版筑我們的視界
——天津美術(shù)學(xué)院版畫系教師作品展感言

鄧國(guó)源

版筑我們的視界
——天津美術(shù)學(xué)院版畫系教師作品展感言

鄧國(guó)源

編者按：作為視覺(jué)圖像的啟蒙藝術(shù)形式之一，版畫藝術(shù)在美術(shù)史上命運(yùn)復(fù)雜，發(fā)展到現(xiàn)在置身于當(dāng)代環(huán)境中，版畫藝術(shù)的發(fā)展面臨著機(jī)遇與挑戰(zhàn)。從古至今，天津都是中國(guó)版畫藝術(shù)發(fā)展的重地，隨著創(chuàng)作重心與發(fā)展方向的轉(zhuǎn)換，天津美院版畫系逐漸顯現(xiàn)出其在天津版畫界的重要性，它不僅成為培育版畫人才的中心，更是深度研究版畫與多方位進(jìn)行創(chuàng)作實(shí)驗(yàn)的中心。“版上行——天津美術(shù)學(xué)院版畫系教師作品展”展出的作品風(fēng)格、類型、觀念多樣，呈現(xiàn)出多元化的跨界創(chuàng)作趨勢(shì)。本次展覽不僅是對(duì)天津美院版畫系教師近年來(lái)成果的展現(xiàn)，更是對(duì)天津當(dāng)代版畫的一次總結(jié)。

Editor’s note: Printmaking art, as one of the enlightening art forms of visual images, has been involved in multiple complex destinies in the art history up till the present day when it is immersing itself in the contemporary artistic environment in the process of its development, confronted with opportunities and challenges.From ancient times to the present day, as the city of Tianjin has been an important place where Chinese printmaking art fourishes, the Printmaking Department of Tianjin Academy of Fine Arts is gradually showing its importance in Tianjin’s printmaking circles along with the transfer of emphasis of creation and development orientation.It is not only a center where printmaking talents are nurtured but also an artistic center where in-depth exploration of the printmaking art and multidimensional experiments of creation are carried out.The works shown at“On the Way of Printmaking: Works by Teachers of Printmaking Department, Tianjin Academy of Fine Arts”, with their varied styles, types and conceptions, present a trend of diversified and transboundary art creation.The exhibition is not only a manifestation of the achievements scored by the teachers of the Printmaking Department, Tianjin Academy of Fine Arts in their artistic creations but also a summary of contemporary printmaking in Tianjin.

范敏 涅槃08 平版畫 68×94cm 2015年Fan Min,Nirvana-8,lithograph,68×94cm,2015

姜陸 如煙如歌之三 漏版畫 150×150cm 2015年Jiang Lu,Like Smoke and Song,silkscreen print,150×150cm,2015

事實(shí)上，我們很難使用一個(gè)龐大的詞匯來(lái)恰如其分地定義這樣一個(gè)藝術(shù)群體：在他們的創(chuàng)作當(dāng)中，既包含著那些在技術(shù)上最經(jīng)典的案例，也包含著許多充滿探索性和爭(zhēng)議性的作品；他們當(dāng)中有的人用一種與世無(wú)爭(zhēng)的安寧?kù)o對(duì)浮華，而另外一些人則蕩漾著銳不可當(dāng)?shù)募で榕c魄力；他們的視覺(jué)感知經(jīng)驗(yàn)當(dāng)中包含著長(zhǎng)者般悠遠(yuǎn)的凝視，包含著中年人的睿智和成熟，包含著女性目光的細(xì)膩溫婉，也包含著更年輕一代的跳躍靈動(dòng)、不拘一格；更重要的是，他們?cè)谝愿髯圆煌慕嵌?，以視覺(jué)的方式在挑戰(zhàn)視覺(jué)和反思視覺(jué)，他們的手段是如此豐富，各異其趣，但在其藝術(shù)靈魂的某個(gè)地方，卻又是這樣地相互吻合，殊途同歸。按照現(xiàn)行藝術(shù)學(xué)院體系下的編制，我們將他們姑且稱之為“版畫人”“天津美術(shù)學(xué)院版畫系”，但我知道他們今天每個(gè)人各自的探索和努力，其價(jià)值將遠(yuǎn)遠(yuǎn)超越這個(gè)體系本身；這樣的努力將啟發(fā)他們自己以及身邊更多的朋友，以一種更具有開(kāi)放性、創(chuàng)造性的方式去建構(gòu)當(dāng)下的整個(gè)視覺(jué)世界。

