 博 物 志 NATURAL HISTORY 朱雨澤 & 陳欣 雙個(gè)展Zhu Yuze & Chen Xin Joint Solo Exhibition 主辦 Sponsor靜草畫室 Jingcao Art Studio 策展人 Curator 李蕊 Li Rui 致謝 Thanks to 勞煒科 Lao Weike (展名書寫) 開幕OPENING | 2023.04.22 16:00 展覽時(shí)間 | Time : 2023.04.22–05.21 地點(diǎn) | Venue: 地址：四川省成都市大石西路86號(hào)2樓13號(hào) 博物志——朱雨澤、陳欣山水解讀 混沌世界初啟，自然萬(wàn)物相生，老子說(shuō)：“人法地，地法天，天法道，道法自然”，被尊稱為“自然科學(xué)之父”的老子，以道家的自然秩序觀構(gòu)建了東方哲學(xué)觀，古典時(shí)代的亞里士多德哲學(xué)家亦研究和分析了自然世界的多樣性，東西方文明互鑒達(dá)成了思想共識(shí)。以此為溯源，西晉的張華，古羅馬的老普林尼的博物學(xué)也即自然學(xué)包羅萬(wàn)象，融括了豐富的人類與自然孿生的真知鏡像。逐漸現(xiàn)代藝術(shù)表象為顯，科學(xué)理念為隱，改變了人們的自然觀乃至世界觀。 藝術(shù)家朱雨澤與陳欣都有留德背景，西學(xué)東啟。同樣深受中國(guó)傳統(tǒng)文化智慧的浸染，研習(xí)現(xiàn)代抽象的精髓，以東方哲學(xué)觀為文脈，作為優(yōu)秀的成熟藝術(shù)家，他們?cè)缫焉羁陶J(rèn)識(shí)到，只有建構(gòu)真正獨(dú)具風(fēng)格的個(gè)人體系，形成不可被代替的學(xué)術(shù)觀點(diǎn)及藝術(shù)脈絡(luò)才是藝術(shù)的終極目標(biāo)，才能回歸藝術(shù)的自然本真。在藝術(shù)創(chuàng)作的實(shí)驗(yàn)與探索中，他們?nèi)谝钥茖W(xué)、自然學(xué)、歷史學(xué)、人文學(xué)等知識(shí)儲(chǔ)備，探求當(dāng)代山水在繪畫中的自然主義的科學(xué)性研究方法，以藝術(shù)顯學(xué)科學(xué)隱論相結(jié)合，最終以鮮明的視覺(jué)圖式顯現(xiàn)了學(xué)術(shù)型藝術(shù)家的高度自我修養(yǎng)。  朱雨澤，乙亥-1，宣紙 巖彩，68x68cm，2019 朱雨澤在四十余年的藝術(shù)歷程中，獨(dú)具特色的提出了當(dāng)代水墨“新自然主義”分形美學(xué)的科學(xué)觀念，他敏銳地發(fā)現(xiàn)來(lái)自數(shù)學(xué)領(lǐng)域的“分形幾何”理論和分形規(guī)律，契合于中國(guó)老子的自然之道。為此他進(jìn)行了三十余年理論梳理與藝術(shù)創(chuàng)作實(shí)踐，他以新自然主義的超高境界，回歸本真主義，以真山水為基石，得意新水墨精神之旨趣，更以一種“無(wú)法之法”的技法，最本質(zhì)樸素的心源，強(qiáng)化色與墨沁潤(rùn)交融的暈化，造氣韻生動(dòng)磅礴萬(wàn)變的水墨意境，在當(dāng)代語(yǔ)境中，超越主客觀，以天人合一創(chuàng)作和呈現(xiàn)了他的“第二自然”學(xué)說(shuō)，神游太虛，通達(dá)自由，洞察天地;高士出隱的精神寰宇。  陳欣，2019年白湖的夏天 No.3， 布面宣紙綜合材料 60x60cm， 2019 陳欣融通東西方藝術(shù)語(yǔ)境，作為以抽象表現(xiàn)形式呈現(xiàn)的藝術(shù)家，1999年投身藝術(shù)至今，早年關(guān)注現(xiàn)代人的精神和欲望狀態(tài)，有著超前的藝術(shù)觀念和視覺(jué)經(jīng)驗(yàn)，近年來(lái)結(jié)合科技與新媒體，不斷突破材質(zhì)的限制，以一種精微至廣大雅致的文人氣韻，形成了獨(dú)特的“空山”與“氣格”美學(xué)意境，攜古游今;以當(dāng)代抽象波普的手法，創(chuàng)建了他的“欣山水”。他的山水筆觸鮮明，層疊交錯(cuò)，色彩豐富，注重圖式的構(gòu)成與氣韻靈動(dòng)，營(yíng)造了東方文化的懷袖風(fēng)雅，重構(gòu)一個(gè)與自然的對(duì)話，和精神傳統(tǒng)的回歸。 由此，于世界萬(wàn)物之中，藝術(shù)超越主客觀，喚醒宇宙間自然山水的本體意識(shí)，達(dá)到一種藝術(shù)本真的理想境界，終是博物志之真諦也。 策展人：李蕊 Natural History——Interpretation of Landscape by Zhu Yuze and Chen Xin At the beginning of the chaotic world, all things in nature are coexisting born. Lao Tzu said: "Man follows the earth, the earth follows the sky, the sky follows the Tao, and the Tao follows nature." Lao Tzu, who is honored as "the father of natural science", constructed the Eastern philosophy using the Taoist view of natural order. Aristotelian philosophers in the classical age also studied and analyzed the diversity of the natural world. So, the mutual learning between Eastern and Western civilizations reached an ideological consensus. Tracing the source, the natural history of Zhang Hua in the Western Jin Dynasty, and Pliny the Elder in ancient Rome, is also natural science that is all-encompassing, incorporating the true image mirroring the twins of human beings and nature. Gradually, the appearance of modern art becomes apparent, and