祝符——賈鴻君的思考與行動(dòng)

　　Amulet -- Jia Hongjun's Thinking and Action

　　展覽時(shí)間:2020.07.04-2020.07.08

　　Exhibition time: July 4, 2020 to July 8, 2020

　　藝術(shù)家:賈鴻君

　　Artist: Jia Hongjun

　　學(xué)術(shù)主持:羅世平

　　Academic Director: Luo Shiping

　　策展人:谷赟

　　Curator:Gu Yun

　　執(zhí)行策展人:肖冉

　　Executive Curator:Xiao Ran

　　視覺策劃:賈曉晨

　　Visual Designer: Jia Xiaochen

　　主辦方:保利藝術(shù)博物館

　　Host: Poly Art Museum

　　展覽支持:大藝網(wǎng) 鏈藝(北京)科技有限公司

　　Exhibition held by: Dayi Art Net Lianyi (Beijing) Technology Co., Ltd

　　展覽地點(diǎn) :北京市東城區(qū)朝陽門北大街1號(hào)新保利大廈云樓10層保利藝術(shù)博物館

　　Venue: Poly Art Museum, Murray Building, 9F, Dongzhimen South Street, Dongcheng District ,Beijing

　　展覽現(xiàn)場

　　Exhibition site

　　2020年7月4日,藝術(shù)家賈鴻君首次個(gè)展“祝符——賈鴻君的思考與行動(dòng)”在保利藝術(shù)博物館開幕。此次展覽所收納的作品,是賈鴻君近兩年來創(chuàng)作的新作。藝術(shù)家豐富的人生經(jīng)歷造就了他今日的獨(dú)特視角,結(jié)合傳統(tǒng)文化中的“符咒”形象與當(dāng)代藝術(shù)的形式,賈鴻君的作品呈現(xiàn)出批判意義與現(xiàn)實(shí)意義。

　　Artist Jia Hongjun’s first solo exhibition “Amulet - Jia Hongjun’s Thinking and Action” opened on July 4, 2020 in Poly Art Museum. This exhibition concentrates on artist’s latest works created in the past two years. By integrating the traditional image of “Amulet" with contemporary artistic form, the artist’s practice show a unique perspective based on his rich life experience, which has critical and realistic significance.

　　藝術(shù)家賈鴻君

　　Artist Jia Hongjun

　　這是一個(gè)藝術(shù)家在疫情期間所做的藝術(shù)展覽,也是對(duì)經(jīng)歷疫情的全世界人類的一次“祝符”。無論觀者身在何處、什么職業(yè)、是何民族,請接受一個(gè)藝術(shù)家和學(xué)者,通過作品傳遞出的真誠與祝福。

　　As an exhibition held during the epidemic period, Jia’s practice is also an "Amulet "— a blessing symbol to all human beings who are experiencing the epidemic. Regardless of location, profession or ethnicity, the exhibition wish every viewer can receive the sincerity from this artist and scholar who, through his work, conveys blessings.

　　展覽現(xiàn)場

　　Exhibition site

　　盧舍那佛品符之二

　　Rocana Buddha Amulet ll

　　何為“祝符”

　　What is Amulet

　　藝術(shù)家賈鴻君經(jīng)過多年對(duì)傳統(tǒng)文化的研究,用傳統(tǒng)文化的“符”與“祝”形式,創(chuàng)作了一批具有新意的當(dāng)代藝術(shù)作品。藝術(shù)家運(yùn)用獨(dú)特的藝術(shù)語言,從傳統(tǒng)中發(fā)掘出適應(yīng)當(dāng)代的語匯,并將其再造為一套獨(dú)立的視覺系統(tǒng)——“祝”與“符”。

　　After years of research on Chinese traditional culture, Jia Hongjun has created a number of contemporary artworks by using the form of "Fu" and "Zhu" of traditional culture. The artist uses his unique artistic language. By excavating contemporary expressions from the traditional Chinese vocabulary, Jia reconstructs them into a set of independent visual system - "Zhu" and "Fu".

　　普賢行符

　　Samantabhadra Bodhisattva Amulet

　　展覽現(xiàn)場

　　Exhibition site

　　賈鴻君的作品由“符”與“祝”——分別對(duì)應(yīng)“畫”與“詩”,又言“圖像”與“文本”——這兩部分構(gòu)成。這種畫面與文字相結(jié)合的搭建結(jié)構(gòu)以一種非常規(guī)的方式對(duì)“隱含的讀者”形成“結(jié)構(gòu)召喚”,并對(duì)新鮮觀者形成一種理念上的全新建構(gòu)。藝術(shù)家希望觀者對(duì)“符”與“祝”全面地觀看,并根據(jù)觀者個(gè)人的視覺經(jīng)驗(yàn)與和適時(shí)適地的理解,對(duì)作品進(jìn)行“二度創(chuàng)作”。觀者的獨(dú)立思考與解讀的參與,才是對(duì)創(chuàng)作的全面建構(gòu),才真正使得作品最終“完成”。

　　The "Fu" and "Zhu" in Jia Hongjun's works correspond to "painting" and "verse", also indicates "image" and "text". The combination of visual image and text delivers a "structural call" to the "implied reader" in an unconventional way, and forms a new conceptual construction for fresh viewers. Jia hopes his audience can have a comprehensive view of "Fu" and "Zhu" by engaging their personal visual experience and timely understandings as a re-creating process to his works. Their participation and independent thinkings form the comprehensive construction and the final "completion" of the work.

