编者注：5月29日，“阡陌图景”：作品邀请展（第一回）将在成都蓝顶美术馆1号厅拉开帷幕，此次展览由批评家、策展人陈默策展，邀请川渝地区28位艺术家参与——其中既有德高望重的前辈艺术家，又有年轻有为的新锐艺术家。展览从事实风景、象征风景、理想风景三个维度，对以“风景”为主题却不是一般意义上的“风景画”进行学术阐释及作品呈现。同时，此次展览是成都蓝顶美术馆一直以来进行的——梳理本土当代艺术文献脉络的——又一次成果呈现，此次为“阡陌图景：作品邀请展”第一回展览展示，我们将以此为新的起点，持续性地进行本土艺术的梳理与研究。下文是策展人陈默所撰写的展览序言，我们跟随陈老师的文字，一起走进阡陌里的图景截屏……

阡陌里的图景截屏（代序）

文：陈 默

      生物圈的进化发展，与自然生态的品质密切相关。所谓生态，是指一切生物的生存状态，以及它们之间和它与环境之间环环相扣的关系。地球村构成千变万化，但最基础的生态单元，那便是阡陌。“长亭外，古道边，芳草碧连天。晚风拂柳笛声残，夕阳山外山。“《送别》这首歌的歌词，是李叔同于1914年在上海送别挚友许幻园所作，其中对故土生态的朴实咏叹，令人迷醉。一千多年前，诗词大家李白留有名句: “大车扬飞尘，亭午暗阡陌。“同时代的王维: “积雪满阡陌，故人不可期。“上溯至汉代，佚名作者的乐府叙事诗《陌上桑》，更是将田野阡陌的茵茵生气与乡间村落的民俗风物“截屏“，好一派大隐于市的故土乡愁。

      生物圈，是生物链的统称，它包含了生物链中所有细微的生物和生态环境、生态系统等，是地球生物延续依赖的家园。而人类，也仅仅是这个生态系统的组成部分，是生物“联合国“中的子民，理当平等相处。曾几何时，人类文明的推进，是以他生物的受损为代价的。在生态退化的进程中，人类的反省忏悔，以及在全球气候生态保护方面的积极努力，既是文明觉醒的进步，也是历史推演的必然。而艺术方式，伴随着文明历史发展的绵延不断，可能是矫正人们对待生态扭曲认知的一种良性媒介，用艺术为自然疗伤，用艺术为生态祈福，善莫大焉！是故，艺术关照自然，自然反刍艺术，水乳交融，相辅相成，是为良性互惠之举，不可不察。

      1948年，英国著名艺术史家、作家、策展人、纪录片主持人肯尼斯·克拉克，出版一本代表作《风景进入艺术》，成为西方风景画研究的开山之作和传世经典。他明确定位了风景画在西方艺术史中的图像学价值。从神秘乐园到人类感官的苏醒，从避难的封闭花园到变幻的光影世界，从具象空间的再现到抽象观念的形成，风景画代表了自然观念的形成，是观看自然的独特方式，体现了人与自然之间神秘又不可分的关系，诸如象征风景、事实风景、幻想风景、理想风景、生态风景、社会风景、人文风景等等，不一而足。他认为: ”风景画不仅是自然的再现，更反映了人类内心的自我投射以及对自然的回应。风景入画，画入心灵。” 克拉克的风景图像学理论，为我们在该领域研究和实验的持续推进，打开了一扇窗。究竟要避免文学化地描述艺术作品，还是另辟蹊径？克拉克的研究方法值得关注，他推崇流行图像学，并试图在各种研究方法之间找到一种平衡。对他而言，重要的是艺术，而不仅是概念与方法。

      此次邀请展（第一回），并不指一般意义上的“风景画”，而是在图像学基础上，将自然景观的有效元素与艺术的观念和诉求萃取融合，从而达成一种基于自然生态的象征图像，它是自然的，是创造的，是艺术的，是无法言说的。同时，梳理与整合本土在该领域的文化沉积、学术品味、风格走向、社区生态，并进行富有成效的学术研究，具有现实和历史意义。可以预见，在这种持续的和满怀诚意的不断推送中，差异化的面貌和风格的个性作品，会源源不断地与公众见面，它不会辜负大家对新图像呈现的期望——艺术，在希望的田野上，不再是一句遥不可及的空话。

2021年4月于成都桐梓林

Landscape Screenshots(Preface)

Mo Chen

Biologicalevolution relates closely to ecological balance which refers to the existence ofevery living thing as well as their coherence with environment. The globalvillage has a myriad of forms of which the most basic ecological units are the crisscrossedfields. Li, Shutong wrote a Farewell poem when he saw off Xu Huanyuan, a closefriend, at Shanghai in 1914, “the pavilion, the ancient road, there we are,with the grassland extending to skyline, the willows swaying, the flute fading out,and the light of setting sun suffusing mountains.” which fascinates readerswith simple and impressive lines depicting hometown landscape. A thousand yearsago, great poet Li Bai wrote “the paths in the field are obscured by the dust raisedby carriages at noon” while Wang Wei of the same period had lines like “ snows coverthe fields and I have no idea when to expect a reunion ”. Dated back to HanDynasty, Mo Shang sang, a Yuefu narrative poem by an unknown author, is evenmore like the screenshots combining fields’ vitality and folk customs renderedinto a homesick panorama suring through urban area.

