干道甫的青花

  干道甫的画青花瓷艺中的鲜花,东方艺术里的新诗

李亚伟(著名诗人)

  干道甫的青花,惊醒了一个酣睡的文化魂

默默(著名诗人)

  在干道甫的笔下,青花以超现代的方式复苏了蓝冰的梦

周墙(著名诗人,艺术家)

  一个民族的强盛首先是民族精神的强盛,民族瑰宝恰是民族文化与精神的浓缩。元代,这个在中国几千年历史上因游牧民族统治而略显有些特殊意味的朝代,随着箭啸马鸣的强大,青花也繁荣起来。而同时,色彩鲜亮,影响深远,改变了整个世界瓷器发展进程的青花瓷也见证了当时国力的强大。

  青花,作为水土火完美融合的一种艺术是人类历史上一个具有划时代意义的标志,更是中国民族身份的象征,青花瓷对整个世界陶瓷业作出重要贡献。

  干道甫以执着求真的精神,以青花瓷为媒材,创造出独特的大青花艺术而引起人们的关注。自大学毕业在北京工作六年后的干道甫重新回到母校景德镇陶瓷学院攻读硕士学位,随其导师秦锡麟先生及前辈们专研现代青花。这成为干道甫对青花探索的一次重要转机,在其读研期间,干道甫对历代青花的艺术表达形式作了细统的研究,同时,结合其多年来对现当代艺术的观注和独特理解,开辟出一条别样的大青花艺术之路。

  干道甫大青花的独特之处在于对青花创作工具之一的锥形毛笔改为平头油画笔或排笔,而产生的艺术效果和张力。在其创作过程中既尊崇东方传统青花的笔墨韵味,产生淋漓酣畅的效果,同时强调面的运动轨迹及妙手偶得的独特心理感受。唐宋梁楷,明清数大家至近代林凤眠对笔的改造到傅抱石打倒笔墨改侧锋横扫,再到张大千晚年发泼墨变法无不看到工具改变后以面为主的影子和精神的张力。面有力度有份量,更饱满更符合当代人的情感渲泄,块面化的青花写绘法构成其大青花的主要特征。

  在对工具的控制能力达到自由驾驭的阶段之后,干道甫的创作激情也逐浓烈起来,起初一刷子下去的长度不过50厘米到最近创作的240厘米的渲泻,从而实现画面表达的高度狂放与自由,由早期作品描绘的度而改为重写的精神。意向流淌超越了形式的界限。大尺幅瓷板作品的创作使艺术家的思绪得以尽情发挥,产生对巨大二维空间的精准驾驭又不断刺激了艺术家的创作激情。

  凡高说过:不少画家害怕空白画布,但空白画布也害怕敢冒险的真正热情的画家。干道甫长期以来面对泥土制作而成的画布表现出一种自由探索和敢冒风险的姿态,因而其大青花作品呈现出一种特立独行的当代精神。

  大青花艺术的自由度毕竟是在青地白花白地青花间展开的。然而通过对其有机调度解决画面性格与情感表达的融合关系,从而产生自然和强烈的笔融及画面肌理的张力。饱满的块面成为可以泛指的存在,成为哲学寓意的物质载体。大体面的结构搭建,在力量、笔势、气度、韵律等方面都得到了尽情的发挥。这样的青花艺术形式翻开了近千年青花艺术发展的新的一页,大大拓展了青花艺术的当代视觉表现力度,使得干道甫的大青花艺术作品具有体量书写的表现性,气度和视觉冲击力。超然和思想深度方面呈现杰出的表现。既追求抽象思维的开放性又不离传统青花的气韵法度。律动和笔墨形式浑然一体,从面使其作品具有精神的本质价值。大青花的创作构成了干道甫全部精神生活。

