展 览 名：一带一路——王心耀手稿作品展
展览时间：2017年11月28日至2018年11月27日
开幕时间：2017年12月13日(周三）下午14:30
展出地点：汤湖美术馆3号厅（常设厅）
主 办：湖北省美术家协会、汤湖美术馆
承 办：汤湖美术馆
策 展 人：刘春冰 李瑞洪
学术主持：鲁 虹
前 言
我看心耀的画
鲁 虹
心耀自幼就热爱绘画。有意思的是，虽然他总想将大部分时光放在相关事业上，但他的宿命却是做行政工作。因此，20多年来，他一直在努力协调这两者之间的关系。
我与心耀是老朋友，自我调到深圳后因各忙各的，彼此联系便少了很多。在我的预计中，过多的行政工作难免会让他最终脱开绘画，因为在这方面我见得太多了。比如，全国各地相当多优秀的美术家在任职美术学院的院长后，基本就没画什么画了。正因为这样，当我于去年在武汉美术馆“中国风·王心耀作品展”上见到他的一大批作品时，不禁大吃一惊。真没想到他在百忙之中不仅仍在坚持作画，而且取得了相当优秀的成绩，这是非常不容易的！看来，他是借助于搞行政工作的统筹把握能力、随机应变能力、善抓重点不落俗套的思维习惯，通过触类旁通的联想，达到了对绘画的大彻大悟。倘若以历史为背景，我认为，心耀的这种做法实际上是继承了中国文人士大夫的优秀传统。大家知道，唐代丞相阎立本、右丞王维、宋代礼部尚书苏轼等人，既把为政做官、经世济民视为人生的头等大事，同时也是丹青高手。而我们的美术界，太需要这样有专业、有担当的人了！
据心耀介绍，近些年来，尽管他总在忙于学院的事务，可他一直未改初衷。无论工作多忙，他一定要挤出时间画画，这也使得他常常能从工作的繁忙与劳累中解脱出来。画上几个钟点，他就像做了一套恢复元气的精神体操，显得心情舒畅、精力充沛。加上他对绘画抱着非功利的态度，故他作画时，每每能根据主观感受去寻求自由的表达。我并不知道心耀看过明代大艺术家、大理论家董其昌的画论没有，但我看他作画时重自然而然、重即兴发挥、重直觉领悟，重内在的精神的表达，总觉得他是颇得董氏理论精髓的。
我注意到，心耀在当院长初期，更多是利用出访国外的机会画速写，而在这一习惯形成之后，就是后来他转入抽象画创作也没有放弃。这一方面使他践行了“读万卷书，行万里路，画万张画”的准则；另一方面也使他能够在考察法国、美国、德国、俄罗斯、东欧、南非、东非以及土耳其、印度、尼泊尔等国家期间，用画笔记录下他的所见、所闻、所思。从他发给我的图片来看，他的相关作品多是画在纸上，既有水彩速写，也有钢笔速写，更有水墨速写……而我总的印象是，这些作品无不造型简洁、手法大气、立意新颖，富于象征性，并相当好地表现了他对世界各国的独特感受。在艺术家们更多借用照片，却较少画速写的情况下，他的做法非常值得借鉴！需要说明一下，由于多年来我都从事当代水墨的研究，故我从本能上对他从速写转换来的一批水墨小品更感兴趣。在这些作品中，他受传统“游观”论的启示，并没有以再现的方式简单化的处理来自现实的题材。具体地说，他既不是以通常写生的方式获取画面上的符号和图像，也不是用拷贝照片的方式进行创作，而是在强调观察、记忆或尊重个人感受的前提下，从总的意象、本质上去把握现实，进而转换成了他后来的作品。这就使来自现实的图像与符号总是被分解、重构、夸张、甚至被变形，同时也使水墨画的媒材特点被充分挖掘了出来。相比许多专业的水墨艺术家，他甚至处理得更好。借用郑板桥的说法，他首先是将眼中的景象转化为了心中的意象，然后又将心中的意象转化为了手中的图像。这与当初吴道子画嘉陵江、渐江画黄山、潘天寿画雁荡山有异曲同工之妙。其创作方法论绝对与西式的现实主义不一样，值得大力提倡！
我看心耀的作品，发现共同的地方是强调对东西方文化的巧妙融合，因此，他的画既是中国的，也是世界的；因此，他才能在近年画出让人震撼的《中国风系列》。可以说，画具像画也好，画抽象画也好，他强调的价值观是一致的。而从艺术史的角度来加以理解，我感到心耀在《中国风系列》的创作上显然是继承了法籍中国艺术家赵无极开创的艺术传统。即在努力从文人写意画的传统中吸收营养时，又从西方抽象艺术中借鉴了有益的东西，并融合得非常好。在湖北美术界，心耀做人的大格局是有名的。而这就是他能在艺术创作上达到现有高度的内在原因。相信假以时日，他一定能取得更高成就！
2017年10月22日于武汉合美术馆
>>>> Preface
My View on Xinyao’s Paintings
By Lu Hong
Xinyao has been passionate about painting ever since his childhood. Interestingly, although he always wants to spend most of his time in related careers, his destiny is to do administrative work. Therefore, for more than 20 years, he has been trying to reconcile the relationship between administration and painting.