Biosphere is acollective name of biological chain, covering all the species ,microorganisms, ecologicalenvironment and ecosystem. It is the home for the earth's living things to liveand reproduction. Human is just a part of earth ecosystem, the subject of thebiological "United Kingdom" and has the right to peaceful coexistencewith other beings. However, the development of human civilisation caused damageto other beings. During the process of ecological degradation, which is the necessityof history deduction, human cicviliosation awoke with human’s reflection and confessionas well as active efforts in global climate and ecological protection. Art,with the development of human civilisation, might be a positive medium tocorrect people's distorted econogical cognition. What’s great to let art heal natureand pray for ecology! Art cares for nature and vise versa thus achieves aperfect sense of harmonious coherence which is mutual beneficial and should beattached great importance.

In 1949, Sir Kenneth Clark, the famous Britain arthistorian, writer, curator and documentary host, published Landscape into Art,which effectively outlines the growth of landscape painting as an independentart with its iconography value in western art history. From misterious paradiseto the awakening of human senses, from a refuge enclosed garden to fluctuatingworld of light and shadow, from the representation of concrete space to theformation of abstract concepts, landscape painting represents the formation ofnatural concepts, a unique way of viewing nature, and reflects the mysteriousand inseparable relationship between man and nature, such as symbolic landscape,factual landscape, fantasy landscapes and ideal landscape, etc. He believesthat: "Landscape painting is not only a representation of nature, but alsoa reflection of self-projection and response to nature from the human heart.The landscape enters into the painting, and paintings into the soul."  Clark's theory of landscape iconography opensa window for our research and experimentation continuing to advance in thisfield. Should we avoid literary descriptions of artworks, or develop a new method?Clark’s research method is worthy of attention. He admires popular iconographyand tries to find a balance between various research methods. For him, what isimportant is art, not concepts and methods.

The artexhibition Landscape I does not necessarily refer to “landscape painting” inthe general sense, but on the basis of iconography, it extracts and integratesthe effective elements of natural landscapes with artistic concepts and appealsto achieve symbolic images based onecology which are natural, creative, artisticand none of any precise definition. At the same time, it sorts out and putstogether local cultural deposits, academic tastes, style trends, and communityecology in this field and conducts fruitful academic research which is ofpractical and historical significance. It is foreseeable that in thiscontinuous and sincere promotion, individual works with differentiated looksand styles will keep streaming to public performances and will not fail publicexpectations for the presentation of refreshed images. Art in the fields of hopeis no longer the words out of reach.

At Tongzilin, April2021 

部分参展作品：

杨家勇  《子夜遗梦系列28》  布面丙烯  150x100cm   2015

展览信息

展览名称：“阡陌图景”: 作品邀请展（第一回） 

展览主办：   成都蓝顶美术馆

展览时间：   2021年5月29日——8月1日

开幕时间：   2021年5月29日16:00

展览地点：   成都蓝顶美术馆1号厅

策 展  人：   陈    默

策展执行：   杨志丽  蒋明君

展览统筹 :    董艳娜  王海菠

设计传媒 :    潘虹伶  杨    杰 

                   蓝    希

参展艺术家 : 第一单元【事实风景】 :所谓“事实”，是指非事实之“事实”，超越事实之“事实”。风景是“自然”的，而“画”是非自然的，是由景物异化为心物的视觉产品。由此而论，事实风景来自人为主观的综合创意营造，来自作者丰富学养的移情释放。大象于有形中无形，在超感中惺惺相惜。（艺术家 : 马一平、何多苓、高小华、黄宗贤、王龙生、张国平、张杰、翁凯旋、许燎源） 

第二单元【象征风景】 :到底是以物证事还是以事证物？混沌交织，结论歧义。用艺术的表现手法传达不可言说的情愫，风景的象征和象征的风景，显示出对立或错位的图像矛盾，而矛盾的化解，却源于其结果的充分善意和视觉的愉悦，其原理是借景借物的心像喻情，并最终由精神穿越反哺于阡陌生态。（艺术家 : 侯宝川、郭伟、罗发辉、俸正杰、东方腾弘、孟涛、魏言、徐牧原、姜勇 ）

第三单元【理想风景】:与现实有关却又往往背离现实，与幻觉有关却又时时超越幻觉，亦真亦假，亦虚亦实，飘忽不定，行踪诡异。将狂妄不羁注入油彩墨盘，将异想天开搭载创意思绪，大千世界唯我独行。就这么无法无天，就这么我行我素，就这么和而不同始乱终弃。（艺术家 : 吕华、吴学均、杨加勇、符曦、朱可染、陈艺、杨家勇、郭建婷、李典、赵子韬）