中国传统文化将哲理赋予有形的事物，孕育了许多独特的表达形式。本期《芳草说》邀请艺术家陈欣，讲述“山水画”如何作为载体，表达“天人合一”与“气韵生动”的概念，并启发艺术家进行全新的创作。

Chinese traditional culture endows philosophy with tangible things and breeds many unique forms of expression. This issue of The View invites artist Chen Xin to elaborate how "landscape painting" (Shan Shui) can interpreted as a carrier to express the concepts of "harmony between man and nature" and "Rhythmic Vitality", and to inspire him to create anew.

“天人合一”和“气韵生动”，这两种概念起源于中国，但是它们并不唯独被东方所崇尚。

The concepts of “Harmony between Man and Nature” and “Rhythmic Vitality” are not just celebrated in the East.

“天人合一”，作为中国哲学思想的核心理念，构成了中国传统文化的基本精神，贯穿千年，“天人合一”中的“天”并不等同于西方哲学界的自然界，“天”包含自然之天和伦理、主宰、义理等涵义，不可割裂理解。所以“天人合一”是一本大书，有一千七百多年历史的中国山水画，是“天人合一”思想最代表性的艺术体现，山水画不是真的在画自然风景。

As the core concept of Chinese philosophical thinking, “Harmony between Man and Nature” has represented the fundamental spirit of Chinese traditional culture for thousands of years. According to the principles related to “Harmony between Man and Nature”, “Nature” is not equivalent to the natural world from the perspective of Western philosophy. On the contrary, it is associated with the notion of sky, and it is characterized by connotations in terms of ethics, dominance, justice, etc., which cannot be understood separately. Therefore, “Harmony between Man and Nature” is a really voluminous book. With a long history of more than 1,700 years, Chinese landscape painting is the most representative artistic embodiment of the idea of “Harmony between Man and Nature”. Landscape painting is not merely based on the painting of natural scenery as the name suggests. 

陈欣，《枕空山 No.33》，150x200cm，布面油画，2013

Chen Xin, Nestling against Deserted Mountain No.33

150x200cm, Oil on canvas

Version: 2013

“气韵生动”，物象潜在的态势可以引发艺术家精神的感受，“气韵生动”就是态势与内心感受恰如其分的结合，落在作品上就是内在精神的外化表现。音乐也好，舞蹈也好，绘画也好，其他艺术门类，东西方艺术范畴基本都在遵循这一潜在原则，“气韵生动”不单指具体的内容，也体现在精神的传达。

Under “Rhythmic Art Vitality and Art Vigor”, the underlying state of the object can trigger an artist’s spiritual feelings. In this sense, “Rhythmic Vitality” properly combines the external object and the inner feelings and therefore the inner spirit is represented on the artwork. Music, dance, painting, other art categories both in the East and the West basically follow this underlying principle. “Rhythmic Vitality” not only refers to specific content, but also gives vent to the spirit. 

《蜀中山水图》，黄宾虹，浙江博物馆藏

Dwelling in Fuchun Mountain, Hunag Binhong

从文化基因的角度来看，“天人合一”和“气韵生动”大概是我作为东方人与生俱来的世界观和美学浸染。

From the perspective of cultural legacy, probably my innate worldview and aesthetics as an orientalist are imbued with the notions of “Harmony between Man and Nature” and “Rhythmic Vitality”. 

陈欣，《SHANSHUI -万年红 01》，60x60cm（画框 73x73x5cm），非遗工艺蜡笺金粉版画

版数：60 2018-

Chen Xin, SHANSHUI—Wannianhong 01

60x60cm (frame size: 73x73x5cm), Wax-Paper Gold Powder Woodblock Painting, an intangible cultural heritage craft

Version: 60 2018-

回顾中国近百年艺术的发展，一般认为有三条道路，走传统、寻西路、融合中西。早几年，曾看到有一些学者的观点，在他们看来，近一百年，在学习西方方面我们做得只多不少，而传承我们自己优秀的传统文化方面，我们做得只少不多。

Looking back to Chinese art in the 20th Century, three development directions can be identified: persistence in tradition; pursuit for Western art; combination of Chinese and Western elements. A few years ago, some scholars argued that in the past century, we made excessive efforts to learn from the West, while overlooking our excellent Chinese traditional culture. 

