響的精髓融合起來。他從未有過機械的做法,聯想有時是微妙的或者是明顯的,但總是充滿想像力。
From Hu Zhiying’s early inks on paper in 1989 to his recent homage to Bacon, he has always travelled off the beaten path, but in a continuous attempt to combine the essence of western and eastern influences. He never had a mechanistic approach, and the associations can be subtle or obvious, but always imaginative.
在我看來,胡志穎是終極的真正的藝術家,具有強烈的個人特性和強悍的不妥協的個性。他具有強烈的深思熟慮的方向意識,不過他總會使觀者感到驚奇不已。
To me, Hu Zhiying is the ultimate authentic artist, with a fierce individualism and a powerful no-compromise personality. He has a strong well thought-out sense of direction, although he will always surprise the viewers.
胡志穎的風格和藝術生涯顯然沒有大部分新潮流中的當代藝術(包括中國與西方)的特徵,而與那些最終留下巨大的歷史遺產的大師要接近得多。
In all that, Hu Zhiying’s style and career are clearly uncharacteristic of that of most of the new wave of contemporary art (both Chinese and Western) and much closer to those who have ended up leaving a huge historical legacy.
——[法] 迪迪埃·赫希(Didier Hirsch,《一位非傳統的個人主義藝術家》)
——Didier Hirsch: An Artist as Unconventional Personality:
On Hu Zhiying
胡志穎與當下流行的風尚不一樣。這位藝術家是就自己所關心的某種問題,長期用一種個人化的方式創作作品。他的作品可能關注的是更深層次的一些文化哲學問題。
——吳鴻(《胡志穎·黃少垠作品座談會紀要》)
Hu Zhiying does not follow the currently prevailing practice. He has produced works for a long time in an individualized way with an eye to certain problems he concerns himself with. He may have paid close attention in his works to some cultural and philosophical problems at a deeper level.
——Wu Hong (A Summary of the Symposium on Works by Hu Zhiying and Huang Shaoyin)
胡志穎個人按自己的需要,只按他自己某個階段的內心需要,不管不顧,去做他的作品。從這個意義上,這倒符合藝術家的天性,也符合藝術的需要。
——賈方舟(《胡志穎·黃少垠作品座談會紀要》)
Hu Zhiying has produced his works according to his personal need, or rather, according only to his internal need in a certain stage, regardless of other things. In this sense, this accords with the natural instinct of an artist, and also with the requirement of art.
——Jia Fangzhou (“A Summary of the Symposium on Works by Hu Zhiying and Huang Shaoyin”)
胡志穎是“無常”,實際上是要追求一種自由,沒有常理,追求一種更高的境界“”。“無常”更多的是一種“道”的境界。比放任的世俗的自由還要高。“無常”是要超越“理”而達到“道”的境界。
胡志穎80年代的作品在美術史的互文關係中是很有意義的,是很有代表性的,很強的。
——鄒躍進(《胡志穎·黃少垠作品座談會紀要》)
For Hu Zhiying, “transiency” means a pursuit of freedom without any convention, a pursuit of a higher state, the state of Tao. To a great extent, “transiency” is a state of Tao, even higher than unrestrained worldly freedom. “Transiency” means surpassing “reason” and reaching the state of “Tao”.
Hu Zhiying’s works of the 1980s are significant in the intertextual relations of art history. They are representative and powerful.
——Zou Yuejin (“A Summary of the Symposium on Works by Hu Zhiying and Huang Shaoyin”)
胡志穎的作品,有很多空間的疊合,有中國的空間感,也有西畫的元素,畫面趣味很複雜、難以言表,在畫面營造多重意思。
——高嶺(《胡志穎·黃少垠作品座談會紀要》)
There are overlaps of space in Hu Zhiying’s works. There is sense of space peculiar to Chinese art and also elements of Western painting. His paintings have indescribable and complex taste, and multiple meanings are created in them.
