【收藏年鑒】煙雲深處——劉墨詩書畫展

展覽信息

Deep Inside Mist and Cloud

Liu Mo's Poetry,Calligraphy and Painting Exhibition

Suzhou Binlong Art Museum

July 8, 2017 3:28PM

Suzhou.Binlong

煙雲深處：劉墨詩書畫作品展

蘇州彬龍美術館

7月8號 下午3:28

敬請光臨指導！

PREFACE 自序

To hold a painting exhibition in Suzhou,it cost me a long while to think the name of exhibition. Here, the academic, thoughts,culture and art, which have been derived from ancient times, prompt me to face people here and stories here deferentially, just like to treat each garden seriously,so as not to disturb Cultural Shrine of my heart abruptly lest some inadvertent.

要在蘇州辦一個畫展，光畫展的名字就讓我想了半天，因為蘇州這個地方自古以來的學術、思想、文化與藝術，都讓我不得不莊重地面對這裡的人、這裡的故事，就像不能不認真對待每一座園林，生怕有些不慎，唐突了我心中的文化「聖地」。

The Confucian was particular about 「Focus on the roots」 and 「A great cause would be found when roots are consolidated」 more than two thousand years ago.Until recently, PuRu taught his student Jiang Zhaoshen at the first class, 「Learns the personhood first, reading is the second, painting and calligraphy is just recreational, never sacrifice the substance for the shadow.」

兩千多年前的儒家講求「務本」，「本立而道生」。一直到晚近，溥儒對他的學生江兆申在上第一堂課時還說：「做人第一，讀書第二，書畫只是遊藝，不可舍本而求末。」

Although since 1919 such teaching has been thought threadbare, but 100 years later, I』m increasingly convinced that the untouchable of elders, neither artistry nor concept, is just the lost identification and discrimination between the fontal substance and shadowy pursuit, according to my understanding of Chinese traditional poetry,calligraphy and painting.

這樣的教誨雖然從1919年起大概就已經認為陳腐不堪了，但100年過去，我接觸傳統的詩書畫，卻越來越相信，老輩人的不可及處，恰恰不在於技術不在於觀念，而在於我們已經忘卻的「本」「末」之辨。

In the spring I visited Southern Yangtze and enjoyed plum blossom. I wrote not a few poetry and paintings, under the shadow and fragrance of the branches. Occasionally listened to the traditional instruments Qin or watched the ancient drama in the garden, which refreshed my body and mind to feel the mild and elegant only belonged to Jiangnan. Sometimes had chances to see some scripts of predecessors in the museum, even just a short note, or just a few lines of landscape, I know I should study them hard and hope someday I could absorb bit by bit and integrate with my breath to practice under my brushstrokes.

今年春天訪梅江南，疏枝清影暗香之中，我寫了不少詩畫了不少畫，偶爾在園子里聽聽琴看看戲，身心著實感受到只有南方才有的溫潤與典雅。有時更能在博物館中得見一些前輩的手澤，哪怕是片紙隻字，以及畫面上的寥寥數筆近水遠山，都覺得應該好好學習琢磨，希望有朝一日，能一一把它們納入胸中放入筆底。

I adore Yun Nantian all long. In < The painting colophon> he wrote: No painting without ink, no ink without painting. When spirits are in unbounded profusion, then one can escape into infinity, without bodily or consciously self-existence,attain miraculous realm which is harmony with nature — the 「Unity of Man and Nature」. Pick the charm to share and enjoy together.

我素來喜歡的惲南田，他在《畫跋》中有這樣一段：「離筆墨無畫，離畫無筆墨，當其興至展穎，心忘於手，手忘於心，心胸相忘，神趣冥會，未臻斯境，莫得其解，取示賞心，聊共怡悅。」

There must be some elders who give me some encouragement.Clap my shoulder and say 「There is a long way to go in the artistic road. Work harder. Move on!」

而也一定有老先生拍拍我的肩膀說：藝術的路，長著呢，要加把勁，緊著趕路呢！

We have been looking forward to our own Chinese "Renaissance". I read books of Burkhart and Walter Pater and some other similar books of Chinese and foreign countries. Finally I find out what the renaissance which changed human history is, 「Respect for the human nature,Meditation on aesthetics, Tolerance of academic freedom」, of course which cannot be achieved by one person's efforts, but we still, as always, keep the faith to progress.

