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“锔瓷：撕裂的修复——王华祥个展”
主办单位：苏州博物馆
展览时间：2021年3月13日——5月9日
展览地点：苏州博物馆现代艺术厅
Mended Procelain:Bridging the Crack
Wang Huaxiang’s Solo Exhibition
Sponsor: Suzhou Museum
Time: March 13 to May 9，2021
Add: Modern Art Hall of Suzhou Museum
前言
割裂无疑是当今人类的重要特征，譬如美术界的割裂，美术史的割裂，身边人的割裂，中美及欧美的割裂，文化的割裂，种族的割裂，社会的割裂，等等。割裂既是所见，也是对未来的担心。希望此展只是2020年之前过去的事情，而不是对人类可怕的预言。
Undoubtedly, conflicts serve as a key feature of mankind at present. Conflicts can be reflected in many ways including conflicts occurred in the art world, art history, people around us, interest of Sino-US and the West, culture, human race, society, etc. Conflicts can be viewed as much the fear for future as it is a symbol of witness. It is hoped that this exhibition only mirrors the bygone things before 2020, but not a dire prediction for human society.
在新冠疫情，在美国大选，在中美博弈，在世界百年之大变局和人类命运共同体的背景下，王华祥给其最为看重的苏州博物馆展览取名“锔瓷”，用画作表达他的状态，他的忧虑和责任，意在向敌意、伤害、战争、破坏、短视、撕裂等一切“病毒”宣战。
Under the intertwined context of COVID-19, US presidential election, Sino-US rivalry, century-long global change and a community of shared future for mankind, Mr. Wang Huaxiang named his most cherished exhibition in Suzhou Museum as “mended porcelain”, by using paintings to express his state, anxiety and responsibility with the intention of declaring war against all types of “viruses” including enmity, injury, war, destruction, shortsightedness, conflict, etc.
在人类的人性和文化之中，致使割裂的“坏人”病毒与“修复”细胞在或明或暗之处厮杀争夺，各为其主。而这，在当今美术界同样如此。绘画在现代被摄影和科技冲击，艺术在当代被哲学和商业替代。王华祥希望用一生来恢复绘画的荣光。绘画尤其是写实绘画如想要好看和受看，技术是关键中的关键。王华祥用作品为绘画中重要的技术作见证，用绘画主题为天道律法的存在作见证。人心有向背，愿意向着光明还是向着黑暗，人人都是自由的，王华祥也是每时每刻都在选择。
In the nature and culture of mankind, the “vile” virus that lead to conflicts are fighting fiercely against the “repair” cells in an open or secret manner, each for its own sake. And the same story goes with today’s art world. Painting, in modern times, has been hit by photography and technology. Similarly, art has been replaced by philosophy and business in contemporary times. Mr. Wang hopes to restore the glory of painting during his whole lifetime. Technology is first and foremost if painting, realistic painting in particular, pursues a well-recognized and time-honored reputation. Mr. Wang uses his works as a witness of the important techniques in painting and the theme of painting as a witness to the existence of the law of heaven. All men are born free. There are always a bright side or a dark side for individuals to choose from. Similarly, Mr. Wang is also making his own choice every moment.
王华祥是一位画家，其认为在写实绘画中藏有永恒的真理，并极力渴求探寻它。王华祥数十年孜孜不倦，历经无数的环境压力，观念压力和内心的诱惑，虚荣，虚妄和狂妄等等欲望的怂恿，一如这个世界，其内心也是污浊不堪和翻江倒海的战场。这个展览即是关于这些问题的思考。
As a painter, Mr. Wang believes that eternal truth is hidden in the realistic painting which he strives to explore. For decades, Mr. Wang has diligently dedicated himself to his own work though experiencing numerous environmental pressure, conceptual pressure and inner temptations, vanity, conceit and hubris, etc. Just like this world, his inner world would sometimes turn into a battlefield of chaos and turbulence. This exhibition is all about his thoughts and reflections on these issues.