——Gao Ling (“A Summary of the Symposium on Works by Hu Zhiying and Huang Shaoyin”)
西方的超現實主義傳統,把人的創造力放在一種沒有約束的境域,強調一種絕對的創造力,而不是一種相對的創造力,我在胡志穎的作品中看到了這樣一種東西。加上他畫面空間上的錯置,它既非透視的也非故意反透視法的,實際上是沒有一個固定視點的,他不是為了刻畫什麼、再現什麼、或者主觀意義上表達什麼,繪畫對他而言實際上是一種探尋的過程,在這種過程,才利用了一些符號。我特別感興趣是他運用材料的講究,從材料上來看,他喜歡用大漆、硍朱,這讓我想起中國漢代的漆藝,具有一種歷史的深度,漆的多層效果給人一種肅穆、凝固的感覺。
——鮑棟(《胡志穎·黃少垠作品座談會紀要》)
In Western surrealist tradition, the human creativity is free from any restraint, and absolute rather than relative creativity is emphasized. Such is the thing that I have sensed in Hu Zhiying’s works. With dislocation of things in the space, his paintings are something that neither conforms to perspective nor goes against it intentionally. In fact, there is not a fixed point of view. He does not portray or represent anything, or express anything in subjective sense. For him, painting is in fact a process of exploration, and signs are made use of in this process. I am particularly interested in his exquisite use of materials. In terms of materials, he likes to use lacquer and vermilion which remind me of the lacquer art of the Han dynasty in China. They have a historical depth. The effect of multi-layered lacquer strikes one as solemn and solidified.
——Bao Dong (“A Summary of the Symposium on Works by Hu Zhiying and Huang Shaoyin”)
胡志穎是一位以文化哲學思考及體驗為創作動力的藝術家。他既不關注社會現實的表層變化,也不關心個體心理及經驗的表達,在二十多年的創作中,他唯一強調的是對終極命題的探尋,以及對某種可能的超然精神的無限接近。在這樣的驅動力下,他的創作在各個階段調節了水墨、大漆、油彩等各種媒介特性,也調動了不同文化中的諸多符號、形象與象徵,通過對不同文化系統中的表征片段的錯置與再造,暗示著文化的無常屬性與幻象本質,並在這表征的裂縫中閃現著對存在的詩性直觀。
“在幻象鎖鏈的彼岸”是法蘭克福學派哲學家艾里克·弗洛姆的著作,在這本書中,他把弗洛伊德的無意識學說與馬克思的意識形態學說聯繫起來,重新反思了人類自由的可能性。在這裡,我們借用這本書的標題來概括胡志穎的繪畫語言與藝術境界:通過一系列的視覺符號、形象及象徵的可見的“鏈條”來抵達某種不可見的實體,一種無法被文化所定義,無法由經驗所感知,亦不可被語言所觸及的存在本真。
——鮑棟(《在幻象鎖鏈的彼岸》)
Hu Zhiying is an artist with cultural philosophical meditation and experiences as his motivation for creation. He does not concern the changes on the surface of social reality, and also not the expression of individual psychology and experience. During his 20 years creation, the only thing he emphasized is the exploration of ultimate theme and the infinite approach to some possible transcendent spirit. Under such a driving force, he adjusted the characteristics of various mediums like ink and wash, lacquer, oil and others in his different phases of creation, and he also adopted many symbols, images and indications from various cultures, to imply the transient nature and illusory essence of culture through dislocation and re-creation of representation fragments in different culture systems, his poetic intuition is also reflected out in the crack of these representations.
“Beyond the Chains of Illusion” is a work of Erich Fromm, a philosopher of FrankfurtSchool. In this book, the author connected the theory of Unconsciousness by Freud and the ideological theory of Marx, re-reflected the possibility of human freedom. Here, we conclude Hu Zhiying’s painting language and art realm with the title of this book: to reach some invisible substance through the visible “chains” of a series of visual symbols, images and indications, which is the authenticity of existence that cannot be defined by culture, perceived by experience or touched by language.
——Bao Dong (“Beyond the Chains of Illusion”)
就胡志穎把形式主義問題追溯到康德哲學的思路而言,無疑是深刻的,他抓住了形式主義的要害。並且,這也避免了那種把“水墨”放到文化身份問題中去討論的文化保守主義思路,提供了一個開放地面對“水墨”問題的普遍性視角。
——鮑棟《胡志穎的崇高美學》
Concerning Hu Zhiying’s idea of tracing issues of formalism back to philosophy of Kant, we should say that he is profound and he had taken up the vital point of formalism. Moreover, it also avoided the cultural conservative ideas that discuss “water and ink” in the question of cultural identity, he provided a universal perspective to face “water and ink” problem openly.
