陈建辉《水墨之维》中国美术馆当代水墨画展。内容概要：由中国美术馆、中国美术家协会艺术委员会、上海市美术家协会联合主办的"水墨之维--陈建辉当代水墨画展"将于9月13日在北京中国美术馆开幕，策展人范迪安，展览时间2011-09-13~2011-09-26。

陈建辉作品：《花非花》之二。1至2组合图。宣纸.水墨

陈建辉作品：《龍》之一，局部

陈建辉作品：《岩》 宣纸·水墨

陈建辉

　　陈建辉， 1958年出生于天津，1982年毕业于天津美术学院。曾任天津工业大学艺术设计学院院长。中华人民共和国教育部艺术设计专业指导委员会委员，中国美术家协会会员、服装艺术委员会副主任，第十一届全国美展评委。中国文房四宝协会高级顾问，上海市美术家协会会员。现为东华大学艺术设计学院教学副院长、教授、硕士研究生导师、博士研究生导师。代表作有《另空间》《天籁之音》《风雨而动》《岩变》等。

　　作品主要收录在《美术观察》、《国画家》、《Auction & Collector》、《中国书画报》、《美术界》《流行色》、《艺术研究》、《东方艺术大家》、《国家美术》、《富世》、《首席》等刊物。

　　主要出版物有《陈建辉艺术作品2000集》;《西方绘画赏析》;《西方绘画形态》;《素描应试》;《陈建辉中国画新作》;《陈建辉当代水墨画集》。

　　特殊的家庭背景使其自小接触到马翰章、刘贵宾、于寓友、郝文彬等著名画家，奠定了较为深厚的绘画基础。师出孙其峰先生门下，亲炙萧朗、爱新觉罗·溥佐、霍春阳等名师的教诲，加之学院系统的美术教育和绘画熏陶，使陈建辉深谙传统水墨精髓，作品笔墨酣畅，气韵贯通，声势夺人。八九十年代，他又先后赴德国、捷克等地以讲学及访问学者的身份深入异域文化，欧洲的研修与身临其境对于西方当代视觉文化的考察，则让他从另一种角度进入西方的文化艺术体系。特殊的艺术背景、对水墨语言独到的理解与认识、不断升华的精神诉求，促使画家本人从傍依传统水墨走向他的现代水墨之路。从传统走向现代的探索过程中，他尊重视觉感受、尊重文化经验，这种坚持，成就了其独特的语言风格。这其中所碰撞出的艺术作品结合了理性的严谨与感性的张扬。以不拘泥于传统的题跋方式，打破常规的布局排列，使作品大气雄厚，耳目一新。

　　此次展览是继《"禅"陈建辉当代水墨画展》之后精心筹办的又一抽象水墨作品展，期间将展出陈建辉先生近几年创作的精彩作品，以"水墨之维"为主题，将其对视觉文化的认识以及个性解析浑然天成的融入水墨之中，在无维度的艺术天际中或流露或宣泄或释放，作品极具张力的同时又不失传统神韵。

　　陈建辉的艺术作品坚守着自己的理念，理性的严谨和感性的奔放自由是其精神境界——一个只有艺术家才能够达到的艺术新境。

陈建辉作品：《岁月之痕》之十六。宣纸.水墨

　　返璞归真

　　凯瑟琳(加拿大)

　　陈建辉对水墨充满现代感的运用既大胆又富有美感。他的作品中蕴涵了充沛澎湃的情绪和感觉。深浅色的对比激发了观者的万千想象。他色调沉郁的调色板由黑灰白三色将点、断续的线条和轻巧的笔触结合，同时也将神秘的风景和抽象的幻境编织在一起。

