画家:解丁泉【彼岸図-壁画個展】第十三回オンライン展示【jin11バーチャルギャラリー】2020年4月

2016 彼岸の作成手順

解丁泉-アトリエ-【彼岸図】作品制作過程

解丁泉作品 彼岸2013-2015  29.5cm×295cm
解丁泉作品 彼岸 29.5cm×295cm 2013-2015
彼岸壁画 23.4mX2.4m 2015-2018
分解図A-彼岸壁画 23.4mX2.4m2015-2018 
分解図A-彼岸壁画 23.4mX2.4m2015-2018 
分解図B-彼岸壁画 23.4mX2.4m2015-2018 
分解図B-彼岸壁画 23.4mX2.4m2015-2018 
分解図C-彼岸壁画 23.4mX2.4m2015-2018 
分解図C-彼岸壁画 23.4mX2.4m2015-2018 
分解分解図D-彼岸壁画 23.4mX2.4m2015-2018 C-彼岸壁画 23.4mX2.4m2015-2018 
分解図D-彼岸壁画 23.4mX2.4m2015-2018 
分解図G-彼岸壁画 23.4mX2.4m2015-2018 
分解図G-彼岸壁画 23.4mX2.4m2015-2018 
分解図H-彼岸壁画 23.4mX2.4m2015-2018 
分解図H-彼岸壁画 23.4mX2.4m2015-2018 
分解図K-彼岸壁画 23.4mX2.4m2015-2018 
分解図K-彼岸壁画 23.4mX2.4m2015-2018 
分解図Y-彼岸壁画 23.4mX2.4m2015-2018 
分解図Y-彼岸壁画 23.4mX2.4m2015-2018 
分解図Z-彼岸壁画 23.4mX2.4m2015-2018 
分解図Z-彼岸壁画 23.4mX2.4m2015-2018 

【彼岸圖】作者:解丁泉(中国語-英語)

