亚洲评论 | 许江：语殊情同 音静意浓
展名 / Title: 静音——陈焰 · 郭健濂作品展
Tranquility: Artworks by Chen Yan & Guo Jianlian
艺术家 / Artists: 陈焰 Chen Yan、郭健濂 Guo Jianlian
展期 / Duration: 2021.11.6 (Sat) - 2022.1.30 (Sun)
（开幕时间待定）
地点 / Venue: 亚洲艺术中心（北京）
Asia Art Center (Beijing)
北京市朝阳区酒仙桥路2号大山子798艺术区（周一休馆）
Dashanzi 798 Art District, No.2, Jiuxianqiao Rd., Chaoyang District, Beijing
✦✦✦
许江
（中国文联副主席、中国美术学院学术委员会主任）
静音，生活中常见的现象。“音”，出于“言”。在“言”的口中加一点，即成音。只这一点，便将世间万物的声响收于其中。发乎“言”为声，声成文谓音。宫商角徵羽，是为中国的乐音。由是，音可控可节。静音，让音声平静下来，便于体察乐音背后的声音与景象。
但手机时代的静音，却是日常纷杂的现象。铃声太烦，开会和会客将手机铃声关停，控在静音。但查百度，最先翻出来的“静音”却是日本漫画《火影忍者》中的角色，一位少言而冷静的青年女医。“静音”被禁在这样一个窄小天地中，显然不符静音的意涵。
这个展，题为“静音”，颇费踌躇。“静音”在于这是一个画展，读画正需一种静音阅览的方式，喧闹嘈杂之时是难以入画的。更重要的是两位画家的画都有一种归去山林的意向。山之无声，风挠而鸣；林之无声，风荡而鸣。观山林，居风景，这山林风景入目动心，不得已者而后摹之、绘之。绘画中有风有景，有歌有哭，却杳然无声，又在无声之中传递山林的宏大，兴发情怀的激越。虽静音，却有心灵的鸣响隐在其中。由是命名“静音”。
陈焰的画有《飞来赋》系列。据说是在灵隐禅寺前的飞来峰盘桓月余，实地写生。陈焰的这批画画在银盐胶片之上。这胶片全然黑色，陈焰手握铁钉铁条，面对峰上的古木虬石，划划然于黑胶面上。飞来峰峦，古树稠密，熔岩盘错，面向古寺，如沐神灵。陈焰于崎岖之中，手肘飞舞，用线记写树石的生姿活态。那树石寂寂无声，却莘莘有情，不是简单的线所容易捕捉。银盐黑胶面不仅滑溜，而且反光，陈焰如若砍伐一般，用线的下意识来密构置身峰中的感觉。在山林中，她曾画过数百张纸上素描。现在，在这黑胶面上，她找到了一种划然脆亮的快感，一种不期然如是而忽然如是的感觉。有时她真不知自己画了什么，一阵冥然快意的划动之后，对着光透视一望，便有赫然显影的悦感。在所有的这样如痴如狂的操作之中，她整个人如若坠入静音的行者，听凭天意的驱使，陶然拾机，忘怀所以。
我这样写陈焰和健濂的作品，是十分感性的。因为读他们的作品，确如读诗，有一种全然沉浸于静音之中，在山道上、在窗前默默地寻觅的感觉。撞击耳鼓的声正远去，敲挠心音的声却划然响起。陈焰用纯然的黑白的亮线，记写“游”的感怀。健濂用浑茫的浓色，渲染“居”的陶然。他们用十分不同的方式勾画出了中国人的“居”、“游”的境界。王维诗云：“声喧乱石中，色静深松里。”又言“人作殊方语，莺为故国声。”他们的艺术以独特的方式，隔空呼喊，语殊而情同，音静而意浓，兴发出时代的山水歌韵。
祝画展成功，让风帘密林的静音，抚动观者心中的远怀和荡漾。
许江
2021 年 10 月 20 日
Co-occurrence of the Artistic Conception of Tranquility
Tranquility seems as a common phenomenon in life. "Yin" comes from "yan", from adding a little bit to the mouth of "yan" to make it sound. Just through this point, the sound of all things in the world will be contained in it. "Yan" is the sound, and the sound is written as the "yin". Gong, shang, jue, zhi, yu are five ancient pitches in China. Therefore, the sound is controllable and manageable. Tranquility let the sound calm down, facilitating the experience of the sound and scene behind the music.