  另一方面,对大青花作品的结构性和块面布局的思考一直是干道甫在创作过程中的重点,干道甫的艺术理想抽离于传统青花的刻划叙述性和现代文人青花小情调的追求,他希望抽离的更高、更直接,以面的方式直接与原古、宇宙相通。在探索大青花的笔势与空间布局方面,干道甫以局势造就了大画面的大气魂,同时以局部体现了整体的宏大,抽象应该尊重局部,尊重具体,比如人的一种比较具体的情感,比较现场及时地反映,尊重局部感,其实我们今天都活得很局部,很难把握这个整体,这是今天社会文化背景下真实的东西,干道甫的哲学触及这点,并通过其大青花作品作出个人解答。他放大了他理解存在的精神本质。抽象绘画的艺术家的哲学涵养是基本承重部分,抽象绘画的思想外延更多地借助布局及结构的安排,笔触多层次变化的有机组合共同建构,并被赋予环环相扣的逻辑关系。干道甫的大青花作品正是出色地解决了布局,笔墨、色彩之间的有序联系这个课题。理性的结构布局搭建起画面的骨架,速度与激情还原了笔墨的韵动、火的再造,使其艺术的精神得以升华,他的大青花艺术无疑在探索中国青花艺术的现当代性表达的可能性方面作出了表率。

  对于自已目前探索的这条大青花艺术道路,干道表越发看到超越画面之外激情的涌动,他看到从媒材到精神的太多的可能性等着他去挖掘,干道甫对东方化传统之一的青花进一步传承和发展的信心,坚定不移,对于有着深厚文化积淀和思想内涵的东方艺术所蕴含的崭新生命力坚定不移。

  守望大青花,再造民族精神,可以看作是干道甫个人对于传统东方文化在当代文化语境下新的生长的期盼。

Spiritual Reconstruction: Gan Daofus

Expanded Blue-White Porcelain

  The prosperity of a nation derives from its flourishing spirit. A
nations exquisite treasures are distillations of both culture and
spirit. The Yuan Dynasty holds a slightly peculiar meaning in Chinas
long of history because rule by a nomadic race, along with military
growth, saw the flourishing of blue-white porcelain. Concurrently, this
brightly colored and broadly influential type of porcelain, which
changed the global evolution of pottery, testified to our nations
strength at that time.

  Blue-white porcelain-a perfect combination of water, mud and fire-is
a breakthrough in human art history as well as a symbol of national
identity. It has made a significant contribution to pottery in the
world.

  Gan Daofu has attracted peoples attention with works created out of
his quest for truth in the medium of expanded blue-white porcelain.
After six years work in Beijing following his undergraduate studies, Gan
Daofu returned to the M.A. program of his alma mater, Jingde Zhen
Institute of Pottery, and studied modern blue-white porcelain with his
director Qin Xilin and other elder artists. This proved to be a
favorable turn for him. During his graduate study Gan Daofu conducted
systematic research on expressive forms of blue-white porcelain in all
dynasties. Integrating this with his observation and comprehension of
modern and contemporary arts, he pioneered a unique path of expanded
blue-white porcelain.

  The uniqueness of Gan Daofus porcelain work lies in the artistic
effects and tensions produced by the oil painting brush or flat brush,
used in place of the tapered brush as a tool for creating blue-white
porcelain. During his creative process, he honors the brush-and-ink
charm of traditional blue-white porcelain to give a vibrant effect.
Meanwhile, his emphasis on the operative mode of the plane is combined
with openness to irreproducible intuitive touches. Liang Kai of the
Song, the Ming-Qing masters, Lin Fengmians modern alterations of the ink
brush, Fu Baoshis overturning of orthodox ink-and-wash in favor of the
freely wielded sideways brush, Zhang Daqians switch to splash-ink
technique in his late years: in all these things we see the primacy of
the plane and with an accompanying psychic tension. The plane has
strength and substantiality, and is thus is a more ample, fitting medium
for modern people to pour out their emotions. A structural scheme of
inscribing blue patterns on planar chunks is a key feature of expanded
blue-white porcelain.