緣起
我出生在河北的大平原上,從小在胡同裏玩耍長大。大家沒事的時候,就喜歡在墻壁上畫畫,壹畫就是壹天。在墻壁上畫畫是小夥伴們最愛的遊戲,而我最喜歡把奶奶給我講的各種傳說畫出來。可能是跟墻壁有特殊的緣分,二OO五年我考入中央美術學院後,經過一年的造型基礎部的學習後,我進入了壁畫系,從而開始在美院數年的學習生活。在壁畫系,我待了五年,中國傳統壁畫在我內心種下了一個種子。社會是另外一所大學,社會能量場的各種沖突也影響著我的思考。在眾多社會問題中,信仰問題一直是我關心的重點,我開始思考自身和社會之間的關系以及傳統文化和當代文化之間是否有結合的可能性。伴隨著這樣的問題,我做了一系列的嘗試,試著去反思我們這個時代如何面對傳統和信仰的問題,我想表達當下與傳統之間的距離感,用傳統的方法去完成一件不傳統的作品。隨著時間的推移,我在研究古代繪畫的同時,同古人作品的交流讓我慢慢的清晰了自己應該怎麽做的方向,找到一個合適的坐標點,和古人對話,是給當下的人們一個通道,或者像是一個禪機。
一三年的壹個晚上,我坐在書桌前隨手翻看一堆畫冊,翻到了徐悲鴻先生藏得《八十七神仙卷》。那一刻,我覺得我找到了我要做的作品方向。相傳這張畫是吳道子所畫,這個作品的經典性以及內容,都符合我要找的創作本體。坐標點和距離,這些概念綜合到一起,如何找到一個最佳的角度去表達這種距離感成了我的問題。圖像上的接近,圖式上陌生,最終,我借用了把圖像反轉的方式,也就是把所有的圖像180度反轉過來,最後再組合起來形成一個集體背向圖式的畫面,來表達這個“距離”。而圖像上的既熟悉又陌生的感覺就是我要表達的。八十七位神仙正好在一座仙橋上,圖像上的一正一反好像空間上的此岸和彼岸。八十七神仙卷是此岸,我創作的就成了彼岸。
Origin
I was born in the great plain of Hebei Province in China and grew up playing in the Hutong. When I am free, I like to paint on the wall. I can draw all day. Painting on the wall is the favorite game of my friends, and I like to draw all kinds of legends my grandmother told me. Maybe it’s a special relationship with the wall. In 2005, I was admitted into the Central Academy of fine arts. After one year’s study in the basic modeling department, I entered the mural department, and began to study and live in the Academy for several years. In the mural department, I stayed for five years, and Chinese traditional murals planted a seed in my heart. Society is another university. The conflicts of social energy field also affect my thoughts . In many social problems, belief has always been the focus of my concern. I began to think about the relationships between myself and society and whether there is a possibility of combination between traditional culture and contemporary culture. With such problems, I have made a series of attempts to reflect on how our times face the problems of tradition and belief. I want to express the sense of distance between the present and the tradition, and use traditional methods to complete an unconventional work. As time goes on, while studying ancient paintings, the communication with the ancient works made me gradually clear the direction of how I should do it. To find a proper coordinate point and talk with the ancients is to give people a channel, or like a buddhist allegorical word or gesture. One night in 2013, I sat at my desk and browse a bunch of picture albums. I found the eighty-seven immortal scroll painting collected by Mr. Xu Beihong. It’s said that this painting was painted by Wu Daozi of Tang Dynasty. At that moment, I felt that I had found the direction of my work. The classicality and content of this work are in line with the creation noumenon I am looking for. Coordinate point and distance, these concepts are synthesize together, how to find the best angle to express this sense of distance has become new my problem. Close in image, unfamiliar in schema. In the end, I borrowed the way of invert the image, that is, inverting all the images 180 degrees, and finally combining them to form a collective back schema picture to express the “distance”. The familiar and unfamiliar feeling on the image is what I want to express. Eighty-seven immortals are just on a fairy bridge. The front and back of the image seem to be like one side here and the other in space. Eighty-seven immortal scroll painting is on this side, and what I created became the other side.
準備
有了這個創作的想法以後,我就開始準備。我意識到這是裏面有巨大的工作量。我沒有著急開始,打算去古代遺存的經典壁畫中找些靈感。一三年夏天,我去了敦煌,戈壁灘的淒涼,讓你馬上就進入了馬致遠筆下的詩境和金庸的大漠武俠的狀態,很難想象從南北朝時期這裏曾經幾個世紀的繁華氣象,直到你進入了壁畫的洞窟,你就會明白曾經這裏是怎麽樣一番盛世景象。也許是特殊的位置和各種歷史的原因,讓這些精美的壁畫被遺忘在這些戈壁裏。
在沙漠中,散步的時候,陽光的溫度是雙倍的,腳底下沒有太多力氣,雲很高太陽卻很低,一種莫名的悲涼感會自然的升起。
洞窟裏的壁畫,歷經時間的洗禮,經歷了輝煌,也經歷了荒涼,今天莫高窟已經沒有了宗教人士的駐留,更多的是成為了朝拜中國古代藝術演變的寶庫。很多來的人,都在研究繪制的風格和技法,很多壁畫背後的故事也在現代研究的推動下下,逐漸的讓人們認識到敦煌壁畫的由來。
信仰的力量讓這裏從一個洞窟發展成後來成千上百的佛窟。千百年後,同樣是信仰的光芒,讓這裏成為藝術家們的聖地。宗教的信仰,成就了敦煌,這些壁畫也讓信仰和藝術成為一體。
來敦煌這是第二次,這次來我帶了很多期許,我一邊臨摹徐悲鴻先生藏得《八十七神仙卷》,一邊構思關於彼岸圖的創作。敦煌的安靜,也給了我一個靜下來機會,人總是需要明白,藝術是壹種信仰,心的狀態是非常重要的。
信仰在這個時代,越來越淡化。很少被提及,也很少被重視。信仰自由,是最好理由,也是最好的逃避。雖然每個人好像都有自己的目標,但是精神上的孤獨,仿佛是這個時代的縮影。
敦煌的這一次觀看,有點像給自己的思想上開了一個動員會,我明白這個圖像上的接近,圖式上的反轉,最後組合成一個新的圖像,是一個很大的工程。而敦煌的所見正好給了我這個精神力量。
Prepare

