周围艺术很荣幸地为观众带来海上青年艺术家邵仄炯的最新作品展：山水的瞬间。

　　诗人欧阳江河近年来有一篇文章《为什么我们现在没有办法像古人那样写诗？》，其中指出原因之一是与写作和文本背后“相互对应、勾连的平行现实世界没有了”。今天的艺术家也一定有同样的一个问题在脑海中萦绕，为什么我们没有办法像古人那样画画？答案似乎已经呼之欲出。

浮玉 II 局部 Fu Yu (Floating Jade) Details

48cm x 77cm 2018-2019

纸本，丙烯，铅笔等 Paper, Arcylic, Pencil etc.

　　自11世纪开始，中国的艺术家就有意识地脱离写生自然，从前辈的经典之作中寻找创作的灵感，这种文本考据式的创作方式对后来几个世纪的文人画家影响巨大。董其昌曾说艺术创作“须自成一家”，又说“虽复变之，不离本源。岂有舍古法而独创者乎？”青年艺术家邵仄炯在学习过程中，见古贤而思齐，却未被传统程式束缚，而是向当代出走，兼收并蓄，大胆地创新实验。他用铅笔、炭笔、丙烯颜料这些在传统中国画艺术中陌生的材料消解了传统笔墨的执念，试图寻求中国绘画与现实世界和当代艺术的接入点。本次展览中的重要绢本作品《叠山》得源于中国绘画史上的经典巨作，邵仄炯没有作肤浅地临摹与变体，而是在深入解读古人作品的前后传承、风格语境的基础上，辅以自己的理解，为当代的观众重新创作。

宽山 I Kuan Shan ( Wide Mountain )

38cm x 34cm 2019

纸本 水墨设色 Paper, Ink and color

　　同时展出的《宽山》系列，以山脉的局部来实践、强调范宽山水画中纪念碑式的雕塑感，《夏山》系列发展了董源的天真意趣，《后山》系列在构图结构上小心翼翼地向“米氏云山”致意，《浮玉》系列则走得更远，突破了具象的景物描述，向抽象艺术的方向倾斜。

后山 I Hou Shan ( Back Mountain )

30cm x 24cm 2018-2019

丙烯布面 Arcylic on Canvas

　　的确，今天我们无法像古人一样写诗作画，但是我们能够从强大的经典与传统中汲取养分，构建出新的、与当代同步的风格与式样，这些风格与式样也终将成为后代的典范。邵仄炯在美术史的经典杰作中寻踪溯源，引经据典，试图发现中国山水画艺术内在的逻辑，并用它作为自己创作的指导。他徜徉在山水之间、古典与当代之间，在山水的一个个片段与瞬间中追寻美的消隐和显现。

夏山 I Xia Shan ( Summer. Mountain )

40cm x 30cm 2018-2019

纸本，铅笔 Paper, Pencil

　　AroundSpace Gallery is proud to present Shanghai artist Shao Zejiong's most recent works: The Moments of Shanshui.

　　In his article, "Why Can't We Write Poems Like People in Ancient Times?", Chinese poet Ouyang Jianghe pointed out one of the reasons why we cannot write like an ancient poet is that a real world and life that co-exists with the writing and texts no longer exists. The same question may bother today's artists too: why can we not paint like people in ancient times? And the answer is rather obvious.

宽山 II Kuan Shan ( Wide Mountain )

38cm x 34cm 2019

纸本 水墨设色 Paper, Ink and color

　　As early as the 11th century, Chinese artists have already shifted from portraying the nature to turn to the old masters' classic paintings for inspiration. This referencing method had tremendous impact on literati artists for centuries to come. Dong Qichang, the 17th century artist and art critic once said, for artist, "one should establish one's own style." While he also argued, "Even if a painter should make variations of [old styles], he can not sever his link to the sources. Hoe can anyone put aside the ancient methods and start new on his own?" (Translation after Wen Fong). As an emerging artist, Shao Zejiong studied past masters' works and admires their success. However, he has never been bound by traditions. Instead, he ventured into contemporary art and embraced it with an open mind, engaging bald experiments tirelessly. He employs pencils, charcoals, and acrylic paints, which are barely used in traditional Chinese painting, to eliminate the usual emphasis on the importance of ink and brush strokes. In doing so, Shao expects to introduce traditional Chinese painting into today's world and into contemporary art. The key work of this exhibition, Die Shan(Myriad Mountains), derived from several iconic pieces in Chinese art history. Shao's work is not merely copying those masterpieces with simple variations, but made for a contemporary audience after he meticulously studied and comprehended the paintings' histories and styles.

浮玉 I Fu Yu ( Floating Jade )

48cm x 77cm 2018-2019

纸本，丙烯，铅笔等 Paper, Arcylic, Pencil etc.

　　Other works in the exhibition included the Kuan Shan(Wide Mountain) series, which focused on the details of mountains in order to recreate the monumental sculpture-like landscape in Fan Kuan's painting; the Xia Shan(Summer Mountain) series that honored Dong Yuan's legacy of portraying nature, and the Hou Shan(Back Mountain)series, which paid homage to the Mi-Style cloudy mountains by reinventing its classic composition. Lastly, the series of Fu Yu( Floating Jade) went beyond depicting real landscape, and flirted with the idea of abstract painting.

后山 II Hou Shan (Back Mountain)

30cm x 24cm 2018-2019

丙烯布面 Arcylic on Canvas

　　Indeed, we can never write or paint like people in ancient times, yet what we can do is to draw inspiration from classics and traditions and develop new styles that co-exist with today's world. These styles will become classics and traditions for future generations. Shao Zejiong studied the styles of ancient masterpieces and referenced them in art history, in order to trace the hidden trajectory of Chinese landscape painting, and use it to guide his own art practice. He strolls between mountains and waters, classics and contemporaries, appreciating the disappearance and reappearance of beauty in the moments of Shanshui.

​夏山 II Xia Shan ( Summer Mountain )

40cm x 30cm 2018-2019

纸本，铅笔 Paper, Pencil

　　开幕 I 2019年7月6日下午三点

　　展期 I 2019年7月7日-8月18日

　　地址 I 上海 四川中路33号703室

　　联系 I 明明 33050100, 13801743061

　　Opening I 3pm July 6th. 2019

　　Dates I July 7th till August 18th, 2019

　　Address I Suite 703, No. 33 Si Chuan M. Rd. close to Yan An E. Rd.

　　Contact I Mingming 33050100, 13801743061

　　www.aroundspace.gallery

　　Ins: aroundspacegallery

　　Facbook: AroundSpace