1963年生于北京，2006年调入北京画院，2016年调入中国国家画院。现为中国国家画院研究员、花鸟画所副所长，国家一级美术师，中国画学会（美国）名誉主席，中国美术家协会会员。

　　Yao Dawu （b.1963）

　　Bornin 1963 in Beijing， Yao Dawu was appointedto be the artist of Beijing Fine Art Academy in 2006 and further transferred toChina National Academy of Painting in 2016. Currently， as one of the NationalClass-I Artists， he is serving as the vice director of Institute of Flower& Bird Painting in China National Academy of Painting， honorary chairman of Chinese Painting Society （US） and member of China Artists Association.

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周末

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来了

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时间与海

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10-21记事2

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10-21记事1

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花瓶与玩偶

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镜像

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黄河河套

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鸟与花

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时光错位

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来！合个影

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　　把这六个当代水墨画家凑到一起，并没有什么特别的理由。六个人，画风不同，师承不同，题材不同，五个人物画家，一个花鸟画家，搁一块儿做展览，要取一个通常意义上的主题性标题，还真犯难。否定了几个标题后，保留了这个，看似平常，也还有些说道。

　　There are no certain unique reasons to get these six Chinese contemporary ink painters together. Since they， five specializing on figure painting and one on flower and bird panting， have different painting styles， distinctive successions of teachings and themes in this area， it is really something difficult to gather them in one exhibition and offer a title with common themes containing all the aspects of their features. The title as you are seeing now is screened after negating several other titles. You may think it is as common as ordinary words， however， there is still some significance to some extent.

　　首先，这是一个在农历辛丑年举办的水墨画展览。我可以自信地说，因为这六个画家的聚首，他们单个乘以六的学术份量，已足以构成本年度的一个美术事件。换句话说，这是辛丑年一个事件级的水墨画展，所以叫《辛丑墨事》。以干支纪年冠名，是以显示隆重。

　　Firstly， it is an exhibition of ink painting held in the lunar year of Xinchou. Confidently， such exhibition can be reputed as a great artistic event this year considering the gathering of six great painters， the academic weight of them multiplied by six aspects of influence in this field. In other words， it can be reputed as an exhibition of ink painting held in Xinchou year with great influence， in this regard， it is entitled as Xinchou Ink Matters. Moreover， with Ganzhi chronicle as the title， the grand and solemn feeling is enhanced accordingly.

　　其二，辛丑年不是寻常年，历史上的辛丑年都有大事发生，今年可能也不例外。但愿不会发生什么大事，如果一定有大事发生，我寄希望于我们这件“辛丑墨事”能够对冲它，而成为辛丑年唯一的大事，让我们祈祷。

　　Secondly， in Xinchou year， unusual events always occur out of blue， which is proved by the great events happening from time to time in history， this year is also coincided with Xinchou year， so there is no exception！ Everybody wishes no bad events happening. If it is still happening unfortunately， we expect such exhibition titled Xinchou Ink Matters will tackle it and prevent it. We wish it to be the only event in Xinchou year， let‘s pray together.

　　其三，我觉得“辛丑”二字如果不从干支解读而纯从字面理解，则非常吻合几位参展画家的水墨情调。田黎明除外的五位画家，其作品如以世俗审美之眼视之，真是既辛又丑。辛者，五味之一，是五味中具有强烈刺激性的味道，其引发的感受是不适，排斥，所以有辛辣、苦辛、辛酸等词语并用。但深刻的味觉又确实离不开辛味的参与，所有高等级的审美感觉（不管是通过什么感官）一定是“含辛茹苦”的，所有成熟的艺术感知能力，其实都以对辛味的包容和接受程度为标准。几位参展画家如果说有何共同点，那就是他们的绘画中都弥漫着一股辛味：辛苦、辛酸、辛辣，当然还有辛勤。田黎明看上去很淡泊宁静，那表象的背后，骨子里还是透着一股无法言说的辛味；姚大伍的花鸟世界也是如此；张江舟“倩女离魂”的当代都市少女群像，袁武笔下的像发黄的旧照片上的历史枭雄，刘进安魅影幢幢几无面目的芸芸众生，邢庆仁安息劳作并匍伏于黄土地的饮食男女，无不透着浓重的辛味。

　　Thirdly， from my perspective， Xinchou will be extremely in line with the sentiments of ink paintings created by the six painters if the word is perceived merely in literal meanings after its Ganzhi chronicle meaning is removed. The masterworks of the five painters except for Tian Liming are actually both fierce and loathsome to some degree if being appreciated by secular aesthetics. When it comes to fierceness， it is included as one of the five tastes， but it is considered as the one with the strongest irritant feature and it is able to arouse the feelings of discomfort and exclusion， so there are various words related to it in meanings and forms： such as spicy （fierce hot）， fierce bitter （extreme bitter）， fierce acid （extreme acid） and so on. Nonetheless， the profound and unforgettable tastes are never separated from fierceness， so the aesthetic feelings of super grade （from whatever senses it is perceived） must be “fierce and bitter” as you taste in your taste buds. Nearly all the mature capacities in artistic perception must regard their tolerance and acceptance of fierce taste as the pure standards practically.