The mute of the mobile phone era is a daily messy phenomenon. The ringtone is too annoying, thus, it is turned off for meetings and guests. Nevertheless, when browsing on Baidu website search, the first "tranquility" turned up is a character in the Japanese manga "Naruto". That is, a young female doctor who speaks a little but calmly, banned in such a narrow world, which is obviously not suitable for the meaning of silence.
This exhibition entitled "Tranquility", requires a quiet atmosphere for visitors to read paintings, obviously it is difficult to feel the paintings with noises. More significantly, the paintings of the two painters have an intention to immerse themselves into mountains and forests. The mountain is silent, and the wind screams; the forest is silent, the wind screams. Many painters came to watch mountains and forests and live in the scenery, mimicking this kind of attractive scenery. There are winds and scenes in the paintings, songs and crying, but the magnificence of mountains and forests are conveyed in silence, and the emotions are agitated. Although it is silent, the sound of the soul is hidden in it. This is exactly where the name "tranquility" comes from.
Chen Yan's paintings include the "Compose for Fei Lai" series, which is said to be sketched on the spot on the Fei Lai Peak in front of Lingyin Temple. These paintings were created completely on the surface of black silver gelatin. Chen Yan held the iron nail and iron bar, facing the ancient wooden horns on the peak, marking it on the vinyl surface. Fei Lai Peak is densely covered with ancient trees and lava coils facing the ancient temple. Flying around the rugged elbows, Chen uses thread to write down the life of trees and rocks. The tree and stone are silent, but they are affectionate, which is not easy to catch by a simple thread. The silver gelatin surface is not only slippery, but also reflective. Chen Yan's painting traces are like felling, using the subconsciousness of the thread to densely compose the feeling. In the mountains and forests, she has drawn hundreds of sketches on paper. On the surface of the black rubber, she found a kind of crisp and bright pleasure, a feeling that was unexpected but suddenly. Sometimes she really has no idea what she had painted, and after a swift stroke through the light, she feels a vivid sense of pleasure. In all such crazy operations, her whole person fell into a silent walker, forgetting everything.
The group painting "One Day of Su Shi" is Chen Yan's most diligent vinyl work. In the 4th year of Xining in Song Dynasty, a generation of writer Su Shi was released to Hangzhou, where he traveled all over the West Lake. Chen Yan imagined that Su Shi once trekked from the southern foot to Xiling Snow Mountain, traversed the West Lake, and surveyed the lakes and mountains. She not only sketched the situation of the mountain ridge with lines, but also rubbed the texture of the wood and stone directly on the rocky cliffs and flipped horns in the mountains. The natural texture itself is superimposed with the situation of the mountain, which expresses Su Shi's super open-mindedness with the joy of landscape. A day in the mountains seems to be thousands of years in the world. With her eyes and hands, Chen Yan showed not only the real scenes of lakes and mountains, but also the coziness arising from the real scenes. Facing the light, what is presented here is a muddy scene, the moment when everything condenses before the vinyl is developed. At that moment through pictures, you see the romantic mountains, forests, as well as the mysterious concealment of the peaks. Those lines and shapes seem to be moving and walking. There was a loud sound, and the other peaks groaned. "Seven Days" is a group of works during the epidemic, and the poverty at home brings endless yearning. Seven days is the period of man’s fate. The frayed thread, like a struggle, is also like a starlight, guiding the exploration of traveling and illuminating the endless yearning of life.