艺术家简介
中国中央美术学院造型学院副院长、教授、博士生导师
国际学院版画联盟（IAPA）主席
国际版画研究院（IPI）院长
中国美术家协会版画艺委会副主任
意大利罗马美术学院客座教授
比利时欧洲版画大师展评委
阿根廷ACE当代艺术基金会国际名誉顾问委员会委员
Wang Huaxiang
Deputy Dean of the School of Fine Arts and PhD Supervisor, Central Academy of Fine Arts, Beijing
President of the International Academic Printmaking Alliance (IAPA)
Dean of the International Printmaking Institute (IPI)
Member of the China Artists Association
Visiting Professor of Roma Academy of Fine Arts, Italy
Judge of Belgium European Printmaking Masters Exhibition
Member of International Honorary Advisor Committee of ACE Contemporary Art Foundation, Argentina
《锔瓷：撕裂的修复》
作品赏析（部分）
锔瓷三，2020， 布面油画，60x80 cm
此画形象源自鲁本斯的作品《萨提尔》。希腊神话中的萨提尔是半人半兽的存在。一方面，他是代表着创造力、音乐、诗歌的森林之神；另一方面，他又因耽于淫乐、纵欲无度成为色情和性欲的标志。角色本身的两级分裂成为艺术家再创造的完美隐喻——一切社会对抗的根源都在于个体道德与欲望的失衡。左边是大师的画，右边是作者的画。因为作画过程的偶然性，色调意外地诡异和恐怖，作者喜欢这种“将错就错”的开放性。
The image of this painting is based on Rubens’s work Satyr. In Greek mythology, Satyr exists as an image of half man and half beast. On one hand, as the God of Forest, Satyr represents creativity, music and poetry; on the other hand, he has become the symbol of eroticism and sexual desire due to his indulgence in carnal pleasure and lust. The polarized conflicts of the character itself have made it a perfect metaphor for the artist’s recreation—the root of all social confrontation lies in the imbalance between the morals and desires of individuals. Rubens’s painting is presented on the left side, while the artist’s painting is on the right side. Because of the haphazard nature of the painting process, and the unexpected weirdness and terrifying colors, the artist pursues the openness of this type of “leave a mistake uncorrected and make the best of it” approach.
锔瓷四 整体及局部 120×120cm 布面油画 2020年
这一刻的狐疑，下一刻的麻木……这些都是一个人不可或缺的片段。一幅肖像有三十二种刻法，一个人的身体里也有三十二个自己。什么是真实？什么是自我？或许我们只能从千万个不同状态的碎片中拼凑答案。没有人不分裂，但是没有人比今天的人更分裂。
One may feel suspicious at this moment, and immediately turn into a sense of numbness the next moment...These all belong to indispensable fragments of an individual. There are thirty-two methods for engraving a portrait, and also thirty-two “self” in a person’s body. What can be defined as “real” and “ego”? Perhaps we can only piece together the answer from thousands of fragments in different states. Everyone is conflicted, yet people today are more conflicted than ever.
锔瓷五，2020，布面油画，60x80 cm
此画灵感来源于格列柯的《基督和十字架》。不同的是，原作中的基督是一个代替人类受难的神，而在此画中，作者将基督和凡人关联在了一起。他们既是苦难的制造者，也是灾难的承受者——命运面前，众生皆苦。人和神，神和鬼都有相同的相貌和基因，是装神还是弄鬼？是敬神还是恨神？你我都有自由意志。
This painting is inspired by El Greco’s Christ Carrying the Cross. The difference lies in that Jesus Christ in the original painting represents as a God who suffers for mankind, but in this new painting, the artist associates Christ with mortals. They do not only create sufferings, but they also suffer from the disasters. It indicates that all living beings have to suffer when facing their fates. Either human beings or gods, gods or ghosts, they all possess same appearance and genes. So is it an act of pretending to be gods or playing as ghosts? Or is it an act of worshipping or hatred for God? It is believed that we all have free will.