——Bao Dong (“The Sublime Aesthetics of Hu Zhiying”)
胡志穎這些山水,很奇異,很怪誕,很斑斕,而且很神秘,氣象很大。跟東方的語境和我們傳統的文脈有關係,而且,在裡面又強化了它的形而上。
——楊衛(《胡志穎·黃少垠作品座談會紀要》)
These landscapes under Hu Zhiying’s brush are very unusual, weird, gorgeous, mysterious and magnificent. They have something to do with the Eastern context and our tradition, and metaphysical elements are enhanced in them.
——Yang Wei (“A Summary of the Symposium on Works by Hu Zhiying and Huang Shaoyin”)
胡志穎的藝術與中國當下風格化、樣式化的藝術不同。他對東西方藝術的領悟都非常深,因此他自如駕馭東西繪畫技巧表達特有的縱橫古今的思維和情緒,讓我們感受到特殊的心理欲求與體驗,其繪畫呈現的視覺感受新異而刺激,富於張力,先打眼,後撞心,動人心旌。
看胡志穎的繪畫,你可以感覺到他的思路、他的理念、他所表現的風格非常獨特、非常自我。他的心理世界可能不是一般人所能進入和理解的。這使得他的藝術很另類、很特殊。他是一個特別變化型的人,你很難把握他,他不是那種恆定不變的藝術家。他的思維是很藝術的,氣質也是很藝術的。
胡志穎是一位特立獨行並富于思想的當代藝術家。
——梅墨生(《我所認識的胡志穎》)
Hu Zhiying’s art is different from the stylized and patternized art in present China. His profound comprehension of both Eastern and Western art enables Hu Zhiying to operate with Eastern and Western techniques of painting with ease in expressing specific ideas and feelings relating to ancient and modern times. In his works we can sense a special psychological desire and experience. His paintings are novel, stimulating and full of tension. They first catch the eye and then touch the heart of the viewer.
Beholding Hu Zhiying’s paintings, you may feel that his train of thought, his ideas and his style are all very distinctive and individualized. His psychological world may be not accessible or comprehensible by ordinary people. This makes his art alternative and special. He is a man in such constant change that you cannot comprehend him easily. He is not an artist adhering to a constant type. He is artistic both in thinking and in temperament.
Hu Zhiying is an independently minded and thoughtful contemporary artist.
——Mei Mosheng (“Hu Zhiying As I Know Him”)
胡志穎匯集了中國傳統藝術與西方的折衷主義風格,以表現他所稱的“文化反差”。他將中國的傳統象徵手段和風景與西方藝術不同風格的元素相結合,創造出不僅僅是藝術的事物——相當於現實世界的事物。胡志穎使用了中國大漆、銀粉、金粉與傳統材料水墨、油彩和丙烯,因此能夠創造一種深入心靈的獨特風格。
在他的《內典錄之一》中,胡志穎用絹上丙烯、墨和木炭,創建了一個不祥、恐怖和美的深邃世界。《內典錄之一》令人聯想起他的帶有攀援的“藤蔓”和風景風格的《天文之一》和《天文之三》,看上去像我們日常所見事物的神秘的底側。在這幅畫中,胡志穎向我們表明了他的文化反差——光明的世界與既可與生活並立同樣也可與藝術並立的神秘的彼岸世界。
——[美]亞當·唐納德(Adam Donald,《紐約藝術雜誌》)
Illustrating what he calls the “cultural contrast,” Hu Zhiying brings together traditional Chinese art with the eclectic styles of the West. He combines traditional Chinese symbolism and landscape with the elements of the various styles of Western art all coming together to create something more than art—something equal to the real world. Using Chinese varnish, silver, and gold powder with traditional ink, oils and acrylics, Zhiying is able to create a unique style that pierces into the soul.
In his Buddhist Scriptures IZhiying, using acrylic, ink and charcoal on silk, creates a depth that is ominous, forbidding, and beautiful. Reminiscent of his Astronomy Iand III with the climbing “vines” and landscape style, Buddhist Scriptures Ⅰlooks like the mysterious underside of what we see everyday. In this painting Zhiying shows us his cultural contrast—the bright world with the mysterious other side that can stand along side life and art equally.