As a matter of fact, it would be so diffcult for us to appropriately define such an elitist art group with an all-embracing word.Their creations comprise both technically most classical pieces and many exploratory and controversial works.Among the artists, some dispose of the vanity with unambitious tranquility and the others are overwhelmed with formidable passion and courage.Their experience of visual perception is composed of a senior’s distant gaze, a middle-aged person’s wisdom and maturity, a female’s delicate and gentle viewpoint, and the younger generation’s vigor and vitality.More significantly, they question and rethink the nature of vision from different angles and in a visual manner.While their approaches are so colorful and distinct from each other, they are mutually identical somewhere deep in their soul of art.According to the current established administrative system of art institutions, we might as well call them“printmakers”,“Printmaking Department, Tianjin Academy of Fine Arts,”nevertheless I am aware of their personal explorations and their exertion of endeavors, which outvalue the established system itself; as their endeavor will enlighten them and more friends around, they would construct the whole existing visual world in an open and creative way.

傅杰 風(fēng)景系列之六 平版畫 56×83cm 2013年Fu Jie,Landscape Series No.6,lithograph,56×83cm,2013

華紹瑩 迭 絲網(wǎng)版畫 54×77cm 2010年Hua Shaoying,Overlapping,silkscreen print,54×77cm,2010

焦磊 金光萬(wàn)壽山 石版畫 57×79cm 2015年Jiao Lei,Longevity Hill in Golden Light,lithograph,57×79cm,2015

杜超 復(fù)活節(jié)島的一天 絲網(wǎng)版畫 77×54cm 2009年Du Chao,A Day on Easter Island,silkscreen print,77×54cm,2009

陳九如 收獲 石版畫 52×43cm 1996年Chen Jiuru,Harvesting,lithograph,52×43cm,1996

周路 USA 綜合版 60×150cm 2013年Zhou Lu,USA,collagraph,60×150cm,2013

張莞 來(lái)自有的無(wú)系列之瑪麗蓮·夢(mèng)露 油畫布木版凹印手繪 90×90cm×6 2015年Zhang Wan,Marilyn Monroe from the Series of Something Not Existing,canvas,wood gravure and freehand sketching,90×90cm×6,2015

在造型藝術(shù)的幾種主要媒介手段當(dāng)中，版畫的歷史命運(yùn)具有一種特殊的復(fù)雜性。它曾經(jīng)在一個(gè)圖像稀缺的年代承擔(dān)視覺(jué)啟蒙者的使命，它曾經(jīng)構(gòu)成了人們眼中最熟悉的一種視覺(jué)體驗(yàn)，與無(wú)數(shù)公眾親密無(wú)間；版畫也曾在純藝術(shù)的潮流中逐漸轉(zhuǎn)變?yōu)椤靶”姟保瑓s一直以其特殊的視覺(jué)語(yǔ)言魅力影響著步入藝術(shù)殿堂的朝拜者；今天，面對(duì)“互聯(lián)網(wǎng)＋”時(shí)代的版畫看起來(lái)機(jī)遇和挑戰(zhàn)并存，它有可能做得十分的儒雅卻不食人間煙火，也可能做得很具有世俗性但卻未必影響得了在數(shù)字媒體時(shí)代那些日益麻木的感官和靈魂，有太多的探索者至今仍仿佛徘徊在十字路口，心中有所堅(jiān)信，但道路未明。

然而，在這個(gè)群體當(dāng)中，我們卻大約能看到一些鮮明的希望。這個(gè)群體有相當(dāng)雄厚的技術(shù)性支持和這個(gè)領(lǐng)域最過(guò)硬的硬件基礎(chǔ)，這讓他們的印痕似乎也充滿著一種特殊的自信力量。在許多傳統(tǒng)的技術(shù)門類被新視像手段沖擊的時(shí)代，版畫特殊復(fù)雜的成像手段十分珍貴地保有著人心和人手才能左右的那些因素，面對(duì)一個(gè)機(jī)械復(fù)制泛濫的時(shí)代，版畫的“復(fù)語(yǔ)”體系卻總是成為讓一切簡(jiǎn)化的當(dāng)代手段無(wú)法簡(jiǎn)化的重要領(lǐng)域。面對(duì)這樣一個(gè)時(shí)代，版畫的視野具有了一種投向彼岸世界的特殊的文化色彩，而自信的版畫人，也比以往的任何時(shí)候都更加肩負(fù)著某種精神性的使命。