我們一直期待有一次人自己的「文藝復興」。我讀布克哈特讀沃爾特·佩特以及類似的中外史著，終於弄清楚那場改變了人類歷史進程的文藝復興,乃是「對人心的尊重，對審美的沉思，對學術的包容」——這當然不是只憑一個人的努力就可以達到，但是我們卻沒有理由不依據此信念前行。

A little thought, as my own exhibition preface, hope friends in Southern Yangtze can resonate through it and also I can gain edification from you and here.

一點點思緒，作為自己的畫展序言，願江南的朋友有以教我！

EXHIBITION 展訊

The sponsoring organization 主辦單位

Co-sponsoring organization 支持單位

Exhibition address 展覽地址

3F, No. 212 Guanqian street (west) Suzhou

蘇州市觀前街（西面）212號3F

WORKS 展出作品選

武夷數峰青

微茫秋萬頃

簾卷暮山雲

隨波入嘉陵

青山習道心

心賞忽泠然

自作詩二首

自作詩二首

自作七絕一首

自作五律一首

藤花映夜琴

山影濃淡外

松光鬢髮玄

LIU MO 劉墨

LIU Mo

M.A (History of Chinese fine arts), Ph.D (Literature and art studies), Post-doctor (History);Research fellow at Institute of Historical and Cultural Resources of Peking University, Guest professor at Graduate School of Chinese National Academy of Arts.In July 1, 2011, Liu was appointed as chairman of the Art Committee for 「London 2012 Olympic Fine Art Conference」.

劉墨，美術史碩士、文藝學博士、歷史學博士后。現為北京大學歷史文化資源研究所研究員，藝術研究院研究所院客座教授。2011年7月1日，被聘為「2012（倫敦）奧林匹克美術大會」藝術指導委員會主任委員。

Reading inspires thinking. He adheres to Zhuge Liang』s 「simplicity manifests ambition; tranquility leads to accomplishment」, carries out Chen Yinke』s "thoughts of freedom, spirits of independence", and concentrates on the sense of 「tranquility, simplicity, independence and freedom". He is now engaged in studies of Confucian classics, ancient academic research history, and art history. Besides, he is adept at calligraphy and painting.

讀書致思，遠紹諸葛亮「淡泊明志，寧靜致遠」之旨，近承陳寅恪「獨立之精神，自由之思想」之意，潛心體會「寧靜、淡泊，獨立、自由」之義趣。現從事經學史、古代學術史、藝術史的研究。治學之餘，偶事筆墨以陶冶性情。

His major works include: Chinese Art Aesthetics (Jiangsu Education Press, 1993), Life's Ideal--Original Confucianism and Chinese Character (Jiangsu Education Press, 1995), Review of Chinese Painting (Jiangsu Fine Arts Press, 2001), Calligraphy and Other Arts (Liaoning Fine Arts Press, 2002), Zen and Arts (Hebei Education Press, 2002), Chinese Painting Theory and Chinese Aesthetics (People's Fine Arts Press, 2003), Shi Tao (Hebei Education Press, 2003), Gong Xian (Hebei Education Press, 2003), Zhu Da (Hebei Education Press, 2003), Continuation and Evolution of Tradition (Liaoning Fine Arts Press, 2004), Illustration of Chinese Calligraphy and Painting (Jinan Press, 2005), History of Chinese Prose (Liaoning Education Press, 2006), Literati in the field of Arts (Jilin Fine Arts Press, 2006), Ten Academic theories in Qianjia Period (Joint Publishing, 2006), Review of Chinese Painting Masters in 20th Century (China Forestry Press, 2007), Water and Blossom – Liu Mo』s Painting and Calligraphy works (Hong Kong Humanities and Arts Press, 2007), Trends and figures of Modern China Studies (Solidarity Press, 2009)etc.