陈欣，《枫林唱晚》，200x220cm，布面油画，2012

Chen Xin, Night Songs in Maple Forest

200x220cm, Oil on canvas

Version: 2012

在我认为，这三条道路并没有那般互相隔阂和固化。传统有它的千年脉络，到今天仍可以有它的发展；寻西路，未必会失去自我和民族；融合中西，也未必谁消灭和异化了谁。世界本身就是多元和共生的。在德国的学习、生活、创作的经历，让我反观自身的同时，越发的感受到这种多元与共生的关系。

In my opinion, the above mentioned three paths are not separated from each other. Tradition presents its millennium-old context, and it can still develop to this day. Blind pursuit for Western art may cause the loss of national identity. Combination of Chinese and Western elements also may end up undermining both sides. The world itself is diverse and symbiotic. Studying, living and working in the art field in Germany inspired me to gain profound insights into the relationship between diversity and symbiosis, while looking back to myself.

陈欣，《听昆 20190321》，32x34.5cm，竹纸综合材料，2019

Chen Xin,Listening to Kunqu Melody

32x34.5cm, Mixed material of bamboo paper

Version: 2019

在今天这个时代，全球化已经是一个现实而不是疑问。严格的区分国别，和区分东西方已经没有意义。世界是一体的。重要的是，我们如何和而不同。因此，未必只有这三条路，这些路也未必是自我封闭的。路是人走出来的，有多少人走，就会有多少条路的可能。

In the contemporary era, globalization has been already acknowledged as a reality. To distinguish between countries and between East and West makes no sense. The world needs to be conceived in its wholeness. Being able to live in harmony, while taking into account our differences, is what counts. Therefore, there are not necessarily only these three paths, and these paths are not necessarily self-enclosed. Paths are made by men and therefore there are many possible directions.

陈欣，《雪落三千院 No.1》，110x400cm，布面油画，2012.12

Chen Xin, Snow Falling in Sanzen-in Temple No.1

110x400cm, Oil on canvas

Version: December 2012

谁说扇子就一定只能画梅兰竹菊不能画抽象呢？谁说拿扇子的人必须穿个汉服、长衫才算符合气质呢？谁说春联就不可以有当下的理解和图案呢？在今天试图做古人没什么不好，但文化和艺术除了传承，还需要具有实验性和前瞻性的方向。

The following unconvincing questions can be put under scrutiny: should fans be only represented with plum, orchid, bamboo and chrysanthemum and should they not be associated with abstract patterns? Should a person holding folding fan behave elegantly by wearing Han Chinese costume and long gown? Is it not advised to endow the Spring Festival couplets with modern connotations and patterns? There is nothing wrong with trying to act as an ancient in modern times, however, beside cherishing traditional culture and art, we should also have an experimental and forward- looking approach.

陈欣 ，《借山图 庚子癸未月丙寅日 20200722》，32x55cm ，九五寸紫竹折扇，宣纸扇面综合材料，2020

Chen Xin, Painting of Jie Shan on Day of Bingyin, Month of Guiwei, Year of Gengzi in Lunar Calendar, 20200722,

32x55cm, 95-cun purple-bamboo folding fan, Mixed material of rice paper and fan

Version: 2020

陈欣 《气格 己亥壬申月丁亥日  20190818》九五寸苏工菠萝漆折扇 非遗贴金扇面 综合材料  32x55cm 2019

Chen Xin, Vigor and Style on Day of Dinghai, Month of Renshen, Year of Jihai in Lunar Calendar, 20190818

