江南自然時空布景師—藍劍 An Art Director of the Southern Landscapes—lanjian

人物介紹

藍劍，南京藝術學院油畫系副教授、副主任，江蘇油畫學會理事。

Artist Profile:

Lan Jian, Associate Professor and Deputy Director of Oil Painting Department, Nanjing University of the Arts, and member of Jiangsu Oil Painting Society.

藍劍部分藝術觀點陳述/

歐洲古代畫家已經利用光學器材輔助寫生和繪畫創作了，但真正意義的影像出現后徹底衝擊了繪畫等傳統藝術，而人類高科技構築了新的變化還在不斷展開。雖然照相技術早已成熟，但短短十幾年間影像成像質量和效果變化有明顯的差異，人類的視覺探索從沒有停止過。今天我們生活在一個圖像世界里，這是建立在一個極為發達的消費社會基礎上的，傳統繪畫面對這些何去何從？當然，這也不是新問題了，甚至近年來攝影界也有攝影藝術已經終結的觀點和爭議。攝影和繪畫其實面臨著類似的問題，藝術創作一方面需要精神和心靈的支撐，一方面需要智慧和技術的升級。

Ancient European painters have already adopted optical equipment to assist sketching and painting, but the emergence of true images completely impacted the traditional arts such as painting, while the new changes constructed by mankind technology are still unfolding. Although photographic technology is already mature and the difference in imaging quality and the effect change of images in a short span of ten years is significant differences, the visual exploration of mankind has never stopped. Nowadays we are living in an image world based on a highly developed consumer society, facing with these situations, what traditional paintings should do? This is certainly not a new problem, and there even have been views and controversies about whether the photography industry has seen the end in recent years in photography world. Photography and painting are faced with similar problems. Artistic creation requires both spiritual and mental support on the one hand, and the upgrading of wisdom and technology on the other hand.

專訪視頻

作品賞析

《滄浪》Surging Waves

（150cm x 195cm ），布面油彩，藍劍，2014

《荷風四面》 Lotus Pond

（180cm x 128cm ）布面油彩，藍劍，2009

《長虹卧波》 The Water Gallery

（160cm x 115cm），布面油彩，藍劍，2012

《桃園》The Peach Garden

（155cm x 210cm），布面油彩，藍劍，2012

《春水》 Lake in Spring

（155cm x 83cm），布面油彩，藍劍，2015

《湖山含翠》 Lake and Hills

《夏日》 Summer

（155cm x83cm ），布面油彩，藍劍，2015

《四月花》 April

（155cm x 83cm ），布面油彩，藍劍，2015

學者評價：

Scholars' evaluation:

▼沈行工

油畫學會常務理事 南京藝術學院教授

就繪畫作品題材選擇的角度而言，藍劍的作品似乎多少帶有某種時尚性的因素。他畫過一些表現當代年青人日常生活場景的作品，有時甚至還會摻進一點超現實的意味。即便是近期所畫的風景靜物等，由於選材與構圖的新穎別緻，也十分引人注目。與不少同類題材作品激越跳躍的表現形式相反，藍劍的作品是沉靜內斂的，柔和的色調與嚴謹的造型、輕盈的筆致配合得非常和諧，細膩微妙的層次變化使畫面緩緩透出一種溫暖。

In terms of the selection of subject matter of painting, the works of Lan Jian seems to possess certain fashionable elements. He has drawn some works that express the daily life scenes of young people, and sometimes even a little surreal implication is added. Even the recently painted landscapes and still objects are very striking because of the novelty of the material selection and composition. A lot works of similar subjects adopt intense and bouncing patterns of manifestation, by contrast, works of Lan Jian are calm and restrained with harmonious combination of soft light, rigorous modeling and light strokes, and there is a kind of warmth slowly exuded from the painting by exquisite and delicate layer changes. –Shen Xinggong (executive director of China Oil Painting Society, professor of Nanjing University of the Arts)

▼劉偉冬

南京藝術學院院長 國務院學位委員會美術學科評議組召集人

藍劍試圖尋找照相和繪畫之間的一種可能性，賦予現實的風景以主觀的色彩，對圖像進行了另類的解讀，他選擇了江南園林作為跨界實驗的對象與他的審美追求有著密切的關係。他的江南園林與其說是寫實的，倒不如說是超現實的，而超現實性似乎更加接近他的藝術伊甸園。

Lan Jian attempts to find a possibility between photography and painting to make an alternative interpretation of images by endowing the realistic scenery with subjective color, and he chose south Chinese gardens as the objects of crossover experiment, which is closely related to his aesthetic pursuit. His works of south Chinese gardens are rather surreal instead of realistic, and super-reality seems to be more close to his Eden of art. –Liu Weidong (Dean of Nanjing University of the Arts, convener of the art appraisal group of Academic Degrees Committee of the State Council)