　　陈建辉是一个艺术家也是一个哲学家。他的作品向观者呈现了一个阐释的世界。他的表达纯粹来自于潜意识。陈建辉的画作拥有一种内敛的冥想气质。在那些游丝般的线条和淡淡的水墨圈点的泡沫中观者可以感受到一种抚慰心灵的温柔。凝视他的作品，我们好似感觉到画面的运动和一种与水相似的富有节奏的流淌。观者甚至可以想象这些细密蜿蜒的线条在风中微微弯曲。这赋予他的水墨作品安静的禅意。陈建辉有的画作中只有寥寥数笔，有的却有非常复杂的线条安排。这些细密的线条相互交织，形成了错综复杂类似蛛网般的图案。仔细观察，作品中还时而出现一些蜗牛。这些小小的生物在艺术家抽象的风景画中星点出现，好像正在这些捉摸不清的混沌中向外张望。看着它们，我们不由得想起画外的自己也正是在这大千世界里懵懂地观察着外界。他对作品中元素状态的表现不仅在技法上有自己的独到之处，同时也体现了一种深刻的洞察力。他的作品优雅且大胆地运用了现代的元素，因此进入了中国水墨画的另一个领域。陈建辉的构图不同寻常，观赏他的画作时观者会发觉：大片的留白和重墨勾勒的漩涡和线条一样耐人寻味。他在空间的安排上颇费心思，用一种智慧的语言让观者感受到作品中的古典意韵。

　　陈建辉内心尊崇传统中国图形和花鸟绘画，但是他的画作不拘泥于传统，匠心独具，且让观者觉得耳目一新。多种元素的并置使得他的画作更具深意。在这一方面，我们可以说他是一个视觉上的诗人。观者也许会认为他的作品是实验性的，但这绝不仅仅流于用现代方法表现传统媒介的表面。陈建辉的作品充满了内省且暗藏一种小心翼翼的细腻之感。他非常注重细节，学院背景对作品的影响也在其中得到了清晰地体现。陈建辉在水墨画方面拥有高超技巧的同时，也发展了自己独有的现代表现手法：将许多的物体未加修饰地呈现，好像这些根本无需阐释。值得注意的是陈建辉以一种精致的手法平衡这两种表现方式。尽管内涵复杂，他的作品却举重若轻。从这个意义上说，陈建辉也许正是试图突出真实本身的简单质朴。

　　The Simplicity of Truth

　　By Ellen Manning

　　Chen Jianhui's contemporary use of ink is both daring and beautiful. There is ample mood and feeling in his work and the contrast between light and dark offers an inspiring effect. Chen is able to produce profound insight from the simp-lest of lines. His somber colour palate of black, grey and white combined with spots, fragmented lines and brushstrokes weave together mysterious landscapes and abstract non-realities. He is an artist and a philosopher, and his work opens a world of interpretation. As though his expression derives from his pure subcons-cious, Chen's paintings possess a deeply meditative quality.

　　Originally a classical Chinese ink painter, Chen Jianhui’s new abstract work contains an exploration of spirit and a soothing gentleness. The artist’s painting techniques evoke movement and a rhythmic flow similar to water. Or one can imagine that the painted lines are bending in the wind, like long leaves in a field. In Chen’s paintings, a simple, singular line can speak volumes and can be more powerful than a huge mass of colours. Chen's composition is remarkable and the negative space is just as meaningful as the playful swirls and lines of heavy ink. In a way, the paintings have an Eastern philosophical approach, which some may can “Zen”; this is appropriate, as the artist himself often reads Buddhist manus-cripts, not because he is religious but because he is fascinated by the concepts. Chen Jianhui’s paintings range from pure, simple lines to complex shading, with an infinite-seeming number of lines, which look almost like an intricate spider-web of patterns. Within many of his paintings, Chen also includes small bubbly-looking patterns, which he indicates are “snails”. The tiny snails exist within the artist’s abstract landscapes, among the simple single leaves or the spider webs, s we humans exist within the vast expanse of the land and the world. It is as though the snails are witnessing Chen’s abstract world within the work, similar to how we are witnessing the paintings from the outside. Chen Jianhui’s work is graceful and bold with modern elements in which he reaches another realm of Chinese ink painting. The thoughtful placement and arrangement conveys an intelligent language in adaptation to tradition.

　　Chen honours traditional Chinese motifs but his execution is uniquely refre-shing, and there is wonderful depth to his juxtapositions. In this way, he is a visionary poet. One might think that his work is experimental but it is much more than attempting a contemporary approach to a traditional medium. Chen's work is deeply reflective and meticulous. He pays keen attention to detail and it is clear that his academic background has greatly influenced his art. He is highly skilled at traditional Chinese ink painting methods but he also has developed his own, more modern techniques. Many of his subjects are without embellishment or inter-pretation. Much credit is deserved for Chen in the way that he is able to balance these methods with such refinement. Although deeply complex, his work seems quite effortless. In this way, perhaps Chen is trying to highlight the simplicity of truth.