您好!欢迎阅览崔自默文化网 [登录][注册] 忘记密码? 首页 | 设为首页 | 加入收藏
关于崔自默|文化新闻|视频|影像|艺评|篆刻|书法|国画|现代水墨
油画|版画|雕塑|装置|粘贴|散文|随笔|诗歌|专著
出版物|艺术市场|艺术产品|画廊|博客|证书査询|国际交流|English|留 言
会员登录
用户名: 密码: 注册   忘记密码?
崔自默文化网 --- 国内个人最大的文化类门户型网站
您的位置: 自默文化网 > English > 正文 站内搜索:
Professor Zhu Liangzhi :Preface of Cui Zimo's
http://www.cuizimo.com  2010年9月27日 17:21  文章来源:自默文化网  点击:5629次

 

Preface 2 of Cui Zimo's  <Visual Field>

Professor Zhu Liangzhi

[Aesthetics & Aesthetic Education Research Centre of Beijing University]

 

       The acquaintance of me and Cui Zimo was due to a great Chinese art master: Badashanren. It was during the period of time when I was deeply attracted by Badashanren’s art, Zimo’s research book of Badashanren named《Seeking the Simplicity of Tao》give me big inspirations.

         Later on, we became friends and I had more time to appreciate his works. I feel that he is an artist with endless creativities. He is very good at calligraphy, sealcarving and painting. His paintings are delicate in flowers and birds, mountains and rivers, Buddhism statues etc. I remembered that once I met him at an exhibition, I was totally convinced by his molding capabilities in Buddhas paintings as well as a copy of Chinese ancient painting scroll 《Eighty seven immortals》, and I believed that he is an artist who loves the traditions and who arrived a high level in Chinese paintings.

         Lately Zimo came to Yan’nan Garden and he showed me his recent works. I was quite astonished at the beginning that if it was not he told me, I would have thought that he was showing me someone else’s works. This new series of abstract Chinese ink paintings are really distinguished in their forms. It was not only because of the artist’s non-stopping exploration spirits, but the works themselves brought me unspeakable enjoyment. I was immersed in his elaborately built art world. I felt gradually closer to his works while listening to his telling me about his new creative thinking solemnly.

         First, I perceived that Cui Zimo is attempting to break through the single space expressing module. Generally speaking, all elements in composing the space structure are interpreted by its inherent meanings, one work is an entirety, a life unit. But each new work can be divided into many small works, therefore many different small spaces with different senses showed up in one visual unity. In his words, if you cut out any parts of it, it can be a new sense unit and get a new life. And these new sense units are no more elements to the whole unity, which don’t need to be searched from the whole layout. This kind of demonstration wonderfully coincide with the idea of “Self-sufficiency and complete” in Chinese philosophy. Maybe it’s because of his long time studies of Buddhism especially Zen studies, that the intelligence of Zen has gave him inspirations in his form investigations. In the philosophy of Zen, a flower is a world, a grass is a heaven, and a small flower can be considered as a satisfactory complete world, just as a thorough life universe. Therefore, one is all and all is one. The moon prints its radiance to each mountains and rivers, but everywhere there is only one moon. The thinking of whole and part is not the thinking in the Chinese philosophy in which the intelligence lays on endowing “each existence” a self-meaning. From this sense, I think that Zimo’s exploration has important art value.

        Secondly, I considered that Cui Zimo’s new works are pursuing unique rhythm of paintings. Recently, when I was doing the research of Chinese artist Yun Nantian from Qing Dynasty, I found out the essence to understand his paintings of old trees and withered vines, as well as his poems of cold mist and weeds lays on  a word “random”. He said “reading his paintings from the random of inks”, and “disorder stones and splashing springs, then endless delights appear in the painting”. I also saw the emphasis of “random” in Zimo’s new works. They are like millions of messy willows, immense isolated rivers, fluffy ends of reed by a wind, pressing fly of crows at dawn. The “random” of Zimo lays stress on a special rhythm. Heavy or light ink, stop or continue gesture, quick or unsmooth speed, structure reflects etc all composed the relationship between forms and the inner context. The sense of rhythm is the basic of shapes as well as the support of inherent rules of resemble. The “random” in paintings, is to break this rhythm, break the persistence of forms, break the pursue of resemble and break general rules. A word “random” is to set up a new principle, to discover orders in disorder. Thus to endow strange forms surprising feelings, as to have autumn in the eyes by spring scenes because of the “random” ideas spread out in the minds.