With this creative idea, I began to prepare. I realized that there was a huge amount of work in it. I didn’t start in a hurry. I was going to find some inspiration in the classical murals left in ancient times. In the summer of 2013, when I went to Dunhuang, the desolation of the Gobi Desert immediately brought you into the poetic realm written by Ma Zhiyuan and the state of the desert martial arts of Jin Yong. It’s hard to imagine the bustling atmosphere here for centuries from the northern and Southern Dynasties. When you enter the cave of fresco, you will understand what a prosperous scene it used to be. Perhaps because of the special location and various historical reasons, these exquisite murals are forgotten in these Gobi desert. In the desert, when walking, the temperature of the sun is doubled, there is not much strength under the feet, the clouds are very high, but the sun is very low, a sense of inexplicable sadness will rise naturally. The murals in the grottoes, after the baptism of time, have experienced brilliance and desolation. Today, the Mogao Grottoes have no religious presence, and more importantly, they have become a treasure house for worshiping the evolution of ancient Chinese art. Many people are studying the style and technique of drawing. Many of the stories behind the murals are also promoted by modern research, gradually making people realize the origin of Dunhuang murals. The power of faith has transformed this place from a cave to hundreds of caves. Thousands of years later, it is also the light of faith that makes it a holy place for artists. The religious belief made Dunhuang success. These murals also made belief and art become one. This is the second time I have come to Dunhuang. I have brought a lot of expectations. While copying the eighty seven immortal scroll painting collected by Mr. Xu Beihong, I conceived the creation of the other shore. Dunhuang’s silence also gave me a chance to be quiet. People always need to understand that art is a kind of faith and the state of mind is very important. Faith in this era, more and more desalination. It’s rarely mentioned or valued. Freedom of belief is the best reason and also the best escape. This time I watched the Dunhuang murals, it was like a mobilization meeting for my own thoughts. I understand that it’s a big project to combine the proximity of this image, the reversal of the schema, and finally became a new image. What I saw in Dunhuang gave me this spiritual strength.
過程
我知道當妳想明白你想要做什麽了以後,接下來就是要通過大量的實踐來驗證和完成這個計劃。《八十七神仙卷》還有一卷和同樣內容的作品被定為武宗元的《朝元仙杖圖》,經過反復比較,我最終選定了用徐悲鴻先生收藏的《八十七神仙卷》作為我這一系列作品的突破口,去完成這個作品,首先做的是對於這個作品的繪畫藝術和方法的研究。
這幅畫,按照徐悲鴻先生的研究應該是一副大型道教壁畫的粉本小樣,畫中的仙人多以女眾為主,我從唐宋時期出土的墓室壁畫入手,研究仕女的服飾特點,以及河北曲陽王處直墓出土的彩色浮雕也得到了很多參考。元代永樂宮的《朝元圖》內容豐富,不僅有助於去更好的去分析畫面的內容和儀軌,也給我在之後在彼岸圖色彩的搭配上提供了參考依據。在參考了眾多的各個時代服飾和發飾資料和繪畫遺存後,我反復的畫稿子,整個過程持續了兩年之久,在查找資料和畫的過程,是一個時而帶有思考的,時而又是一個純粹的繪畫樂趣的過程。我參照了大量的古代雕塑和中國古代服飾和發飾,雖然有很多資料,這依然是一個龐大而且需要想象創造的過程。大概這張畫花了半年多,我依然沒有畫出一張在造型和氣度上接近原作的人物。我甚至懷疑自己是否在挑戰一個不可能完成的任務。我開始調整繪畫的步驟和方法,我放棄直接從背面繪畫的方式,開始著手先去完善正面的仙眾,去把整體分解成單個個體。很多人物只有一點上半身的局部,正面可以參考的內容很多,大概用了半年的時間,我完成了所有的神仙的單獨個體的造型設定。花了一年時間來研究這張畫的造型特點,是特別笨的方法,這也是一個很好的機會,讓我充分認識了古代藝術家的智慧。
Process