Guo Jianlian paints with thick warm colors. He uses combs to paint jacaranda windows. Due to the texture of combs, his windows always feel like a wind curtain. It seems to be separated by a wind curtain, absorbing the indoor and outdoor scenery. Across the ripples of the bamboo curtain, the scenery is even more fascinating, making the general scenery a window view, and making the ordinary scenery full of mottled night. "Stacked Window", "Window of the Night", and "Window to Window", what they are facing is the world in the window. The lights are shining, the shadow of the rainbow is faint, the bamboo curtains are half-dangling, and the transparency of the rolled up is endlessly lingering. Across the shallow wind curtain, the night is maturing. Memories and the present, parting and reunion, everything seems to be happening. Afterwards, when the wind blows, everything will be taken away. This curtain of wind does have a kind of dream, vague, melancholic, tearful thoughts, and tender heart. Jianlian's dreams just like a pot of old wine, dyeing ordinary homes red, and dyeing the night in the window drunk. Guo Jianlian has been writing dreams for more than ten years, with a curtain of wind and moon. No matter the night window or the folded window, he let his painted window become a wind window, and pour out his thoughts.
I write about Chen Yan and Jianlian's works like this, which seems very emotional. Because reading their works is like reading poems, there is a feeling of being totally immersed in tranquility, searching silently on the mountain road and in front of the window. Although the sound of hitting my eardrums was going away, the sound of beating my heart sounded again and again. Chen Yan used pure black and white bright lines to write down her feelings of "traveling". Jianlian uses the rich and dense colors to render the comfort of "living place". They used very different ways to outline the realm of Chinese "dwelling" and "travel". As Wang Wei said: “The water flows over the rocks and makes noise, quietly melting the green shadow of the pine forest.” He also said, “People speak the dialect of a foreign country could regard the sound of golden oriole as the voice of the hometown.” The two artists uses unique artistic way of the times, with various rhymes of mountain and river of the times.
I wish the exhibition a success, let the tranquility of the dense forest and the wind curtain, touch the far-sighted and rippling hearts of the viewers.
About Artists
陈焰，1970年生于杭州，1989年毕业于中国美术学院附中；1993年毕业于中国美术学院油画系，获学士学位；2002年毕业于中国美术学院油画系，获硕士学位；2009年毕业于中国美术学院油画系，获博士学位。2000-2001年获中国青年油画人才奖项公派留学俄罗斯列宾美术学院。2012年美国加州艺术学院访问学者。现为中国美术学院教授、综合绘画系主任、当代综合绘画研究所所长。现工作、生活于杭州。
获奖：“第六届浙江省青年美展优秀作品奖，2015”、“第十二届全国美术作品展获奖提名，2014”、“第五届浙江省青年美术作品展优秀奖，2011”、“北京中国青年油画人才大选作品展，获金奖，2000”、“浙江青年油画家提名展，获学术奖，2006”、“中国女美术家作品展，获优秀奖，1995”、“第九届浙江省美术作品展，获优秀奖，1994”、“第三届中国体育美展，获浙江省三等奖，1993”