　　The several painters in the exhibition share something in common， if there is， the fierce taste must stand out： fierce bitter， fierce acid， fierce spicy and fierce hardworking. Even if Tian Liming seems to be indifferent and tranquil in paintings and life， he still shows something fierce in his bones which is hard to tell superficially； so does Yao Dawu in his paintings where there are various forms of fierceness in flower & bird world； the fierce taste is pervasive no matter when it comes to the group portraits of contemporary girls in urban areas titled “the Young Lady Died for Love” exhibited by Zhang Jiangzhou， the historical heroes depicted by Yuan Wu on the old yellow photos， the faceless beings with ghosts and goblins going back and forth displayed by Liu Jin’an or the farmers diligently working on yellow fields shown by Xing Qingren.

　　其四，关于“审丑”。自现代艺术以来，艺术创造基于“审丑”而非“审美”，已是一个不争的事实。所谓“审美”，实质上是依据古典传统艺术形成的感知觉和谐来创造和接受感知觉对象。如果破坏或逸出了这种感知觉和谐，就会被判断为“丑”。事实上，人类因文化的不同，个体的不同，这种所谓的“感知觉和谐”是很不相同的；而且，人类也在不断地突破这种和谐的“低阈”，而挑战感知觉的极限。广义的审美，其实就是狭义的“审丑”不断挑衅和突破狭义的“审美”而走向更高阈值的感知觉和谐的过程。昨天的“审丑”对象，今天不过是“审美”的通常阈值而已；而今天视为“审丑”对象的东西，在明天则不过是一道通俗的“审美”风景。所谓“惊世骇俗”其实就是惊骇了世俗，而世俗，永远只能充当人类审美感知觉和谐的“低阈”，“高阈”则永远是先锋性和前卫性的，当它们出现时，必然是“丑”的，惊世骇俗的。几位参展水墨画家，似乎都经历了一个由美到丑的过程，他们突破了世俗的审美阈值，咬破过去美术教育结的厚茧，像“怪物”一样出现在中国当代水墨画界，引发了持续的“审美骚乱”。世人不能接受的，除了他们某些绘画题材和主题，还有其水墨语言的狂、怪、生、拙、黑、乱。当然，他们受到关注，甚至近年来成为追捧的艺术家，也是因为他们的先锋性和前卫性，他们刷新了人们对水墨画的感知觉和谐的“阈值”。

　　Fourthly， in terms of “loathsomeness”， it has become the consensus that the artistic creation is completed on the basis of “loathsomeness” rather than “aesthetics” since the modern art was created and transmitted. Regarding the so-called “aesthetics”， the perceptual subjects are created and accepted in accordance with the perceptual harmony reached within the classical traditional art in essence. The relevant works will be judged as “loathsome” if such perceptual harmony is being excluded or destroyed to some extent. As a matter of fact， such category of “perceptual harmony” will vary a lot in different cultural forms and individuals； furthermore， the limit of perceptual harmony has been constantly challenged by people through breaking “low threshold” within the harmony. Practically， the aesthetics in broad sense lies in the process in which the “loathsomeness” in narrow sense pursues the perceptual harmony with higher threshold by constantly challenging and breaking through the “aesthetics” in narrow sense.

　　The subject with “loathsomeness” which was popular yesterday is merely the one with common threshold of “aesthetics” currently； additionally， those being regarded as the subjects of “loathsomeness” currently will be merely the landscapes of “aesthetics” generally accepted tomorrow. The works with so-called features and contents “astonishing the world” are just shocking those common people in the secular world while secular sense is always considered as the “low threshold” for the perceptual harmony of human beings‘ aesthetics. Those works with “high threshold” are always considered as avant-garde and frontier， which makes them “loathsome” undoubtedly and astonishing certainly after emerging. When it comes to cases for the several ink painters in the exhibition， they are seemingly undergoing the process from being “aesthetic” to “loathsome”. By breaking through the aesthetic threshold in secular world and cracking the thick cocoon formed in art education of the past， they have emerged in the circle of Chinese ink painting in modern times as some kind of “monster”， which arouses the continuous “aesthetic riot” accordingly. Except for some themes and materials used in works of them， there are also the crazy， weird， strange， clumsy， dark and chaotic features expressed by the ink language which are not accepted by the secular world in this regard. Nonetheless， all the above-mentioned features cannot prevent them from being highlighted and even becoming the great artists in recent years because they are avant-garde and frontier. In such a background， it is these artists that have upgraded the “threshold” of people regarding perceptual harmony in ink paintings.

　　其五，几位参展艺术家是当今中国水墨画领域难得的坚持在精神和语言两个向度既维系同传统的关联，又勇敢突破传统樊篱的人，他们并没有采取颠覆的姿态和反叛的策略，但他们又尽可能地以学院精英的立场将其前卫性和先锋性做到当下审美阈值的极限，这个极限从精神上是“辛”，从语言上是“丑”，从载体上是“墨”，从美术史上是“事”，是可以言说的“辛丑墨事”。

　　Fifthly， these six artists in the exhibition are the minorities who have both persisted to maintain the correlation with the tradition and attempted to break through the boundaries of tradition from dual perspectives of spirits and languages in ink painting field of China. Giving up subversive attitudes and discarding rebellious strategies， they have tried every possible means to reach the limit of aesthetic threshold with avant-garde and frontier works by taking the position as scholar elites. Such limit is “fierce” in spirits， “loathsome” in languages， “ink-style” in carriers and “event-arousing” in artistic history. Finally， it is the “Xinchou Ink Matters” expressing abundant provoking significance to people in secular world.

　　以上五条，是我对于这次展览命名的思考。

　　Above are what I thought to give the title to this exhibition.

​文/王鲁湘

　　WangLuxiang

　　（转自：公众号孚链）