32x55cm, 95-cun Suzhou-style folding fan lacquered with gloss like rhinoceros leather, Gold-covered Fan, an intangible cultural heritage craft, Mixed material

Version: 2019

历史是一个动态的发展过程，唐宋元明清，每个时代都有各自的特点。以我一直学习和探索的山水画为例，唐王维、五代董源和巨然、两宋范宽、郭熙和李唐、元四家、明四家、清四王，他们在各自的时代创作的山水画作每一位都有自己清晰的艺术风格和作品气象；而自黄公望、倪瓒，再到弘仁、潘天寿，山水画也有几何形的一路创作探索。范宽的《溪山行旅图》一派雄浑中正之气，王希孟（传）的《千里江山图》青碧绮丽、山河多娇，黄公望的《富春山居图》淡雅隽永、文士清气，弘仁《西岩松雪图轴》几何山峰伟峻秀逸、意境高古，黄宾虹的焦墨山水和张大千的泼墨山水融通东西、抽象现代。

History is a dynamic process of development. The Tang, Song, Yuan, Ming and Qing Dynasties demonstrated distinctive characteristics. Take the landscape paintings that I have been studying and exploring as examples. Landscape paintings created by Wang Wei in the Tang Dynasty, Dong Yuan and Monk Juran in the Five Dynasties, Fan Kuan, Guo Xi and Li Tang in the Song Dynasty, “Four Great Painters of the Yuan Dynasty”, “Four Great Painters of the Ming Dynasty” and “Four Great Painters Surnamed Wang” of the Qing Dynasty in their respective epochs, highlighted their own distinct artistic styles and artwork features. Creative explorations of geometric shapes were also carried out by Huang Gongwang, Ni Zan, Monk Hongren and Pan Tianshou in landscape paintings. Under the painting brush of Fan Kuan, Traveling in Streams and Mountains is brimming with flaming vigor and grand boldness. Created by Wang Ximeng (alleged painter), A Thousand Miles of Rivers and Mountains presents verdant and picturesque mountains and rivers in a fantastic manner. Huang Gongwang’s Dwelling in Fuchun Mountain is elegant and everlasting with scholarly savors. Monk Hongren’s masterpiece Painting Scroll of Snow-capped Pines on West Rocks focuses on the majestic and refined peaks in geometric shapes, which display archaic artistic conceptions. In abstract and modern styles, Huang Binhong’s burnt ink landscape paintings and Zhang Daqian’s splash ink landscape paintings embody the blend of Eastern and Western elements in a perfect duo. 

《西岩松雪图轴》，清，弘仁，故宫博物院藏

Painting Scroll of Snow-capped Pines on West Rocks, Monk Hongren, Qing Dynasty

由千人千山的个案到时代，我们今天说的唐代、宋代、近代等时期的传统文化，实际是各自时空下中国文化在那时人的理解、表达和呈现的面貌。

According to different epochs and historical background, the cultural creations of the Tang Dynasty, the Song Dynasty and of the modern times reflect understandings, expressions and presentations of Chinese culture within a specific time and space.

陈欣，《浮生若梦三联》200x405cm，布面油画，2009

Chen Xin, A Triplet of “Short Life as if a Dream”

200x405cm, Oil on canvas

Version: 2009

山水画在中国绘画史的地位，一直是无出其右的。而西方风景画直到16世纪才成为单独的种类。对中国画家而言，山水创作并不是对自然和视觉经验的客观记录，而是作为自己的世界观代指和自画像的一种创作。东方艺术系统的山水画和西方艺术系统的风景画，实际是两个语境的创作题材，当然两者也是可以交融的。也因此，近年一些中外艺术史学者，如吕澎，把中国的山水画以“Shan Shui”在国际学术界进行表述，而非 landscape。

In the history of Chinese painting, landscape painting was always bestowed with a high position. Western landscape painting did not emerge as a separate category until the 16th Century. For Chinese painters, landscape painting reflected their own worldview and self-representation and it didn’t represent an objective record of the natural world and visual experience. Eastern and Western landscape painting belongs to different cultural background, but they can be integrated with each other. Therefore, in recent years, Lv Peng and other Chinese and foreign art historians in the international academic circle refer to Chinese landscape paintings as “Shan Shui” rather than “landscape”.