也許比技術(shù)上的保障更為重要的是，我們面前的這個(gè)群體更是一個(gè)充滿合作探索精神的優(yōu)秀的人群?，F(xiàn)代主義式的獨(dú)創(chuàng)精神被揮霍殆盡的時(shí)代，今天的藝術(shù)總是需要我們有更好的想法，也需要我們有更好的協(xié)作精神和更有創(chuàng)造性的討論氛圍——好的想法只能在優(yōu)秀頭腦的相互交流之間產(chǎn)生。好的版畫，不但要按照眼睛看到的樣子，更是按“版”的生命所理解的樣子去重建視覺(jué)的世界。在這樣的世界重建當(dāng)中，一個(gè)好的文化氛圍，有時(shí)候與藝術(shù)家的個(gè)人智慧同等重要，甚至更為重要。當(dāng)這樣一群人走在一起的時(shí)候，這個(gè)群體的聲音，本身就構(gòu)成了一種超越視覺(jué)的力量。

于是我們?cè)谶@些視覺(jué)的作品當(dāng)中，每每能夠看到那些不局限于視覺(jué)的動(dòng)人因素。整個(gè)塵世以不同的樣子呈現(xiàn)在觀察者的視野當(dāng)中，我們看到的不僅僅是每個(gè)創(chuàng)作者不同的生命力量，更看到了他們用自己的生命體驗(yàn)去反省塵世視角的卓越的努力。我希望這個(gè)群體當(dāng)中的每一個(gè)探索者都能走得更遠(yuǎn)，因?yàn)?，我感到自己親眼目睹一個(gè)新的世界正在形成。

Among the major media of plastic arts, the art of printmaking is destined to have a particularly complicated historical fate, which, in an age of image scarcity, used to assume the mission of the visual enlightenment and provide a visual experience most familiar to the viewers, on very intimate terms with numerous people.In the tide of pure art, prints used to be a“niche market,”which has kept affecting the pilgrims who are entering into the art palace.Today, the art of printmaking seems to be facing both opportunities and challenges in the era of“Internet Plus”.The works of printmakers may be out of touch with reality regardless of their elegant appearance, or may be possibly characteristic of secularity but may not necessarily have an effect on the increasingly numb sensory organs and souls in the era of digital media.Too many artistic explorers are by now still wandering at an intersection with an aimless confdence.

In this group, however, we can see distinct hopes as the group has a strong technical support and a foundation of excellent hardware, which fill them with strength of special confidence on their prints.In an era where many traditional technologies are experiencing a shock from new media means, the extremely complicated imaging methods of printmaking are precious retainers for the elements that only minds and hands can control.In an era of rampancy of mechanical reproduction, the“repetitive language”system of printmaking is always an important field that refuses to be simplified by any contemporary means of simplification.Faced with such an era, printmaking has a vision filled with a special cultural color of seeking the other world, and the confdent printmakers are conferred with a somewhat spiritual mission more urgent than ever.

Perhaps, more importantly than technical support itself, we are facing a group of excellent elites full of the spirit of cooperation and exploration.In an era when the creative spirit of modernist style has been exhausted, we need better ideas, better spirit of cooperation, and an atmosphere for more creative discussions—a good idea only arises from mutual interfow between excellent minds.Good printmaking needs to reconstruct a visual world according to what is comprehended from the angle of“prints”more than what is seen by our eyes.In the process of reconstruction, a good cultural atmosphere, in some cases, is as important as artists’ personal wisdom.When such artists gather together, the voice uttered by them would present a kind of strength that transcends our vision.

So, we are often able to see among the visual works the sensational elements unconstrained by human vision.As the whole world presents itself variously in the vision of observers, we can see the artists are exerting their endeavors to release their personal strength and rethink their earthly perspectives as well.We expect that every explorer in the group can advance farther away, as we just witness a new world arising.

Building Up Our Visual World with Prints: Thoughts on the Exhibition of Works by Teachers of Printmaking Department, Tianjin Academy of Fine Arts

Deng Guoyuan