       Thirdly, Cui Zimo was seeking in his new works an origin impulse which had normally been deprived by reasonable world, clear knowledge world, and endless distinguishable world. Lao-tse said: “Great wisdom shall not be divided”. The gloomy, confused, faint and endless world of “Tao” is “Pu”. “Pu” is the round sphere hasn’t been broken by knowledge, and in which all things emerge or perish by themselves. The space is solitude forever. “Pu” is return to the harmony at the beginning, the impulse of original life. Reading these new works of Zimo, I have feelings of confused and faint, I can’t find boundaries or clear indications. Using his words in the paintings: “uncertainty”, “chaos” and “dark matters”. His art world is “non-clear”. “clear” can be described by knowledge, while his “fuzzy” is to break the normal description. Zimo might focus on “presenting”. Obviously, he is not emphasizing on so-called “Vagueness Aesthetics”, he is not fond of ambiguous or overwhelming confusion but care about the inner stream of natural life.

       I was moved by his new works, and expressed myself out with these words. Maybe they are not enough precise, but my congratulations and joyful feelings to Cui Zimo is more than sincere and clear.

       At Yan’nan Garden in Beijing University, Gengyin lunar spring.

      

 

(Professo…/文)

 



总共1页  1  
 上一篇: Introduction of Cui Zimo's work 《COLOR F
 下一篇: [组图]崔自默2010北美展宣传活页
  相关文章
·Introduction of Cui Zimo's work 《COLOR FIELD》
·About Cui Zimo
·Cui Zimo:Direct Painting Demonstration
·[图文]《崔自默画外话》(1):Shadow
·Wang Yamin:Assimilated by “Visual Field”
·Professor Zhu Liangzhi :Preface of Cui Zimo's..
·[组图]崔自默2010北美展宣传活页
·[图文]崔自默2010北美展招贴
·[图文]崔自默新作之<<慢步主义>>(Sysism)
·About Cuizimo...
·崔自默山水作品之《氤氲图》
·崔自默通信选之<<致Daniel H. JAYD>>
·The foundation of artistic creation and art m..
·Daniel JAYD: CuiZimo: artist by heart
·[组图]读丹杰(Daniel H.JAYD)和他的作品
  图片推荐
纪念孤独的文怀沙
崔自默作品点亮“
崔自默再次握手好
华人画家崔自默作
崔自默砺志新书《
崔自默博士受聘为
 
  热点专题
·庄子显灵记
·“荣宝拍卖”近年范曾书画赏析
·范曾研究举隅(5)
·范曾研究举隅(1)
·范曾研究举隅(2)
·范曾研究举隅(11)
·[组图]洗澡的艺术(3)--西方的沐浴
·关于范曾先生书画的鉴定
·《为道日损》第三章 ——疏而不失
·与范曾先生“合作”书画
·范曾先生《奇文共欣赏——陈省身与杨振宁》..
·禅与八大
·科学和艺术,两片水域
·《为道日损》第四章 ——道非常道 ..
·<章草>(上)
·《为道日损》第五章——一以贯之
·随感笔录(3)
·我笔记本里的范曾先生笔迹选
·《为道日损》第二章 ——道心惟微
·崔自默近作
栏目导航
English
推荐文章
·崔自默画话《二十四节气》
·崔自默先生作品在北京瀚海2019春拍再创..
·《得意忘象·崔自默题画像砖瓦拓片集》出版..
·《国际艺术大师·崔自默抽象作品选》出版
·《崔自默新彩作品集》出版发行
·北京市慈善协会举办“新时代慈善创新”主题..
·北京瀚海2018秋季拍卖会•..
·崔自默先生作品亮相“2018奥林匹克博览..
·胸襟磊落 骨气洞达——再读西丁艺术
·画意的《邪不压正》
·正因模糊,转成生动——序《得意忘象:崔自..
·崔自默绘制“五禽戏”体育彩票正式发行销售
·张晴:其实并不难懂的崔自默
·崔自默作品在“北京2018瀚海春拍”再创..
·纪念孤独的文怀沙先生
视觉焦点
范曾研究举隅(5
范曾研究举隅(1
范曾研究举隅(2
范曾研究举隅(1
[组图]洗澡的艺
关于范曾先生书画
 

崔自默文化网     版权所有 ICP备11018609号 京公网安备110115000931
助理韩健: 13521766440        邮箱:zmwh@sohu.com

技术支持:北京网站制作