I know that when you want to understand what you want to do, the next step is to verify and complete the plan through a lot of practice. Eighty-seven immortal scroll painting and a work with the same content were named Wu Zongyuan’s immortal scroll painting of Chaoyuan. After repeated comparison, I finally chose the eighty-seven immortal scroll painting collected by Mr. Xu Beihong as the breakthrough of my series of works. To complete this work, the first thing to do is to study the painting art and methods of this work. This painting, according to Mr. Xu Beihong’s research, should be a pink sample of a large Taoist mural. I started with the tomb murals unearthed in Tang and Song Dynasties, and studied the dress characteristics of the ladies, as well as the color relief unearthed from Wang Chuzhi’s tomb in Quyang, Hebei Province. The Yongle Palace of the Yuan Dynasty’s “Chaoyuan painting” is rich in content, which not only helps to better analyze the content and ritual of the picture, but also provides a reference for me in the later color matching of the other side. After referring to a large number of materials and remains of clothing and hair ornaments of various times, I repeatedly drew manuscripts, and the whole process lasted for two years. In the process of finding information and painting, it is a process of thinking sometimes, and a process of fun from pure painting sometimes. I refer to a large number of ancient sculptures and ancient Chinese clothing and hair accessories. Although there are many materials, it is still a huge and imaginative process. It took me more than half a year to draw this picture, but I still haven’t drawn a figure close to the original in shape and bearing. I even wonder if I’m challenging an impossible task. I began to adjust the steps and methods of painting. I gave up the way of painting directly from the back of the characters. I started to perfect the immortal group first, to decompose the whole into individual. Many characters only have a little part of the upper body, and there are many positive references. It took me about half a year to complete the modeling of all the individual immortals. It took me a year to study the modeling characteristics of this painting, especially the stupid method, which is also a good opportunity for me to fully understand the wisdom of ancient artists.
個體轉化步驟
分解畫面,讓畫面中的所有元素分成若幹個獨立個體,《八十七神仙卷》是排列組合完成的二維空間,如果我要得到對岸的視角的畫面,那麽就是要把每個部分歸納為若幹個獨立的三維空間,在這個小型三維空間裏完成視覺的翻轉。构成画面的主要元素
67位女仙
3位帝君
17位男仙和神將
1座橋
若幹荷花和雲氣
人物構成方式
1 正面臉+微側軀幹
2 ¾側臉+ ¾軀幹
3 正側臉+ ¾軀幹
4 正側臉+偏正側軀幹
畫面的中所有元素將進行重組,中國繪畫中是否存在這樣三維空間上的對岸,這個問題在一開始就打上了問號。首先這是一個排列組合的二維畫面,並不是模仿視網膜的成像方式的三維畫面,那麽這個對岸從三維空間的角度來討論其實是不存在的,我們所做的是個排列組合角度的轉化。
古代藝術家熟練的應用排列組合的方法,組合出一個介於平面空間和三維空間的符合空間。中國古代壁畫的繪制,很多時候依賴於粉本,所以我們經常在不同的壁畫遺存中,有很多造型相似的神將或女眾。從敦煌的各個時期的天王身上,我們能找到這種時空的藝術傳承規律,這也是中國傳統繪畫中樣式化的最典型體現。
找到正確的排列組合方法,我們就能進行所有個體局部轉換,然後物體再按照其原有的方式排列重組,最後我們也許能夠在意象中到達他們的對岸。
Immortal transformation steps
Decompose the picture so that all elements in the picture are divided into several independent pictures. Eighty-seven immortal scroll painting is a two-dimensional space completed by arrangement and combination. If I want to get a picture of the perspective of the opposite bank, I must sum up each part into several independent three-dimensional spaces, and complete the visual reversal in this small three-dimensional space.
Main elements of the picture
67 female Immortals
3 Kings
17 immortals and Generals
1 bridge
Some lotus flowers and clouds