锔瓷十一，2020，布面油画，120x160 cm
现实世界的恐怖，源于人心的黑暗和深邃，我们能到达幸福的彼岸吗？我们有什么渡海的工具？是科技吗？NO！是武力吗？NO！是经济吗？NO！巨浪中的枯木成为了最后的诺亚方舟。作者化身救世主将断裂的树木修补，以确保所有人能够在漫无边际的汪洋中苟延残喘。然而，真的会有这样一位救世主吗？我命由我，自求者多福。面对现实的灾难，人类唯有自救。
The horror of the real world originates from the darkness and depth of the human heart. Can we be able to reach the destination of happiness? What tools do we have for crossing the sea in life? Can we depend on any technology? NO! Shall we resort to force? NO! Or can we achieve it by economy? NO! The fallen wood in the huge waves becomes the last Noah’s Ark. The artist becomes the savior and repairs the broken trees to ensure that every one can survive the boundless ocean. However, could there really be such a savior? The choice in life is in the hands of individuals and one should pray for blessings. In the face of disasters in reality, human beings can only save themselves.
锔瓷十五，2020，布面油画，100x120 cm
此画借鉴了著名画家鲁本斯和静物画家斯奈德合作的《谷神星与潘》。谷神星和潘神都是希腊神话中丰收、生育、富饶的象征。造物主既可以给人类绵延无尽的丰饶美物，也可以在瞬间收回所有恩赐。常怀敬畏之心，与自然修复关系，是我们能够保有一切的唯一法门。
This painting is based on Ceres and Pan jointly completed by the famous painter Rubens and still life painter Snyders. Ceres and Pan are both symbols of harvest, fertility, and abundance in Greek mythology. The Creator can bestow endless abundance and beauty upon mankind, but the Creator can also take back all the gifts in an instant. The only way we can keep everything with us is to repair our relation with nature and always stay in awe.
锔瓷十三，2020，布面油画，120x160 cm
作者转用了提香《劫夺欧罗巴》的画面形象。欧罗巴的身体被绳索缝补，化身为牛的宙斯也戴上了口罩。作品的隐喻显而易见：新冠疫情拉大了人与人之间的空间距离，即使是亲密的恋人也不得幸免。然而，就像赫拉无法阻挡宙斯与欧罗巴的爱情一样，疫情也无法割裂人们之间的心灵交汇。
The artist adopts the image of Titian’s painting The Rape of Europa. Europa’s body was stitched together with ropes, and Zeus, who had taken the form of an ox, also wore a facial mask. The metaphor of the work tends to be self-evident: COVID-19 has widened the spatial distance between people, even for close lovers. However, just as Hera could not stop the love between Zeus and Europa, so did the pandemic fail to cut off the connection between hearts and minds of individuals.
锔瓷十二，2020，布面油画，120x160 cm
作品形象源自鲁本斯的画作《地与水的结合》。然而，原作中地与水的和谐关系被打破，
大地女神及其仆从被汪洋围困。关系破裂，平衡颠覆，作者再次化身救世之主，修补着支离破碎的木舟。只是不知这末世的方舟能够飘摇几时？
The image originates from Rubens’s painting The Union of Earth and Water. However, the harmonious relationship between earth and water in the original painting is broken, and the Goddess of the Earth and her servants are besieged by the ocean. Confronted with a broken relationship and overturned balance, the artist once again turns himself into a savior, repairing the broken canoe. No one will ever know how long the ark will last.
锔瓷七，2020，布面油画，30x30 cm
此画右半边的人物源自鲁本斯名作《铁流士王的宴会》中铁流士王的形象。即使是高高在上的国王，也不得不为自己的荒淫而付出失去亲子的代价，进而陷入疯狂复仇的深渊。毁灭人类的最大威胁往往是人类自己。古今中外，此理皆同。同一内容，画法不同。同一思想，美感不同。
The characters on the right half of this painting are based on the image of King Tereus in Rubens’s masterpiece The Banquet of Tereus. Even the mighty king had to pay the price of losing his son for his excessive indulgence in lewdness, and then fell into the abyss of mad revenge. The greatest threat to the destruction for mankind is always themselves. The same is true of all ages, both at home and abroad. Different ways of painting are showing the same content and different aesthetics are presented in the same thought.
锔瓷草稿
作品赏析（部分）
END
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