　　作品正面為“符” ,背面為“祝”

　　The front of the work is "Fu"(right side)

　　the back of the work is "Zhu"(left side)

　　藝術(shù)家賈鴻君向觀眾解釋作品觀念

　　Artist Jia Hongjun explains the concept of the work to the audience

　　當(dāng)代性:造者與觀者的“自在”之地

　　Contemporariness: the "Enclave" Land of Artist and Observer

　　從賈鴻君的作品中我們不難發(fā)現(xiàn)深刻的思想性和強(qiáng)烈的人文關(guān)懷。在采訪中賈鴻君說到,“在創(chuàng)作的過程中,我是完全處于當(dāng)代藝術(shù)的語境的,只不過當(dāng)代藝術(shù)有很多種實(shí)現(xiàn)的方式,我選擇了其中一種而已。從題材,到我對(duì)作品體系的規(guī)劃,再到我分析問題的思維方式,以及最終呈現(xiàn)的面貌,我都非?？隙ǖ嘏c傳統(tǒng)水墨區(qū)分開來,并希望觀眾能與我一起思考。”

　　In Jia’s works, it is not hard to find his profound thoughts and humanistic care. In the interview, Jia said, "In the process of creating, I am totally in the context of contemporary art. There are so many ways to realize contemporary Art, but I just chose one of those. From the subject matter to the planning of my expressive system, then to the way of my thinking and problem analyzing, till the final appearance of artworks, I manage to distinguish my practice from traditional Chinese ink and wash painting, and I hope my audience can think with me. "

　　賈鴻君在創(chuàng)作中

　　Jia Hongjun is working

　　每張作品都是經(jīng)過多次繪畫所成。藝術(shù)家希望通過繪畫的過程承載一種修行的責(zé)任,將整個(gè)思考和實(shí)踐的過程當(dāng)做是一種自我救贖,從而實(shí)現(xiàn)對(duì)藝術(shù)和祝福對(duì)象的一種“獻(xiàn)祭”。這當(dāng)然不能簡單的概括為“宗教儀式”,而是藝術(shù)家自己身體力行的實(shí)踐與行動(dòng)。

　　Each work is combined by many times of drawing. The artist hopes to carry a kind of responsibility through the practice of painting, and regard the whole process of his thinking and practice as a way of self-salvation, so as to realize a kind of "sacrifice" to art and the blessing objects. However, it can not be simply summarized as a "religious sacrifice", but also the practice and action of the artist himself.

　　得水龍王符

　　Dragon King Summon Water Amulet

　　《得水龍王符》底色的靈感來源——敦煌石窟257窟《鹿王本生圖》

　　The inspiration of the background color of " Dragon King Summon Water Amulet ": Dunhuang Grottoes 257 cave’s mural, Deer King Bunsen

　　展覽現(xiàn)場

　　Exhibition site

　　與作品的觀念相一致的是,藝術(shù)家的思考充滿當(dāng)代性。從作品的主題與藝術(shù)家本人的解讀中不難看到,賈鴻君對(duì)現(xiàn)代社會(huì)中發(fā)生的種種現(xiàn)象都有自己的獨(dú)到見解,并時(shí)刻關(guān)注著現(xiàn)代人的生存方式與“人”這一群體的未來。面對(duì)來自現(xiàn)實(shí)的種種束縛與不安,藝術(shù)家也有自己的俠義之夢,正如在作品《佛升夜摩天宮自在符》的畫面和祝詞中表達(dá)的那樣,“心亦非是身,身亦非是心,伸一切正義,自在未曾有”。藝術(shù)就是藝術(shù)家的“自在”之地,并期待與觀者一同向往。

　　Consistent with the concept of the work, the artist's thinking is full of contemporary. From the theme and interpretation by the artist himself, it is not difficult to see Jia’s unique views on various phenomena in modern society, and his concerns on the nowadays way of life and the future of “human being". In the face of various constraints and anxieties from reality, Jia also has his own chivalrous dream. As indicated in the "Zhu" of "Freedom Amulet of Yema Palace on the Night of Buddha Ascension", "the spirit is not the body, the body is not the spirit, Extend all justice, to achieve the enclave Land ". Art is an artist's " Enclave " land and where he expects to yearn with the audience together.