Chen Yan was born in 1970, Hangzhou. Chen was graduated from the Affiliated High School to China Academy of Art in 1989, she later graduated from China Academy of Art, Department of Oil Painting. Chen proceeded to obtain a Master’s degree in 2002 and a PhD in 2009. During her study, she was awarded gold metal in the Chinese Youth Oil Painting Artists Award. With government sponsorship from 2000 to 2001, she was enrolled in Saint-Petersburg State Academic Institute of Painting, Sculpture and Architecture named after I.E Repin, Russia. In 2012, she was a visiting scholar at the California Insititute of Arts, U.S.A.. Chen Yan is now Professor, Master's Supervisor and Chief of the Department of Comprehensive Painting in China Academy of Art. She currently works and lives in Hangzhou. Significant Exhibitions: “Tranquility: Artworks by Chen Yan & Guo Jianlian” (Asia Art Center, Beijing, 2021), “Hangzhou Mode - City of Lakes & Mountains: Comprehensive Painting Exhibition” (Liangzhu Culture and Atrs Center, Hangzhou, 2021), “Lakes & Mountains: An Exhibition of Comprehensive Painting” (The Contemporary Art Gallery of Sanshang, Hangzhou, 2020), “The 13th National Exhibition of Fine Arts & Exhibition of Nominated Works for Chinese Fine Art Awards, Creative Artworks” (National Art Museum of China, Beijing, 2019), “Paper Exchange” (Bay Art Gallery, Cardiff, UK, 2019), “Bread of the World Art Exhibition” (Dali Matera - La persistenza degliopposti, Italy, 2019), “Shanghai Urban Space Art Season - Chinese Contemporary Art on the Silk Road” (Shanghai Hong Miao Art Center, Shanghai, 2019), “Connection of Images - Biennale of Oil Paintings at China Academy of Art” (SPSI Art Museum, Shanghai, 2018), “The Unusual West Lake - The 1st Art Scene of West Lake Photo Exhibition” (China Academy of Art Art Museum, Hangzhou, 2017), “Sketching is Intention - Figurative Expressionism Sketching Exhibition” (China Academy of Art Art Museum, Hangzhou, 2017), “Significant Presence - The 3rd Chinese Oil Painting Biennale” (National Art Museum of China, Beijing, 2016), “On The Paper - 2016 Contemporary Art Invitational Exhibition” (Guanshanyue Art Museum, Shenzhen, 2016), “Puzzles - 2016 OCAT Xi’an Winter Exhibition” (OCAT Xi’an, Xi’an, 2016), “London - Chinese Contemporary Paper-based Art Exhibition” (The Waterfront Gallery, London, UK, 2016), “Artist - The 2nd Chinese Youth Oil Painting Exhibition” (National Art Museum of China, Beijing, 2015), “The 1st China Comprehensive Material Painting Biennale” (Art Museum of Ningbo, Ningbo, 2015), “Living Though Painting” (China Academy of Art Art Museum, Hangzhou, 2014), “Imagery in Poetry - Chinese Landscape Oil Paintings Exhibition” (Art Center of Lutai, Weifang, 2014), “Painting of Being-there: 20 Years of Figurative Expressionist Painting in China” (China Art Museum, Shanghai, 2014), “Made in China, Ming to Mass Market” (Art Gallery of University of San Francisco, U.S.A., 2012), ”The Forging of Visions - French/Chinese Figurative Expressing Painting Exhibition” (Shanghai Art Museum, Shanghai, 2012), “Contemporary Experimental Art of China” (China Academy of Art Art Museum, Hangzhou, 2008), “2008 CAF Exhibition” (Museum of Modern Art, Saitama, Japan, 2008), “Bright Color Recording - Invited Exhibition of Contemporary Female Artists” (Guanshanyue Art Museum, Shenzhen, 2007), “Chongqing Standpoint - The Contemporary Art Exhibition of