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Culture 菌整理编辑，版权为艺术家本人所有 未经允许禁止转载复制 
自2000年以来，曾梵志对中国传统艺术和文化越来越感兴趣，尤其是北魏、元代和宋代的绘画和雕塑。在老庄哲学的影响下——这是中国传统艺术不可或缺的一部分——他的主题慢慢地从社会转向了自然。特别是，他对学者岩石的兴趣激发了抽象景观的创作（2004–）。在这些作品中，黑暗、沉思的风景往往被复杂的线性笔触或交织的树叶所掩盖。艺术家将这些景观描述为对自然创造的重新诠释，而不是对客观世界的描绘。这些作品的悲凉与曾早期的肖像画相呼应。Since 2000 Zeng has become increasingly interested in traditional Chinese art and culture, particularly the paintings and sculptures of the Northern Wei, Yuan, and Song Dynasties. Influenced by the philosophies of Laozi and Zhuangzi—which are integral to traditional Chinese art—Zeng’s subject matter has slowly shifted from society to nature. In particular, his interest in scholar’s rocks inspired the creation of theAbstract Landscapes (2004–). In these works, dark, brooding landscapes are often obscured by complex linear brushstrokes or intertwining foliage. The artist has characterized these landscapes as reinterpretations of nature’s creation as opposed to depictions of an objective world. The tragic yet sublime desolation of these works echoes Zeng’s early portraiture.摘要《抽象山水》经历了多次修订和突破，其中大部分都表明曾向抽象的转变。虽然早期的作品融合了天空、火和动物的意象，但后来的作品严重依赖线条和颜色，并脱离了具象世界。他的作品中的参考和情感变得更加模糊，创造了一种不确定性，打开了一个千变万化的潜在解释范围。近距离观察时，观众会注意到油画的质感、笔触的节奏、线条的重叠、色彩的分层和混合，以及画布内的各种冲突和过渡，而从远处看，观众可能会将这些形式解读为星云或电网。 The Abstract Landscapes have undergone many revisions and breakthroughs, most of which suggest Zeng’s shift toward abstraction. While early works incorporated imagery of the sky, fire, and animals, later works rely heavily on line and color and are removed from the figurative world. The references and emotions within his works have become more ambiguous, creating an uncertainty that opens up a kaleidoscopic range of potential interpretations. On close observation, the viewer notices the texture of the oils, cadence of the brushstrokes, overlaying of the lines, layering and mixing of color, and various conflicts and transitions within the canvas, while from afar, the viewer may interpret the forms as nebulae or electrical networks.除了山水作品，他还不断从事肖像画创作，经常颠覆这一类型。例如，从2002年开始，他使用圆形笔触来模糊受试者面部的轮廓。在《天安门》（2004）中，被摄对象被描绘得如此近，以至于很难辨认；在梵高（2017）中，这个人物似乎永远处于毁灭和重建的状态。Aside from his landscape works, Zeng has continuously engaged with portraiture, often subverting the genre. For example, beginning in 2002 he employed circular brushwork to blur the outlines of his subjects’ faces. InTiananmen (2004), the subjects are depicted at such close range that they are difficult to make out; in Van Gogh (2017), the figure seems to be in a perpetual state of destruction and reconstruction.2014年，卢浮宫委托创作了一幅受Eugène Delacroix的《自由领导人民》（1830）启发的画作，曾为其创作了《从1830年到现在》，编号4；它悬挂在原作旁边，将对立的风格和时代统一在一个共同的主题下。同样，2017年，阿姆斯特丹梵高博物馆举办了一场四件作品的展览，曾在展览中将文森特·梵高对色彩和笔触的独特运用与自己的作品相结合。曾将西方神话和宗教的意象结合起来，跨越文化和历史，开辟了一种全新的艺术语言。In 2014 the Louvre commissioned a painting inspired by Eugène Delacroix’sLiberty Leading the People (1830) for which Zeng created From 1830 to Now, No. 4; hung next to the original, it united opposing styles and times under a common theme. Similarly, in 2017 the Van Gogh Museum, Amsterdam, presented an exhibition of four works in which Zeng bridged Vincent van Gogh’s unique use of color and brushstroke with his own. Combining imagery from Western myths and religion, Zeng reaches across culture and history, opening up an entirely new artistic language.