主要著作有：《藝術美學》(江蘇教育出版社，1993)、《生命的理想──原始儒家與人格》(江蘇教育出版社，1995)、《國畫門診室》(江蘇美術出版社，2001)、《書法與其他藝術》(遼寧美術出版社，2002)、《禪學與藝境》(河北教育出版社，2002)、《畫論與美學》(人民美術出版社，2003)、《石濤》(河北教育出版社，2003)、《龔賢》(河北教育出版社，2003)、《八大山人》、(河北教育出版社，2003)、《傳統的延續與演進》(遼寧美術出版社，2004)、《插圖書畫藝術》(濟南出版社，2005)、《散文源流史》(遼寧教育出版社，2006)、《藝術中的文人》、(吉林美術出版社，2006)、《乾嘉學術十論》(三聯書店，2006)、《20世紀畫名家批評》(林業出版社，2007)、《水流花開——劉墨書畫作品》(香港人文藝術出版社，2007)、《現代國學思潮與人物》(團結出版社，2009)、《在學術與藝術之間：劉墨對話藝術名家》等。

LIU Mo's Art 劉墨藝術簡介

Besides academic research, Liu enjoys expressing his feelings in a vein of simplified painting and writing style and vividly depicted imagery via pen and brush; his works show a kind of extraordinarily aesthetic meaning and value, reflecting the artist's experience, personality, virtue, and temperament.

治學之餘，劉墨以簡練的筆墨和妙得的文情抒寫心曲，從他作品流露出來的，是一種別樣的美學意味和價值，從容體現出畫家的閱歷、修養、品格、氣質。

His paintings, which mainly inherit the tradition of Chinese traditional literati painting, are also manifestations of his life perception, artistic meditation and spiritual freedom. Liu is adept at freestyle Chinese painting, adopting the method of 「less is more」 to realize the maximum of expressiveness.

他的繪畫，主要繼承文人畫傳統，並注入了其生命的感悟、藝術的沉思、精神的逍遙。他擅長大筆寫意，以少勝多地精求筆墨最大表現力。

His calligraphic works, including banner, central scroll, couplets, and fan calligraphy, all show the beauty of powerful strength, vivid artistic conception, forthright and sincere image, hearty and delightful emotion;meanwhile, they also reflect the mystery of universe as well as a kind of elegance and harmony—Without being too fierce or sharp, the style of works will be far-reaching.

他的書法作品，不論是橫幅，中堂、對聯還是扇面，雄渾豪放、氣韻生動、率真拙樸、酣暢淋漓，均能呈現出一派天機與「不激不厲，風規自遠」的雅和之風。

He integrates the spirit of traditional calligraphy with modern aesthetic sense and draws the mystery of calligraphy and stable expression intohis own calligraphic style. At the same time, he also combines poetry,calligraphy and painting; his masterpieces, just like his character, are unconstrained yet honest, simple yet delicate, innocent and original yet form-and-spirit unified, with power and strength yet full of vitality and radiance, revealing overwhelming and meaningful art imageries and conveying the metaphysically heroic and generous spirits in Chinese culture.

他將傳統書法精神與現代審美意識相融合，將翰墨之玄妙、沉著穩健的表達隱於自己的風格之中。同時，他還將詩詞、書法和繪畫有機的結合在一起，藝術作品正如他的品格，瀟洒不失淳厚，樸拙不失秀潤，大璞不琢而形神兼奪，粗獷拙勁而活力四射，透出的是大氣風神、筆厚意豐的藝術境象，傳達出文化中的形而上的高邁的人文浩氣。

內容來源於網路，版權為原作者所有。

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