——Adam Donald: On Hu Zhiying (NY Arts magazine, 2009)
正是因為胡志穎的這種不懈探索精神,驅使他一次次地超越自我,將自己的繪畫藝術不斷引向歷史的縱深,到後來與更大的文化背景聯繫在了一起。這可以理解為胡志穎對現實世界的超越,已經不再是簡單地關心現實問題,而是遨遊於浩瀚汪洋的歷史大海,將自我的現實納入到了文化傳統的悠悠長河之中。
——楊衛(《一個人的海市蜃樓——關於胡志穎和他的藝術》)
It is his continuous curiosity that drives him to surpass himself again and again, to lead his own painting into the depth of history to connect with a larger cultural background subsequently. It can be read that when he tried to surpass the real world, Hu didn’t simply care for practical problems any more, but swam in the boundless sea, and brought his own personal reality into the long cultural tradition.
——Yang Wei: The Mirage for a Single Person– About Hu Zhiying and His Art
中國傳統藝術的童子功和刻骨銘心的文化眷戀,時代際遇和藝術探索為之打開的西方藝術視界,讓志穎或許不像許多為風潮所動的前衛藝術家那樣,深切地感受到一種影響其內心世界和藝術觀的文化張力。構成這種張力的兩個文化感受源,對他來說都是那般的博大雄厚。他無法在自己的內心處調解所感受到的彼此的差異性衝突,似乎也難以把自己的靈魂單純地寄託於任何一方。
我更願意將志穎的藝術追求和價值實現置於這樣一個時代場域和這樣一種人文訴求來解讀,以至於將其畫上那些難以按常規來解讀來連貫的形式元素,理解為突破單一文明價值觀和單一文化認知圖式的新世界的拼圖。
志穎的畫上,“文化多樣性”呈現為解構的繽紛的“文化影像”,它折射著藝術主體不以某種文化認同為歸宿的“自我的解構”。集合於畫面的一切,僅僅是“文化影像”的形式重組而非“文化認同”的意義建構。因此,他的繪畫藝術讓我們持續地感受到一種張力凸顯的緊張感,也讓我們持續地直面著一種畫家所傾心的“文化反差”。要知道,表現“解構的自我”,結果只會是“涵義複雜而不確定”;而對於“自我的解構”的表現,任何的心理反應或閱讀理解都是確當的終極解讀。
——呂品田(《志穎和他的畫》)
His solid basis of traditional Chinese art, together with the views of western art opened up by the opportunities of the time and his own art exploration, makes him unlike the avant-garde artists susceptible to the trends, who feel deeply a cultural tensility over their inner lives and art views. To him, both cultural sources of such tensility are extensive and profound equally. He can’t mediate the differential conflict between them deep in his heart, and it seems hard for him to find refuge of soul simply in either side.
I would rather read Zhiying’s pursuit of art and realization of value in such field of the times and such humanistic appeal, so that I can understand the separate formal elements in his paintings that can’t be read and linked up as usual as a collage of the new world breaking though a single civilized view of value and a single cultural cognitive schemata.
In the painting of Zhiying, “cultural diversity” appears as deconstructive profuse “cultural image”, and reflects a “self-deconstruction” of the subject of art without taking a certain cultural identity as a destination. Everything integrated in the painting is just the formal reconstruction of “cultural image” rather than the meaning construction of “cultural identity”. Therefore, his paintings make us continuously feel a tension of obvious tensility, and continuously face the “cultural contrast” of which he is enamored. You should know that, the expression of “deconstructed self” will end up with nothing but “the meaning being complicated and uncertain”; as for the expression of “self-deconstruction”, any psychological reaction or reading comprehension is proper ultimate interpretation.
——Lv Pintian: Zhiying and His Paintings
中國的胡志穎也展示了一件題為《內典錄之一》的強烈而富有氣勢的作品。其中的絹本水墨媒材和線條的流動性的古代語彙,以及亞洲傳統的風景,形成錯綜複雜的場景,將其置於營造一種徹底的當代性。高度富有想像力的藝術感覺,創造出混茫原始的自然奇觀,充滿著令人震撼的意象。
——莫里斯·塔普林格(《畫廊和工作室》,2010年,紐約
China’s Hu Zhiying also makes a strong showing with a work entitled “Buddhist Scriptures #1,” in which the ancient medium of ink on silk and the linear fluidity and intricacy of traditional Asian landscape scrolls are put to the service of a thoroughly contemporary, highly imaginative artistic sensibility to create starling primordial nature fantasies filled with electrifying imagery.