China” (China Three Gorge Art Museum, Chongqing, 2007), “Forms & Colors - Zhejiang Young Oil Painters Nominating Exhibition” (Zhejiang Exhibition Hall, Hangzhou, 2006), “The 11th Zhejiang Province Art Exhibition” (Zhejiang Exhibition Hall, Hangzhou, 2004), “China Oil-Painter Contest of Youth” (Russian Cultural Center, Beijing, 2000), “Excellent Works Prize of the China Female Artists Exhibition of the 4th World Women Conference” (National Art Museum of China, Beijing, 1995), “The 2nd Oil Painting Exhibition of China” (National Art Museum of China, Beijing, 1994), “Zhejiang Art Exhibition of the 8th National Art Exhibition” (National Art Museum of China, Beijing, 1994), “China First Biannual Exhibition of Art” (National Art Museum of China, Beijing, 1993), “The 3rd Sport-in-Art Exhibition of Zhejiang” (National Art Museum of China, Beijing, 1993), “Hundred Contemporary Young Artists Invitation Exhibition” (National Art Museum of China, Beijing)
Awards:Outstanding Work Award of the 6th Zhejiang Youth Art Exhibition, 2015Award Nominations for the 12th National Art Exhibition, 2014Excellence Award of the 5th Zhejiang Youth Art Exhibition, 2011 Excellent Works Prize at the Zhejiang Youth Art Exhibition, 2006Gold Prize at the China Oil-Painter Contest of Youth, 2000 Excellent Works Prize of the China Female Artists Exhibition of the 4th World Women Conference, 1995Excellence Award of the 9th Zhejiang Province Art Exhibition, 1994The 3rd Prize of Sport-in-Art Exhibition of Zhejiang, 1993
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郭健濂，1977 年生于福建莆田，毕业于中国美术学院油画系。2000 年获学士学位，2003 年获硕士学位，2008 年获博士学位。现为中国美术学院油画系副教授、硕士研究生导师，美术学博士。中国美术学院油画系第四工作室主任。现工作、生活于杭州。
重要个展：“内与外——郭健濂作品展”（光达美术馆，杭州，2018），“艺术杭州：网·景——郭健濂作品展”（杭州和平会展中心，杭州，2009）
重要群展：“静音——陈焰 · 郭健濂作品展”（亚洲艺术中心，北京，2021），“中国美术馆学术邀请系列展：江南有约——中国美术学院油画11人展”（中国美术馆，北京，2021），“新西湖——多维表现绘画艺术展”（震旦博物馆，上海，2020），“一带一路——国际美术工程作品展”（中国美术馆，北京，2020），“‘西湖：突破常规’——新西湖&新莱比锡绘画”（EIGEN+ART 画廊，柏林，德国，2019），“2019 上海城市空间艺术季：丝路上的中国当代艺术展”（上海虹庙艺术中心，上海，2019），“第十二届中国艺术节全国优秀美术作品展”（中华艺术宫，上海，2019），“精神 · 图式——首届中国写意油画双年展”（吉林艺术学院美术馆，长春，2019），“最绘画——第三届中国青年油画作品展”（内蒙古美术馆，呼和浩特，2018），“中国精神——第四届中国油画进京展”（中国美术馆，北京，2018），“写意中国——古代文明与当代社会：中国国家画院油画院专题研究展”（中国美术馆，北京，2018），“江南如画——中国油画作品展”（苏州美术馆，苏州，2017），“素描即意图——具象表现绘画素描展”（中国美术学院美术馆，杭州，2017），“另一种视野——绘画语言研究展”（北京时代美术馆，北京，2016），“中华史诗美术大展”（中国国家博物馆，北京，2016），“可见之诗——第二届中国油画风景作品展”（十笏园美术馆，潍坊，2016），“中国精神——第四届中国油画展：心象——当代中国油画的表现性研究展”（中国油画院美术馆，北京，2015），“最绘画——第二届中国青年油画作品展”（中国美术馆，北京，2015）， “同行——2014 美术馆联合大展：此在的绘画——中国具象表现绘画二十年”（中华艺术宫，上海，2014），“我们在绘画中——中国油画国美之路”（中国美术学院美术馆，杭州，2014），“第十二届全国美术作品展览油画作品展”（浙江美术馆，杭州，2014），“悦色青黄——快速转换中的人性：中国当代百位优秀中青年艺术家赴欧美艺术联展”（摩尔美术馆，伦敦，英国；矶帕萨迪纳展览馆，洛杉矶，美国，2013），“视象的凝聚——法国·中国具象表现绘画特展”（上海美术馆，上海，2012），“视觉之象——艺术现象学研究展”（中国美术学院美术馆，杭州，2011），“人文江南——吾土吾民油画邀请展”（浙江美术馆，杭州，2011），“中国油画名家研究展”（岭南美术馆，东莞，2011），“形形色色——浙江省青年油画家提名展”（浙江展览馆，杭州，2006），“重叠——浙沪当代绘画艺术展”（浙江展览馆，杭州，2005），“维诗凯亚之春——当代中法艺术沙龙” （上海维诗凯亚，上海，2005），“‘218’第一回当代绘画艺术展”（杭州红星文化大厦，杭州，2004），“‘视觉的方向’邀请展”（杭州印象画廊，杭州，2002）
获奖: “最绘画——第二届中国青年油画作品展获佳作奖，2015”、“浙江省第六届青年美术作品展获优秀奖，2015”、“同心塑美——浙江省第十三届美术作品展览获优秀奖，2014”、“浙江省群星奖——浙江省青年油画家提名展获学术奖，2006”
编辑 / Editor: 陈婉婷 Sherry Chen
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