陈欣，《未来风景—驺虞图》，72x140cm，木板宣纸综合材料，2021—

Chen Xin,Future Scenery—Painting of Zouyu Driving Carriages (“Zouyu” refers to a type of auspicious beast with tiger body and lion head in Chinese mythologies)

72x140cm, Mixed material of wooden board and rice paper

Version: 2021–

在中国艺术史和文化史里，山水题材一直是艺术家和文人士大夫阶层的思想和情感寄托。我2019年在德国白湖举办过一个名为《借山》的个展。“借”，在中国文化里，是个特殊指代又有丰富涵义的字眼。诗言志，歌咏言，托物言志，借景抒情，这些理念贯穿上千年的中国文化历程。通俗地说，中国人在创作文学、音乐、绘画等过程中，都是托物言志、借情抒情这样一种“借”直接人和物之外的对象来进行表达。

Throughout the history of Chinese art and culture, the theme of landscape represented for artists, literati and officials in feudal China a source of ideological and emotional inspiration. In 2019, I held a solo exhibition entitled “Jie Shan (Reference to Mountains)” in Kunsthochschule Berlin Weissensee, Germany. “Jie” is a special Chinese character with diverse meanings in Chinese culture. Poems convey the aspirations, while songs air the emotions. The concepts of “expressing aspirations through objects and conveying emotions through sceneries” has been very important in Chinese culture for thousands of years. Generally speaking, in the creation process of literary, musical, and painting works, Chinese people avoid direct expression but take symbolic and semantic carries to convey emotions through objects.

陈欣，《掇山图 No.13》，90x125cm，木板宣纸综合材料，2021—

Chen Xin, Painting of Duo Shan No.13

90x125cm, Mixed material of wooden board and rice paper

Version: 2021–

清代沈宗骞论著《芥舟学画编》也讲“以古人之规矩，开自己之生面”。今天，我作为创作者，不断的尝试吸取和继承中国传统山水画的理念、技法和精神格调，在跟古代的艺术大师们神交的同时，应该有新的话语跟他们去“说”，进行一次次对画/对话。十年余来，我用古人的折扇、团扇、缂丝、万年红春联纸等媒介，和当下的画布、数字输出等媒材和方式尝试创作个人风格下的山水风景和装置作品。

“Opening up the new individual horizons under the conventional rules of the ancients” is also emphasized in Jie Zhou Xue Hua Bian, a monograph by Shen Zongqian in the Qing Dynasty. Nowadays, as a creator, I continuously attempt to absorb and carry forward concepts, techniques and spiritual styles of traditional Chinese landscape paintings. While spiritually interacting with ancient maestros, I am urged to reference them and to “establish a dialogue with them” through a new vocabulary. In the past decade, I have tried to create landscapes and installations in my own style by using ancient media such as folding fan, round silk fan, kesi (a type of weaving done by the tapestry method in fine silks and gold thread) and Wannianhong Paper for the Spring Festival couplets, as well as canvas, digital output and other types of contemporary media.

陈欣，"气格"春联图案创作，2017-2022

Chen Xin, Designs for the Spring Festival couplets themed with “Vigor and Style”

Version: 2017-2022

陈欣，《Shan shui 20190825》，直径28cm，长45cm，缂丝综合材料，2019

Chen Xin, Shanshui 20190825

Diameter: 28cm, Length: 45cm, Mixed material of Kesi

Version: 2019

从2011年将《千里江山图》抽象碎片化后重构创作的《雪落三千院》，到2021年运用当代抽象波普的手法将历代传世名画进行重构、再造的“未来风景”系列探索，如与唐王维（传）《辋川图》、马琬《元人集锦之春山清霁》、明仇英《上林图》等进行“对画”的作品。