　　佛升夜摩天宮自在符

　　Freedom Amulet of Yema Palace on the Night of Buddha Ascension

　　展覽現(xiàn)場

　　Exhibition site

　　藝術(shù)家賈鴻君接受采訪

　　Artist Jia Hongjun interviewed

　　祝符何從:藝術(shù)的初衷

　　The Future of Amulet: The Original Intention of Art

　　一件作品產(chǎn)生的過程中,藝術(shù)家往往會(huì)帶著很多初衷,就像母親對(duì)自己孩子總會(huì)有很多的期許。但藝術(shù)家也必須面對(duì)現(xiàn)實(shí),那就是藝術(shù)就是藝術(shù),很難承載他對(duì)現(xiàn)實(shí)所抱有的那么多希望。在賈鴻君的藝術(shù)世界中,他用類似宗教“獻(xiàn)祭”的形式進(jìn)行藝術(shù)創(chuàng)作,以一種近乎悲愴的心情對(duì)現(xiàn)實(shí)進(jìn)行批判,對(duì)未來的美好生活無限渴望。這是人類千百年來一種近乎本能的、對(duì)美好的向往,也是一個(gè)現(xiàn)代人在擺脫了被飼養(yǎng)的慣性后,對(duì)智慧的沉思。

　　In the process of creating an artwork, artists often come up with a lot of original intentions, just like mothers have expectations for their children. But artists may also face the reality, that is, art is art itself, thus it is difficult to bear so much hope for reality. In Jia Hongjun's artistic practice, by appropriating the form of religious "sacrifice", he criticizes the realistic world with a kind of almost pathetic mood, and infinitely longed for a better life in the future. The instinctive yearning of human beings for beauty has lasted for thousands of years. This exhibition can be seen as a modern man's wisdom of meditation after getting rid of the inertia of being raised.

　　展覽現(xiàn)場

　　Exhibition site

　　騰蛇度劫符

　　Teng Snake Riding Amulet

　　正如策展人谷赟在展覽前言中所說,“藝術(shù)的目的是要給人講故事,但故事的講述方式?jīng)]有定式?？赐赀@批作品,我相信只要還不至于完全滿足在終日飽食無憂中,那就一定也被同樣的不可調(diào)和煩擾。也許在藝術(shù)家的這些作品中,會(huì)喚起你曾經(jīng)或?qū)碓谀骋粋€(gè)時(shí)刻的喜或悲,思考或沖動(dòng)。”

　　As curator Gu Yun said in the foreword of the exhibition, “An important purpose of art is story-telling, but there is never fixed way to tell stories. I believe viewers would relate, and share the same mood of irreconcilable and annoyed when reading these paintings. Standing in front of certain works by the artist, you may recall a certain moment of joy or sadness, thinking or impulse from the past or in the future. "

　　策展人谷赟接受采訪

　　Curator Gu Yun interviewed

　　展覽現(xiàn)場

　　Exhibition site

　　大日符

　　Mahāvairocana Amulet

　　或許藝術(shù)需要撕裂欣喜的外表,需要撕裂無憂的偽善,才能在一種自渡式的痛苦中迎來涅槃,獲得真知。展覽的祝福與“祝符”的展覽,二者在本能與智慧中周旋,指向了一個(gè)共同的目的——藝術(shù)的初衷。

　　Art is supposed to tear apart the pleasant appearance and hypocrisy of carefree, in order to usher in Nirvana and obtain true knowledge trough self-transitive pain. The blessings of the exhibition and "Zhu Fu” Amulet—the two wander between instinct and wisdom, pointing to a common purpose - the original intention of art.

　　展覽將持續(xù)至2020年7月8日。

　　The exhibition will held until July 8, 2020.

　　賈鴻君創(chuàng)作中

　　Jia Hongjun is painting

　　青帝東方春之符

　　The Amulet of Eastern spring of Qing Emperor

　　和適音符

　　Harmony Sound Amulet(one of "Buddha Octave Series")

　　尊慧音符

　　Wisdom Sound Amulet(one of "Buddha Octave Series")

　　鄭重聲明：以上圖文內(nèi)容為企業(yè)投稿，屬商業(yè)稿件。相關(guān)信息僅為傳遞更多信息之目的，不代表本網(wǎng)觀點(diǎn)，亦不代表本網(wǎng)贊同其觀點(diǎn)或證實(shí)其內(nèi)容的真實(shí)性、完整性、及時(shí)性，請網(wǎng)友自行核實(shí)相關(guān)內(nèi)容。如以上圖文內(nèi)容涉嫌侵權(quán)，請聯(lián)系本網(wǎng)，我們將第一時(shí)間刪除，并協(xié)助聯(lián)系投稿企業(yè)或媒介，處理后續(xù)事宜！