scientific concepts become hidden, which changes people's view of nature and even the view of the world. Artists Zhu Yuze and Chen Xin both had a living experience in Germany, traveling to the West and being enlightened in the East. They are both deeply influenced by the wisdom of traditional Chinese culture, studying the essence of modern abstraction, and taking oriental philosophy as the context. As outstanding and mature artists, they have long realized the ultimate goal of art, that only by constructing a truly unique personal system, forming the irreplaceable academic viewpoints and artistic context. Only then can it return to the true nature of art. In the experimentation and exploration of artistic creation, they integrated science, naturalology, history, Human literature, and other knowledge systems to explore the scientific research methods of naturalism in contemporary landscape painting, combining art as prominent theory and science as implicit theory, In the end, the high level of self-cultivation of knowledge-based artists is shown via a distinctive visual schema.  朱雨澤，庚子-1，69x69cm，宣紙 巖彩，2020 Zhu Yuze has brought forward the unique scientific concept of "New Naturalism" fractal aesthetics in contemporary ink painting in his artistic journey over 40 years. He has keenly discovered that, the theory of "Fractal Geometry" and fractal laws from the field of mathematics are in line with China's Lao Tzu's way of nature. Hence, he has carried out theoretical analysis and artistic creation practice for more than 30 years. With the super high state of neo-naturalism, he returns to the authenticism. He takes real mountains and rivers as the cornerstone and is proud of the spirit of new ink painting. He even uses a technique of "the law of no law". With the most essential and simple energy from the heart, he strengthens the halo that is blended with color and ink. and creates a vivid, majestic, and dynamic ink painting artistic conception. In the contemporary context, it transcends subjectivity and objectivity, which has created and presented his "Second Nature" theory by combining nature and human, wandering in the emptiness, enjoying freedom, and precepting the world. This is the spiritual universe of seclusion by a profound scholar.  陳欣，枕空山 No.34，布面油畫 100x150cm，2013 Chen Xin integrates the artistic context of the East and the West. As an artist presenting in the form of abstract expression, Chen Xin has devoted himself to art since 1999. He has long been focusing on the spirit and desire state of modern people. He also has advanced artistic concepts and visual experience. By combining Technology and New Media, and breaking through the limitation of materials, he has formed a unique "empty mountain" and "air style" aesthetic conception with a subtle to broad and elegant literati charm, which has brought the past travelling to the present; with the contemporary Abstract Pop technique, he