I experiment with Snow Falling in Sanzen-in Temple (2011) through the abstract fragmentation of the original painting A Thousand Miles of Rivers and Mountains. In “Future Landscape” Series (2021) I use contemporary abstract pop techniques to reconstruct and recreate famous paintings handed down from generation to generation. In works like “Mutual Paintings”, I reference works like Painting of Wangchuan by Wang Wei (alleged painter) of the Tang Dynasty, A Collection of Paintings of the Yuan Dynasty on Mountain after Rain in Springtime by Ma Wan of the Yuan Dynasty, and Painting of Shanglin Garden by Qiu Ying of the Ming Dynasty, among others. 

陈欣，《未来风景-元人集锦 No.1》，50x180cm， 金潜纸综合材料，2021-

Chen Xin, Future Scenery—A Collection of Paintings of the Yuan Dynasty No.1

50x180cm, Mixed material of gold foil paper

Version: 2021–

陈欣 《未来风景-辋川图 No.6》33x100cm，金潜纸综合材料，2021 –

Chen Xin, Future Scenery—Painting of Wangchuan No.6

33x100cm, Mixed material of gold foil paper

Version: 2021–

我的“欣山水”，无论远看还是近看都跟传统山水有不一样的体验，它们属于当下，但精神和思想依然跟古代山水画背后的创作者们有很多契合和共鸣。因为“山水”即人，是性灵，是宇宙，是气，也是道。我的日课，是与古为徒。在与古人“对画”和当下的自画之中，与湖山并永。

Originated by myself, Xin Shan Shui brings diverse aesthetic experiences for traditional landscapes, whether viewed from a distance or up close. Despite the contemporary character of these paintings, their spirit and ideology still strongly echo and resonate with those paintings from the ancient landscape painting tradition, as “Shan Shui” encompasses notions related to human being, natural disposition, the whole universe, the Qi and the Tao. My daily learning between the East and the West is aimed to get inspiration from the ancients. In the process of “mutual painting in synergy with the ancients” and the contemporary self-painting, portrayal of landscapes with its everlasting charm becomes a reality.

陈欣《一程山水》个展现场，左右《梦-牡丹亭No.1  No.2》，中《掇山图 No.12》

Chen Xin Solo Exhibition “The Journey with Shanshui”

Left and right: Dream—Peony Pavilion No.1 & No.2

Middle: Painting of Duo Shan No.12

关于作者

About the Author

陈欣出生于北京，2006年毕业于德国慕尼黑造型艺术学院，艺术硕士，职业艺术家。现生活工作于北京-慕尼黑。自1999 年投身艺术至今，陈欣早年关注现代人的精神和欲望状态，以抽象表现的形式呈现。作为一个具有德国留学背景，又深受中国文化浸染的艺术家，陈欣近年探求东西，借古开今，以东方文化中的山水（Shanshui）、扇为抽象探索路径，将传统人文的“空山”、“气格”等美学意境、概念在当下进行重构、再造和转化。陈欣作品屡次参加国内外重要展览。

Born in Beijing, professional artist Chen Xin graduated from Akademie der Bildenden Künste München with Master of Art in 2006. He currently lives and works between Beijing and Munich. He devoted himself to art since 1999. With sustained attention to the spirit and desire state of modern people since the early years, he presents these themes in the form of abstract expression. As an artist with an experience of studying in Germany and also with a strong focus on Chinese culture, Chen Xin has explored Eastern and Western artistic forms of expressions in recent years by using anecdotes of the past to allude to the present. Taking “Shanshui” and fan of Eastern culture as abstract exploration paths in the contemporary context, he reconstructs, reengineers and transforms aesthetic conceptions and concepts like “Deserted Mountain” and “Vigor and Style” through elements of traditional culture. Chen Xin’s works were presented in important exhibitions both in China and abroad.