曾梵志在视觉和历史上的复杂绘画反映了他对东西方艺术传统的大胆尝试和融合。 Zeng Fanzhi’s visually and historically complex paintings reflect his bold experimentation with, and fusion of, Eastern and Western artistic traditions. 他生于中国武汉，1991年毕业于武汉湖北美术学院。从19世纪到20世纪90年代，武汉是中国最繁荣的城市之一，见证了东西方文化的碰撞。曾年轻时受到中国85年“新浪潮”运动的启发，在20世纪60年代和70年代的文化大革命之后，艺术家们开始寻找一种新的、往往更具概念性的语言。曾密切关注和研究西方艺术，尤其被德国表现主义和法国浪漫主义所吸引，通过这些艺术，他观察到了前辈们在社会极端动荡时期处理和想象自己经历的方式。他特别被马克斯·贝克曼以及威廉·德·库宁和爱德华·蒙奇等艺术家大胆的表情所吸引。这些影响使他偏离了学校里教授的社会现实主义。相反，他敏锐地观察着日常生活中的物体和图像。他的《医院》（1991-92）和《肉》（1992-94）画作就是这种转变的例子。在这些发自内心的作品中，他将受试者的皮肤涂成了类似屠宰肉的粉红色，展示了他对人类存在和脆弱的关心和同情。Born and raised in Wuhan, China, Zeng graduated from the Hubei Institute of Fine Arts, Wuhan, in 1991. From the nineteenth century until the 1990s, Wuhan was one of China’s most prosperous cities and witness to a collision of Western and Eastern cultures. During his youth Zeng was inspired by China’s ’85 New Wave movement, which saw artists search for a new, often more conceptual, language after the Cultural Revolution of the 1960s and 1970s. Zeng closely followed and studied Western art and was particularly drawn to German Expressionism and French Romanticism, through which he observed the ways in which his predecessors processed and visualized their experiences during times of extreme societal flux. He was especially drawn to the bold expressive gestures of Max Beckmann, as well as artists such as Willem de Kooning and Edvard Munch. These influences led him to deviate from the Social Realism that he was taught in school. Instead, he keenly observed objects and images from daily life. His Hospital (1991–92) and Meat (1992–94) paintings are examples of this turn. In these visceral works, he painted the skin of his subjects a pinkish color resembling slaughtered meat, demonstrating his concern and compassion for human existence and fragility.1993年，曾搬到北京，陌生的环境让他感到孤独。在这段时间里，他敏锐地意识到他遇到的各行各业的人，他们正经历着一个快速现代化的时期。这种意识促使他创作了《面具》系列作品（1994-2004），这一系列作品保留了之前绘画中所见的主体的大而空的眼睛和粗而笨拙的手，并在人物之间引入了更大的距离，创造了一种疏离感。这些作品中的面具掩盖和转移了主体的情感，暗示了曾对社会加速、系统发展的担忧和排斥。这些作品不仅记录了这一时期深刻的社会变革，也提供了这个时代集体记忆的一瞥。In 1993 Zeng relocated to Beijing, where the unfamiliar environment left him feeling isolated. During this time he became keenly aware of the people he encountered, from all walks of life, who were living through a period of rapid modernization. This awareness led to the creation of his Mask works (1994–2004), a series that preserved the large, vacant eyes and thick, clumsy hands of the subjects seen in prior paintings and introduced greater distance between the figures, creating a sense of alienation. The masks in these works obscure and divert from the subjects’ feelings and hint at Zeng’s apprehension toward and rejection of society’s accelerated, systematic development. These works not only provide a record of this period of profound social transformation, but also offer a glimpse of the collective memory of this era.© 曾梵志 排版：Culture菌
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