Xinyao and I are old friends, but since I was transferred to Shenzhen, we are busy with our own things and have fewer chances to meet each other. In my opinion, too much administrative work will inevitably let him eventually move away from painting because I have seen too many examples like this. For example, there are quite a few excellent artists across the country have given up painting when they started to serve as the dean of the School of Fine Arts. That's why I was surprised when I saw a large number of his works in the Exhibition of Wang Xinyao’s Works titled Chinese Style in Wuhan Museum of Art last year. It’s hard to believe that he still insists on painting amidst his busy schedule and has achieved quite excellent results. I think it is really not easy! It seems that with his ability of management, the capacity to improvise and grasp the main points, the unconventional thinking habit and comprehension by analogy, he has completely understood the essence of painting. If we take a look to the past, we may find that Xinyao has actually inherited the excellent traditions of Chinese scholars. As known to all, Prime Minister Yan Liben and Minister Wang Wei in the Tang Dynasty, Su Shi who was the Director of the Board of Rites in the Song Dynasty and others not only made governing state and benefiting the people a priority, but also obtained a great achievement in painting. In fact, in our art world, we so need the artist who is professional and accountable like him.
According to Xinyao, although he is always busy with his college affairs in recent years, he has not changed his mind. No matter how busy he works, he would squeeze out time to paint, which often makes him free from the busy and hard work. After a few hours of painting, he would be refreshed and energetic like finishing a mental gymnastics. In addition, he is not utilitarian in painting. So when he paints, he often pursues the free expression of his feelings. I’m not quite sure whether he has read the painting theories of Dong Qichang who was the great artist and critic in the Ming Dynasty. However, in my mind, he emphasizes on spontaneous stokes, improvisation, intuitive comprehension and intrinsic spirit, so I believe that he has got the essence of Mr. Dong’s theories.
I noticed that in the early days of him as dean, he more often made time for drawing sketches on his trips to foreign countries. Once this habit has formed, he has kept it even when he began to create abstract paintings. On the one hand, he has practiced the rule of reading ten thousand books, traveling ten thousand miles and drawing ten thousand pictures (to learn by travelling and record by drawing); on the other hand, he has recorded what he had seen, heard and learned during his travels to France, the United States, Germany, Russia, Eastern Europe, South Africa, East Africa and Turkey, India, Nepal and other countries by drawing. From the pictures he sent to me, I have found that his works were mostly painted on the paper including watercolor sketches, pen sketches, ink sketches and so on. My general impression was that these works were with clean lines, the atmosphere, original concept and symbolic qualities. They have expressed his unique feelings about the world. As most artists prefer to use photos rather than sketches to record their travels, his way is very worthy learning from. I need to point out that because I have been engaged in the study of contemporary ink painting for many years, I am instinctively more interested in his ink sketches which were transformed from traditional sketches. In these works, he was inspired by the traditional Tour View theory and has not simply reproduced the symbols and images from reality. Specifically, he did not catch the symbols and images of reality by traditional sketch, nor did he create with photographs. As he laid emphasis on observation, memory and personal feelings, he grasped the general image and nature of reality before drawing. This always made the images and symbols from the reality decomposed, reconstructed, exaggerated, or even distorted, and also fully excavated the media characteristics of ink painting. He even handled it better than many other professional ink painters. In Zheng Banqiao’s words, he firstly transformed sceneries through his eyes into images in his heart, and then transformed them into the paintings. He has the same way of painting as Wu Daozi painted Jialing River, Jian Jiang painted Huangshan mountain and Pan Tianshou painted Yandangshan mountain. As the creation methodology is absolutely different from Western realism, it deserves to be advocated!
When I view Xinyao’s works, I have found one thing in common, that is, he laid emphasis on the ingenious integration of Eastern and Western culture, so his painting does not only belong to China, but also belongs to the world. As such, he has created the amazing Chinese Style Series. In fact, no matter figurative painting or abstract painting, he highlights the same values in creation. From the perspective of art history, I felt that Xinyao has inherited the artistic traditions originated by Zhao Wuji who was a Chinese artist with French nationality. He tried to absorb the nutrition from traditional freehand brushwork and Western abstract art and then integrated them well in practice. In Hubei art world, Xinyao is famous for his great vision which is the underlying reason why he could achieve great performance in art creation. I believe that he will certainly obtain a higher achievement in the course of time.
On October 22, 2017 at Wuhan Museum of Art
参展艺术家
王 心 耀
WANG XIN YAO
王心耀，中国美术家协会会员，湖北省美术家协会理事、艺委会委员，武汉美术家协会副主席，武汉市人民政府文史馆书画院院长，武汉画院特聘艺术家。湖北美术学院客座教授、学术委员会委员，江汉大学美术学院院长、教授、硕士生导师，汤湖美术馆馆长。享受国务院政府特殊津贴，“全国五一劳动奖章”获得者。
Wang Xinyao serves as a member of China Artists Association, the director and member of the Art Council of Hubei Artists Association, the vice Chairman of Wuhan Artists Association, the curator of the Museum of Calligraphy and Painting at the Library of Literature and History of Wuhan Municipal People's Government, a distinguished artist of Wuhan Fine Art Academy, a visiting professor and member of the Academic Committee of Hubei Institute of Fine Arts, the dean, professor and master tutor of the School of Fine Arts at Jianghan University and the curator of Tanghu Museum of Art. He enjoys the special government allowance from the State Council and was awarded the National May 1 Labor Medal.
王心耀参展作品 现场展示