——Maurice Taplinger (Gallery & Studio, Vol. 12 No.3, 2010, New York)
我極為欣賞胡志穎的《內典錄》。它們呈現了藝術家的智慧並且展示了他自己個性化的視覺想像力和語言表現力。他的表達極其富有力量並傲然獨立。
——威廉·希(紐約藝術經紀人)
I enjoy Hu Zhiying’s Buddhist Scriptures the most. They showcase his facility and also show off his own personal vision and voice. His voice is very powerful and can stand alone.
——William Sheehy
水墨因其媒材性質而注定非常人所能駕馭。水至明,墨至暗,水墨無形而各居陰陽之極,調合二者必可造出萬千之勢象。然水墨無常,乃天地間至靈之物,運此二者若駕風馭雨,非天分過人者不能為之。胡志穎運此至靈之物於一人之管,一發而揮就《天風海雨》,以至柔之物為至剛之象。
胡志穎是當代藝術家中卓然不群的一個,他和他的作品只屬於藝術,但不屬於任何一個藝術群體。
——張文海(《找回歷史的高度》)
The character of the mediums used in the art of ink and wash prevents ordinary people from mastering this art. Water is extremely clear and ink extremely dark. They are shapeless and are extremes of clear and dark things. When blended, they will necessarily produce countless effects. But water and ink are capricious and extremely flexible. To manipulate them is as difficult as to command the wind and rain and only people with extraordinary talent can do it. It is a good fortune of the times that Hu Zhiying, using these extremely flexible things, produced Nature’s Mystery. In this painting, he created most powerful images using most soft materials.
Hu Zhiying is an outstanding contemporary artist. He and his works belong to art only, but not to any art group.
——Zhang Wenhai: Resuming the Proper Height of History
胡志穎作品所蘊含的背景知識對於有歷史眼光的觀察者來說充滿魅力。
—— [美] 羅賓·佩卡姆
The contextual interest in Hu Zhiying’s works is fascinating for the historically-minded observer.
——Robin Peckham
胡志穎運用西方創作方法融入中國水墨畫元素結合想像意象,抽象敘事同時不乏具象描繪,感性渲染的同時不乏理性的敘述,畫面大氣磅礴,極具視覺衝擊力。
——韓鳳石(《感性近於本真》)
Hu Zhiying uses Western mode of artistic creation with elements of Chinese ink and wash painting and imaginations incorporated in it. In his paintings, there are realistic depictions as well as abstract narratives, and rational accounts as well as sensory portrayals. His paintings are impressive for their powerful sweep and have strong visual impact.
——Han Fengshi (“Perceptiveness Bordering on True Colors”)
胡志穎的《內典錄》有東方與自己的精神分析在裡面,既是突破水墨的窠臼,也是當代中的一種冒險。
——王春辰
Hu Zhiying’s Buddhist Scriptures, with Oriental elements and Hu’s own psychoanalysis in it, has broken with old patterns of ink and wash and is at the same time an adventure in the contemporary era.
——Wang Chunchen
在九十年代,胡志穎在中國畫壇上,以古典山水符號與西方視覺圖像交織,形成特有的風格,呈現了一種與自然世界異乎尋常的關係,是東西方藝術的奇特地溝通,天然成趣,與眾不同。近幾年來,其作品則游弋於美與醜、生與死、此岸世界與彼岸世界之間,有時令人有種驚悚感。我被他作品強烈的視覺衝擊力與震撼力所打動。
——李正天
In the painting circles of China in the 1990s, Hu Zhiying developed a distinctive style characterized by the interweaving of Chinese classic signs of mountains and waters with Western visual images. Presenting an extraordinary relationship with the natural world, this style, full of natural charm, embodied an unusual combination of Eastern art and Western art. In recent years, his works have wandered between beauty and ugliness, between life and death, and between this world and Faramita, sometimes making the beholder alarmed and frightened. I am touched by the strong visual impact and artistic charm of his works.
——Li Zhengtian
《內典錄》之四,胡志穎作品《內典錄》之四,胡志穎作品

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