季平《双鸟图》 70x70cm 纸本水墨 2018
There is a famous saying from ZHANG ZAO, “art comes from life andnature, but also comes from inspiration and creation”. This saying is widelyaccepted, and has been existing for a long time by a dominant position. If thebackground of this saying is today, it’s a primitive reflection of the binarydialectical thought. However, the concept of “binary” comes from the manner ofviewing the world by a “unitary” perspective. Nowadays, unprecedenteddevelopment has been achieved in the breadth an depth of understanding theworld, so we have gradually learnt to look at every-thing with variousmagnitudes---“static” is a special “dynamic”; “inside” is the relative“outside”; then the previous contradictions have been harmonized.
我常在想，是什么支撑着水墨艺术穿越千年在今天仍旧存续？是天性中本然的描绘冲动和智慧溢出？是中华文明的绵延根脉？当然，问题比答案更重要。顺着这个问题，追索到认识这个世界最基本的态度和视角的变迁。这似乎是一条隐藏在水墨艺术形式形态流变之下的暗线。它是我们的土地上高于思想的“思维系统”运行的结果——以东方的、知行合一的、现实和浪漫的思考来体察世界，并不断迭代认识客体的方法——它得以升级，以至于认识到“心”与“物”的同一性。
余启平 《竹雨微风》 34x37cm 纸本水墨 2015
I’m often thinking over what’s supporting the ink painting overthousands of years? Is it in-stinct portray inspiration and wisdom spur? Is itthe long-lasting roots of the Chinese civilization? Of course, the question ismore important than answers. I recourse the transitions to the mostfun-damental attitudes and perspectives in comprehending the world. It seems adarkline hidden in the dynamic transitions of ink painting on artistic formsand morphologies. It’s a result of operation from the “ideological system”above the earthy thought---experiencing and observing the world with theoriental, syncretic, realistic and romantic reflections, and continuouslyiterating the methods for recognizing the objects---it’s being updated and soas to realize the identity between “object” and “mind”.
同时，还可以从另一个角度出发：既然我们所得到的一切认知是源于我们的感官，感官从心出发，那么我们所指的“造化”无非就是我们的“心”告诉我们的“造化”。那么，“造化”是源于“心”的。
Meanwhile, from another perspective: since all our cognitions comefrom our sensation, which is obtained from mind, then the so-called “nature” isnothing but the “nature” conveyed by our “mind”. Therefore, “nature” comes from“mind”.
刘钻 《大云水 留别 》180x180cm 纸本水墨 2016
想到这里，我希望找到这个维度里能够自如创作的艺术家。
At that moment, I hope to find the artists who could create freelyin this dimension.
这个展览正是从这个基点出发，以契合“心”“物”同一的思想为前提汇集作品，作品中的描绘的正是自身本心的真实映射。小到一片叶子，大到整个社会群体的缩影。
This art show is just based on this starting point. Works arecollection under the prerequisite of unifying with “mind” and “object”, andwhat portrayed in the works is just true reflection of the instinct. As tiny asa piece of leaf, and as huge as miniature of the entire social group.
王犁 《春深处-15》34x17cm 纸本水墨 2017
在承袭千年的文化长河中，从先民们的“物我对立”，“万物有灵”到今天的“我”的觉醒，是水墨的自觉，也是精神的自觉。
The transition from the “opposition in mind and object” and“animism” insisted by our ances-tors to our current awakening of “mind” is botha self-awareness of ink paintings and a self-awareness of our spirit.
海晓龙 《看山系列之一》 纸本水墨 25x50cm 2018
崔彤 《无题之六十六》 73x43cm 纸本水墨 2017
刘永涛 《野草图-180506》 55×80cm 皮纸墨汁综合材料 2018
阎盈汐 《站台5》25x41cm 纸本水墨 2013
李知弥 《青梅尚小》65x45cm 纸本水墨 2017
宗锡涛 《小丑系列》180x96cm 纸本水墨 2015
郭彬彬 《我让你依靠让你靠》 46 x68cm 纸本水墨 2018
李木十《别是巴NO.2》 71x40cm 纸本水墨 2017
孙源 《群体的寓言52》51x75cm 纸本水墨 2017
李忠印 《朋友圈》 192×180cm 纸本水墨 2017
黄方启 《东》 70×210cm 水墨宣纸 2016
郑元无《谢幕》 68x68cm 纸本水墨 2017
马君《夜的乐园NO.4 月亮喷泉》 30x30cm 铅笔、墨、纸本2017
崔雁 《看到了自己NO.2》66X45cm 纸本水墨 2018
王海宇《躲在角落里的人》95.5x178cm 纸本水墨 2018
代英伦《2017人群，被动的观瞻》69x138cm 纸本水墨2017
苏宗辉 《斑马之二》39.5X44.5cmX2 纸本水墨 2017
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