展览时间： 2023年5月13日（周二）- 2023年7月9日（周日）11am - 7pm

　　艺术家： 前田 正宪

　　出 品 人： Shun

　　展览主办： 上海熏依社画廊

　　地    址： 上海市徐汇区复兴中路1363弄3号108室

　　Tel： +86 (0)21 5496 1918

　　Web： www.shunartdesign.com

　　Email： gallery@shunartdesign.com

「观自在」

　　熏依社画廊荣幸宣布为日本岩彩画艺术家前田正宪举办个展《观自在》，本次展览以艺术家2016年以来创作的抽象作品为主。近年来，日本当代艺术家以大胆的色彩和引人注目的抽象手法，将一直延用具象表现的日本画的传统，带入了21世纪。前田正宪就是其中的佼佼者，他好奇于“岩性”的肌理与抽象绘画的关系，同时，受到“物派”运动的至纯至简的影响，进入全新的创作领域。

　　岩彩画可上溯至公元三世纪的龟兹石窟壁画，后以佛教艺术的形态流传到东瀛，在日本得到了长足的发展。岩彩秉性不易调和，艺术家必须熟知岩彩的“脾气”，不同色彩、粗细的矿物颗粒，在光线的作用下，形成奇妙的漫反射现象使画面充满神性。前田的早期创作聚焦具象的日本岩彩画。作为东京艺术大学的高材生，毕业时即获得安宅奖的前田，他的具象作品沉静内敛，安静的色彩携带微妙的变换，侘寂式的“微光”隐忍克制。传奇的中世纪日本画家长谷川等伯对前田也有着不小的影响。前田的笔力在虚空中呈现张力，蕴含着隐匿的未知，如冬季寒风凛冽中磨砺出的感性。

　　前田在基底上将颜色进行分层、并置、汇聚，看似平铺的配色方案，每一笔都带有深沉复杂的色彩，时而，黎明时分乌云密布的黑暗大海连接着希望，阳光依靠在在地平线上窥视人间；时而，秋雨新霁，云破处金色挥洒而下，变幻的笔触闪烁其中。前田的浪漫理想主义得到了充分的实现，抽象与具象在这个意义上不再需要明确的界限。

　　凝视前田的绘画笔触是治愈的，流淌涌动，汇聚扩散，岩彩的色层之间“显、露、隐、没”，如同看见人类的每一次动念，念灭，在全然内观的状态下，生命速度放慢，心境逐渐澄清，世界变得寂静空无。

　　根据著名的双缝干涉实验，当我们观测微观粒子（光子、电子、原子、甚至分子）时，粒子表现为有明确位置的粒子，不观测时，表现为波（不确定性）。也就是说，如果超越“眼耳鼻舌身意”六识的观测，世界的存在也许是一个能量不断流转的世界。

　　前田的作品启发、指引、唤醒我们对世界本真的理解。不必向外求索，我们原本就连接着这个能量的世界，我们本自具足。烦恼来袭，我们观看它，此念的生与灭，如云卷云舒，无执着无挂碍，直到不生不灭。

　　烦恼即菩提。

GUAN

　　Duration： May..13th， 2023 (Tues.) - Jul..9th， 2023 (Sun.) 11am - 7pm

　　Artists： Masanori MAEDA

　　Producer： Shun

　　Host： Shun Art Gallery

　　Address： Room 108， No. 3， Lane 1363， Middle Fuxing Road， Xuhui District， Shanghai

　　Tel： +86 (0)21 5496 1918

　　Web： www.shunartdesign.com

　　Email： gallery@shunartdesign.com

​GUAN

　　Shun Art Gallery is honored to announce the holding of the Nihonga artist Masanori MAEDA‘s solo exhibition “Guan”. This exhibition mainly focuses on abstract works created by the artist since 2016. In recent years， an emerging school of contemporary Japanese painters is bringing this centuries-old tradition， previously leaning heavily on figurative motifs， into the 21st century with bold colors and striking abstractions. Maeda is one of the best. He is curious about the relationship between the texture of “rock” and abstract painting. At the same time， influenced by the pure and simple “Mono-ha” movement， he entered a new field of creation.

　　Nihonga can be traced back to the murals of the Kizil Caves in the third century AD， and later spread to Japan in the form of Buddhist art， and has achieved considerable development in Japan. The nature of mineral pigments is not easy to reconcile. Artists must be familiar with the “temper” of pigments. Mineral particles of different colors and thicknesses， under the action of light， form a wonderful diffuse reflection phenomenon， making the picture full of divinity. Maeda’s early work focused on figurative Nihonga. As an excellent student at the Tokyo University of the Arts， Maeda won the Ataka Prize when he graduated. His figurative works are quiet and inward， with quiet colors carrying subtle changes， and the wabi-sabi-style “glimmer” with restraint. The legendary medieval Japanese painter Hasegawa Tohaku also had a considerable influence on Maeda. Maeda‘s brushwork presents tension in the void， containing hidden unknowns， such as the sensibility honed in the cold and windy winter.

　　Maeda layered， juxtaposed， and converged the colors on the base. With a seemingly flat color scheme， each stroke contains deep and complex colors. Sometimes， the dawn’s sea covered with dark clouds is connected with hope， and the sun leans on the horizon to peek at the world； sometimes， when the autumn rains come， golden colors sway down from the broken clouds， and the changing brushstrokes flicker in it. Maeda‘s romantic idealism has been fully realized， and abstraction and figuration no longer need a clear boundary in this sense.

　　Staring at Maeda’s painting strokes is healing， flowing and surging， converging and spreading， and the color layers of mineral pigments “reveal， expose， hide， and disappear”， just like seeing every thought of human beings arises and perish， in the full introspective state， the speed of life slows down， the mind gradually becomes clear， and the world becomes silent and empty.

　　According to the famous double-slit experiment， when we observe microscopic particles (photons， electrons， atoms， and even molecules)， the particles appear as particles with a definite position， and when we do not observe them， they appear as waves (uncertainty). In other words， if we go beyond the observation of the six senses of “eyes， ears， nose， tongue， body and mind”， the existence of the world may be a world of continuous energy flow.

　　Maeda‘s works inspire， guide and awaken our true understanding of the world. There is no need to seek outside， we are originally connected to this energy world， and there is nothing lacking in ourselves. When afflictions strike， we see them， the arising and cessation of this thought， like clouds rolling in and unwinding， without attachment or hindrance， until it does not arise or perish.

　　Affliction is Bodhi.