▼尚輝

著名美術評論家、策展人 、《美術》雜誌主編

在表現詩性江南的風景上，和南藝的多位藝術家一樣藍劍也多受沈行工影響而追求淡雅平和的風景圖式，但也因各自不同的文化背景與個性氣質而顯示出圖式的差異化。藍劍則似乎是江南自然時空的布景大師，陰晴雨霧、風花雪月，隨手拈來，畫面的變調顯得更加主觀也更加超驗，尤其是一些青蓮色的運用更使畫面彌散出一種幻境。畫家對於江南風景的描繪擺脫了自然主義的實寫，而追求心智對於江南風景的意寫，虛幻或許也是映射自然的一種態度，這為他們平和的風景里注入了神秘而幽邃的精神性。

In terms of the poetic presentation of southern scenery, like many other artists in Nanjing University of the Arts, Lan Jian is greatly influenced by Shen Xinggong and pursues elegant and peaceful scenery scheme, and they demonstrate scheme differentiation because of their different cultural backgrounds and personalities. Lan Jian is more like a setting master of southern natural space, spontaneous scenes of the changing weather, romantic themes make the modification of image more subjective and transcendent, particularly the use of brick red makes the image disperse an unreal state. His portrait of southern scenery gets rid of the naturalistic realism and pursues the abstract expression of the scene by noema. Illusion may be also an attitude to reflect the nature, which revitalizes the peaceful view with mysterious and deep spirituality. —Shang Hui (famous art critic, curator, editor-in-chief of Arts Magazine)

著名美術評論家、策展人

在今日社會到處舉辦顯性與隱性商業展覽的情境里，純學術的展覽顯得奢侈，且只有在藝術院校的暖棚里方得到萬般呵護。藍劍具有非常紮實的寫實繪畫功底，這次卻拿出一批使人耳目一新的作品，讚譽之聲有，批評之聲也有，而這種爭議性也正是性格溫吞的藍劍帶給眾人的一份驚喜。在架上繪畫面臨危機，江蘇油畫期待振興的當口，這種試驗和嘗試應當得到更多寬容和鼓勵，而不是打壓和漠視。當然這類探詢繪畫新可能的嘗試也許在現代藝術的視野里並不新鮮，可對於體制內畫家，特別是強調傳承的院校體制內的畫家，尋求突破除了需要能力與信心之外，還需一份「不破不立」的膽量。

In the context of explicit and implicit commercial exhibitions at all places in the current society, purely academic exhibitions appears to be a luxury and can only be protected in the greenhouse of art colleges. Lan Jian has a solid foundation of realistic painting, but this time he presents a series of refreshing products receiving both praises and critiques, and this controversy is exactly the surprise this moderate artist brought to the public. At the moment of easel painting facing with crisis and oil painting industry in Jiangsu expecting revitalization, this test and trial is supposed to earn more tolerance and encouragement instead of suppression and disregard. Although this attempt of exploring the new possibilities of painting is not unusual in modern art field, for in-system painters, especially painters in colleges emphasizing inheritance, seeking a breakthrough requires innovative courage besides abilities and confidence. –Shang Yong (famous art critic, curator)

▼趙箋

青年學者

藍劍的作品在展覽中引起了觀眾的極大興趣。儘管藝術家本人強調文化穿越意義上的「油畫畫園林」, 但觀眾在乍一面對這樣的作品時, 往往會感到有些手足無措——照相寫實、數碼處理、油畫筆觸甚至是某種糖水片式的甜膩效果集於一身之後, 意義反而被一定程度的消解了。這不禁令人聯想起德國藝術史家漢斯·貝爾廷的觀點, 他認為媒介上的開放是當代藝術的特點之一但又不僅僅限於此, 當代藝術儘管使用日常生活中的媒介, 但它之所以仍然屬於藝術, 正是因為它具有跟大眾媒介中的圖像相對抗的性質——在藍劍的作品里, 多種大眾媒介的性質綜合呈現后, 反而拉開了其與大眾媒介間的距離, 而這種張力本身 (從當代藝術理論的角度來看) 就是富有意義的。

The works of Lan Jian have drawn much attention from the audience. Although Lan Jian himself emphasizes 「portraying gardens with paintings」, audience will feel confused when facing with the works for the first time—with the combination of realistic photos, digital processing, oil painting touches and even the sweet and cloying effects, the meaning is resolved to some extent. This involuntarily reminds us of the ideas of the German art historian Hans Belting, who thinks that medium openness is more than one of the characteristics of modern arts. Although modern arts will adopt real-life media, which is still an art form because it contrasts to the images in mass media—the properties of multiple public media in the works of Lan Jian are comprehensively represented, which instead enlarges the distance between the works and mass media, and this tension itself (in terms of modern artistic theories) is meaningful. –Zhao Jian (young scholar)

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