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梁铨: 新六柿图 | Liang Quan: The Neo Six Persimmons【拾萬空间】

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新六柿图

艺术家：梁铨

展览时间： 2019年12月21日- 2020年2月19日

开幕时间： 2019年12月21日周六下午4点

拾萬空间非常荣幸的带来梁铨老师的个人展览项目：《新六柿图》，《六柿图》由南宋画家牧溪所绘，六个柿子自然摆放，笔墨、虚实、阴阳、粗细各不同，经过漫长的时间，通过这件作品我们看到了“随处皆真”的禅宗境界。我们忍不住的想，牧溪在画这些柿子的时候在想什么？他经历了什么？牧溪的“柿子”和梁铨的“柿子”在某种程度上，被寄托的“真实性”是一致的：感情的真实。正如梁铨老师自己描述的这种感情：我在如地毯般的草坪中，选了一株草，我盯着它看了半分钟，然后将视线移开，仅仅一会，我已经无法从这一片绿色中再次将它辨认出来——世界是细致而真实的，看起来所有事物都微不足道。

梁铨

六柿图

160x122cm

色、墨、宣纸拼贴

2019

南宋画家牧溪笔下的《六柿图》

今年已是72岁高龄的梁铨老师，在上世纪80年代去美国学习版画，回国后在浙江美术学院任教，后移居深圳。梁铨老师切身感受到了中西方艺术的不同：“中国人对风、雨、日出、日落、对自然，甚至对人为的景观提炼出了一种精炼的语境和意境，譬如《潇湘八景》。但西方就没有这种语境和意境，虽有表现大海、森林、静物的作品，但没有把它们归纳为一种人文情趣和意境的喜好。不能说西方的不好，但我们的肯定和他们的不一样，所以我就思考如何结合我所学的艺术，例如抽象的，带有几何形式的，具有现代主义表现的手法，用抽象思维精神的方式将这种不能言说的意境表达出来，并一直朝着这个方向做一些尝试”。

本次展览中展出的《柳浪闻莺》、《飞来峰》、《小瀛洲》和《十里琅珰》等作品来源于杭州周围的自然环境，梁铨老师将现实的自然环境，用一种类似写生的方式用自己的语言再次呈现出来，这与中国传统山水画创作的写生逻辑奇妙的契合在一起，用自己的“笔墨”画眼前的山水，梁铨老师同样用自己的“抽象”语言来呈现他所看到的自然环境，来呈现他所理解的巴赫，来呈现他所理解的花花草草，“传统”在这里，用不同的语言再次给我们展现了南宋牧溪画《六柿图》的情感场景。

梁铨

小瀛洲

60.5x45cm

色、墨、宣纸拼贴

2014

位于杭州西湖中部的小瀛洲

梁铨1948年出生于广东中山，长于上海，现居深圳。梁铨老师近期重要个展有：坐看云起——梁铨创作风格与流变，蜂巢（深圳）当代艺术中心；蓄素守中——梁铨三十年绘画作品展，蜂巢当代艺术中心。他的作品被广泛收藏在国内外重要的美术馆和机构当中：中国美术馆，上海美术馆，浙江美术馆，广东美术馆，大英博物馆，香港M+博物馆，香港艺术馆，LV foundation，德国新美术馆等。

The Neo Six Persimmons

Artist： Liang Quan

Date： 12/21/2019 – 02/19/2020

Opening： 12/21/2019 Saturday 4 pm

Hunsand Space is delighted to present Liang Quan’s solo exhibition, “New Six Persimmons”. The Six Persimmons is the work of Southern Song Dynasty painting Mu Xi’s work, who composed the fruit in natural forms, his used of ink, shade, yin/yang, and various types of brushwork. Over time, this work allows the viewers to perceive the Zen realm where “truth prevails”. Looking at Six Persimmons, one wonders what were on Mu Xi’s mind when he painted this work, what the artist has experienced? To a certain extent, the “truth” embodied in Mu Xi’s persimmons is synonymous to the ones of Liang Quan, both embody the artists’ true sensibilities. As Liang Quan describes this sensibility in his own words, “I picked up a piece of grass off a carpet-like lawn, and I stared at it for half a minute before I looked away. Only in this brief moment, I could no longer identify the grass from the landscape of green – the world is sophisticated and truthful, where everything seems insignificant”.

Born in the late 1940s, Liang Quan had studied printmaking in the U.S. in the 1980s. Upon returning to China, he taught at the then Zhejiang Art Academy (currently the China Art Academy), before he relocated to Shenzhen. Liang Quan has been profoundly compelled by the disparities between the arts of China and the West, in his own words, "The Chinese have extracted a set a concise context and realms on the natural elements such as wind, rain, dawn, and dust, or even of the artificial landscape, as we have seen in the painting Eight Views of Xiaoxiang. Such visions are unfound in the Western visual language, even though there are works of art that portray the ocean, forest, and still life, without sublimating them into intellectual sensibility and artistic conception. Without making any cultural ranking, the differences between them are apparent. For which, I contemplated on how to integrate the two visual traditions I have acquired in my studies – the abstract, geometric and modernist mode of expression, where I could adopt the vision for abstraction to express such ineffable realms and continue to experiment in this direction.

On view in this exhibition are works inspired by scenic areas from the natural environment around Hangzhou. In Listening to Orioles Singing in the Willows, Peak Flying, Xiao Yingzhou and Shili Langdang and others, Liang Quan has translated the reality of these natural sceneries to his own visual language, an approach synonymous to painting traditional Chinese landscape paintings, using his "ink and colors" to depict the landscape before his eyes. Meanwhile, the natural landscapes he has perceived have been translated into his language of "abstraction", ones that remind one of the music of Johanne Bach, to represent the artist's experience of flora and fauna. Here, the notion of "tradition" afforded us different kinds of visual language to experience the sensibilities once conveyed in Mu Xi's Six Persimmons from the Southern Song Dynasty.

Liang Quan, born in 1948 in Zhongshan, Guangzhou, grew up in Shanghai, and currently lives and works in Shenzhen. Liang Quan's recent solo exhibitions include, "Watching the Clouds Go By: Liang Quan'sCreative Style and its Changes", Hive Center for Contemporary Art(Shenzhen); "Amassing the Essence: Thirty Years of Painting by LiangQuan", Hive Center for Contemporary Art. His works have been widely acquired by art museums and institutions abroad and at home including, National Art Museum of China, Shanghai Art Museum, Zhejiang Art Museum, Guangdong ArtMuseum, The British Museum, M+ Museum, Hong Kong, LV Foundation, Neue National Gallery in Berlin, Germany, etc.

拾萬空间于2014年成立于草场地艺术区211号院，并在2018年迁至798艺术区。拾萬空间对常规意义的方盒子展览保持警惕，意欲从当代艺术语言中的语法和语意结构出发并将之延展到更广泛的领域；希望通过持续的展览和项目，激发出当下文化中被忽视的部分，将当代艺术思想的价值生发到你我的身边。

Hunsand Space is founded at No. 211 Caochangdi Art District in2014 and relocated to 798 Art District in 2018. Remaining vigilant about the conventional ways of presenting art exhibitions in the white cube, Hunsand Space aims to take the semantics and syntax from the language of contemporary art as a point of departure and to extend them into broader fields. Through its vigorous exhibitions and projects, Hunsand Space hopes to activate the overlooked aspects in contemporary culture and to bring the value of contemporary art into our lives.