has created his "Xin landscape". His landscape brushstrokes are distinct, layered and interlaced, rich in color, focusing on the structure of the schema and vigor of the temperament. Thus, he creates the elegance of oriental culture, and reconstructs a dialogue with nature and a return to spiritual tradition. Therefore, among all things in the world, art transcends subjectivity and objectivity, awakens the ontological awareness of the natural landscape in the universe, and achieves an ideal state of authentic art, which is the true meaning of natural history. By Li Rui 關(guān)于藝術(shù)家 | ARTIST  朱雨澤 Zhu Yuze 朱雨澤，道號(hào)閑云子，藝術(shù)家，藝術(shù)理論家。1963年生于北京。1982年就讀于中央美術(shù)學(xué)院史論系。1988年畢業(yè)于日本東京大學(xué)造型藝術(shù)系。1994年至1997年于德國(guó)慕尼黑哲學(xué)院、杜塞爾多夫藝術(shù)學(xué)院深造。曾經(jīng)在國(guó)內(nèi)外發(fā)表過(guò)三十多篇學(xué)術(shù)論文，在全球藝術(shù)界率先將分形幾何理論與當(dāng)代藝術(shù)的結(jié)合進(jìn)行全面的理論闡述，并用自己的作品予以實(shí)踐。學(xué)術(shù)作品多次在歐洲及美國(guó)展覽，并被國(guó)內(nèi)外私人藏家及知名美術(shù)館收藏。 Zhu Yuze (Taoist name Xian Yunzi) is an artist, and an art theorist. He was born in Beijing in 1963. He studied at History Department of China Central Academy of Fine Arts in 1982. He graduated from Art Department of Tokyo University in 1988. He pursued further studies in Munich School of Philosophy, and Düsseldorf Academy of Fine Arts From1994 to 1997. He published over 30 essays in both domestic and foreign journals. He is the first artist to fully elaborate on the combination of fractal theory and contemporary art. He also puts the theory into practice with his own works. His academic works have been displayed in U.S. and Europe, and collected by many private collectors and renowned galleries both at home and abroad.  陳欣 Chen Xin 陳欣出生于北京，2006年畢業(yè)于德國(guó)慕尼黑造型藝術(shù)學(xué)院，藝術(shù)碩士，職業(yè)藝術(shù)家。現(xiàn)生活工作于北京-慕尼黑。自1999 年投身藝術(shù)至今，陳欣早年關(guān)注現(xiàn)代人的精神和欲望狀態(tài)，以抽象表現(xiàn)的形式呈現(xiàn)。作為一個(gè)具有德國(guó)留學(xué)背景，又深受中國(guó)文化浸染的藝術(shù)家，陳欣近年探求東西，借古開今，以東方文化中的山水(Shanshui)、扇為抽象探索路徑，將傳統(tǒng)人文的“空山”、“氣格”等美學(xué)意境、概念在當(dāng)下進(jìn)行重構(gòu)、再造和轉(zhuǎn)化。陳欣作品屢次參加國(guó)內(nèi)外重要展覽。 Chen Xin was born in Beijing, and graduated with a Master of Fine Arts from Akademie der Bildenden Künste München (Germany) in 2006. He lives and works in Beijing and Munich. Since 1999, Chen Xin has been concerned about the spirit and desire of modern people, he took the concept as the theme of abstract painting. In recent years, Chen Xin began to pay attention to the oriental culture. He is re-deconstruction, reestablishment, and transformation of traditional humanistic aesthetics - "The Shaped of the Mountains" .His works have repeatedly participated in the important exhibitions of the world。 關(guān)于靜草畫室： 靜草畫室2017年創(chuàng)立于中國(guó)成都，該空間位于成都浣花濱河路，毗鄰浣花溪公園和杜甫草堂。史料記載成都也叫錦官城，古代的錦官城地址就是浣花一帶。“靜草畫室”這個(gè)齋號(hào)也相繼由陳佩秋先生、韓羽先生、何懷碩先生以及傅申先生題寫�；谶@樣的文化含量，靜草人將定位于自己獨(dú)特的視野，做與純藝術(shù)有關(guān)的創(chuàng)作、交流、展示和收藏等事宜。  靜草畫室  陳佩秋先生題字  韓羽先生題字  何懷碩先生題字  傅申先生題字 |