  When Gan Daofus mastery of tools reached the stage of unimpeded
control, his passion for creation gradually became intense. The earlier
brush of no more than 50 centimeters changed to 240 centimeters in more
recent treatments: this brought a realization of extreme dis-inhibition
and freedom in drawing. From the descriptive dimension of early works,
he has turned toward a spirit of re-writing. Streams of intention have
transcended the boundary of forms. Creating large-scale porcelain tiles
has enabled the artist to put forth thoughts and sentiments at his will.
The resulting mastery over huge two-dimensional space has stimulated his
creative enthusiasm.

  Van Gogh said, Some painters are fearful of blank canvas, but blank
canvas also fears a truly passionate painter who dares to take risks.
Gan Daofu, facing the canvas of clay over a long period, has made
gestures of free exploration and risk-taking. In his own unique way he
has imbued his blue-white porcelain works with a modern spirit.

  The open area of blue-white porcelain has developed between white
patterns on blue background and blue patterns on white background. To
achieve harmonious relations between visual configuration and emotional
expression requires organic adjustments, producing strong natural
tensions in stroke-work and surface texture. The full-bodied planar
chunk becomes an independent entity which serves as a material medium
for philosophical meanings. The construction of large volumes is brought
into full play in terms of strength, stroke, bearing and rhythm. Such
forms have turned a new page in the history of blue-white porcelain,
extending its parameters of visual expression. Gan Daofus works of
blue-white porcelain possess the expressiveness, bearing and visual
impact of volume writing. They also display depth of thought, pursuing
the openness of abstract thinking while maintaining general rules of
traditional blue-white porcelain. The wholeness of rhythmical movement
derived from ink-and-wash allow his works to convey an inherent value of
spirit. For Gan Daofu, the creation of extended blue-white porcelain
constitutes life of the spirit.

  On the other hand, Gan Daofu has pondered the construction and
planar arrangement of blue-white porcelain, and this has remained a key
point in his creative work. Gan Daofus artistic ideal, being abstract
from the descriptive narratives of traditional porcelain and the
bourgeois sentiments of modern literati, is hopefully more elevated and
forthright, linking to the past and to the broader universe by extension
of planes. In his explorations of brushwork and spatial composition, Gan
Daofu accomplishes overall kinesis across a large plane, using parts to
bring out grandeur of the whole. Abstraction must respect detail and
concreteness: for example, a persons concrete sentiment, or a timely
reflection. As a matter of fact, we are living quite locally today, and
it is hard to grasp the whole. This is something real in the current
background of society and culture, which Gan Daofus philosophy has
touched upon and to which he has responded, in personal terms, through
his blue-white porcelain. He has expanded his understanding of being as
spiritual essence. The philosophical cultivation of an artist is the
load-bearing frame: in abstract painting this often extends into a
unified organic edifice by means of structural arrangements and
multilevel variations of brushwork, all of which are endowed with chains
of logical relations. Gan Daofus blue-white porcelain works have
achieved an extraordinary resolution in this matter of relations among
layout, brushwork, and color. The rational arrangement being the
framework, speed and passion re-manifest the resonance of ink-and-wash
in a fire-fashioned form. Gan Daofus spirit has found sublimation in
art. His blue-white works have undoubtedly set an example in exploring
modern and contemporary expression for Chinese blue-white porcelain.

  Concerning this exploratory path of blue-white porcelain, Gan Daofu
has perceived how surges of passion go beyond the pigmented surface. He
has perceived numerous possible ways to proceed from the art medium
toward spirit. Gan Daofu confidently intends to inherit and transmit
blue-white porcelain; he has strong faith in the refreshing vitality
latent in oriental arts, given their profound cultural accumulations and
implications.

  To keep watch over this great medium of blue-white porcelain, while
reconstructing the nations spirit: this can be regarded as Gan Daofus
expectation for the novel growth of Eastern tradition in a modern
context.

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