Form of characters

  1. front face + micro side trunk
  2. ¾ side face + ¾ trunk
    3 .front side face +¾ trunk
  3. Front side face + side trunk
    All elements in the picture will be reorganized. Whether there is such a three-dimensional opposite shore in Chinese painting is a question mark at the beginning. First of all, this is a two-dimensional picture arranged and combined, not a three-dimensional picture imitating the imaging mode of the retina. So the discussion of the opposite bank from the perspective of three-dimensional space does not exist. What we have done is to transform the angle of arrangement and combination.
    Ancient artists skillfully used the method of permutation and combination to form a consistent space between plain space and three-dimensional space. The painting of ancient Chinese murals often depends on templates, so we often have many similar images in different mural remains. From Dunhuang paintings in various periods, we can find this Law of art inheritance in time and space, which is also the most typical embodiment of stylization in traditional Chinese painting.
    If we find the right way of arrangement and combination, we can transform all the individuals locally, then the objects are arranged and reorganized according to their original way, and finally we may be able to reach their opposite shore in the image.
    回望与思考
    彼岸這個想法借用了一個空間上對立的概念,這種空間上對立的實現在中國畫裏是不存在的,我所做的是讓畫面從視覺感受上接近這個概念,或者說制造一種錯覺。我沒有求快,每個人我都先對著畫來試著去完成畫面,每個人物從初稿到定稿都反復推敲的數次,有些人物的局部在畫成背向圖式時,有些不太協調,都最後進行了局部刪減,但力求不去突破原有畫面的形式,並嚴格按照其特有的線條規律來組織疏密關系。總的來說,我是想借用古人的手來完成壹張只有古人可以創作的一件作品。
    二O一三年到二O一五年完成了以線描為基礎的《彼岸》,二O一五年到二O一八年完成了壁畫形式的《彼岸圖》。《彼岸圖》中,這些遠去的背影,也是一個對今天的我們和傳統之間現實關系的寫照,無論是什麽方面,我們今天的一切,包括精神信仰都和古代的中國已經大相徑庭。在這個層面來講,彼岸也是對傳統的一次回望。在全球化的大背景下,我們正接受著前所未有的信息爆炸,我們如何處理這些信息並且能夠找到一個平衡是我們當下遇到的問題。《彼岸圖》這個作品,前前後後花了五年多時間,從想法到完成,這個過程是我追逐信仰的過程,也是我對當下社會中信仰問題的反思。
    review and reflection
    The idea of the other side borrows a concept of special opposition, the realization of the concept of special opposition does not exist in Chinese painting. What I do is to make the picture close to the concept from the visual sense, or to create an illusion. I didn’t ask for speed, everyone I tried to reorganize the picture, each character from the first draft to the final draft are repeated several times. When some parts of the characters are drawn in a back schema, some of them are not very harmonious, and they are finally partially deleted, but they try not to break the original form of the picture. In general, I want to use the hand of the ancients to complete a piece of work that only the ancients can create.
    From 2013 to 2015, the other shore based on line drawing was completed, and from 2015 to 2018, the other shore in the form of murals was completed. In the picture of the other shore, these distant figures are also a reflection of the realistic relationship between today’s society and ancients tradition. No matter what it is, everything we have today, including spiritual belief, is quite different from ancient China. On this level, the other shore also looks back on the tradition. In the context of globalization, we are receiving unprecedented information explosion. How to deal with this information and find a balance is the problem we are facing now. It took me more than five years to finish the work “the other shore”. This process is my process pursuit of faith, and also my reflection on the trust problem in the current society.

解丁泉 於豫章青山湖畔

Dingquan Xie Nanchang City, Jiangxi Province, China

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