金日龙 JIN RILONG

　　作为一位来自中国延边的朝鲜族艺术家，金日龙早期的创作大量描绘写实性的少数民族的生活图景与象徵主义的人像；近年来则更关注於人类的精神世界，以意象代替具象。观者潜入其中时，可以察觉到现代性社会建构下，人类处境的普遍性反思。

　　As a Joseonjok artist from Yanbian， China， Jin Rilong‘s early creations depict much realistic life status of ethnic minorities and symbolic portraits. In recent years， he has been using abstract expressions to focus on the spiritual world of human beings. When viewers look deep into it， he could truly perceive a universal reflection on the human status quo under the construction of modernity.

Jin Rilong’s sharing about creation during COVID-19

金日龙对於疫情期间作品的讲述

　　这次疫情，对日常在工作室里创作的金日龙来说，创作空间其实不曾改变，但当下的环境氛围带给他不一样的情绪和想法。疫情影响下，艺术家的「气场」有了微妙转变，在新的气场的驱使下，金日龙自然而然地通过作品流露了更多深层次问题与体会。他的概念性画作表达给观者的到底是什麽？情感、反思，抑或是一种开放式的混沌状态？这种观者的迷惘困惑，与信息时代的知识困境、价值判断的多元选择，形成一种巧妙的借喻。

Jin Rilong‘s artworks during the creation

创作中的金日龙作品

　　For Jin Rilong， who creates daily in the studio， the creative space has never largely changed during the COVID-19 outbreak. However， the current environment and atmosphere bring him different emotions and ideas. Under the influence of the pandemic situation， the artist’s aura has undergone a subtle change. Under the impetus of the brand new aura， Jin Rilong naturally revealed more in-depth problems and experiences through his works. What exactly does his conceptual painting convey to viewers？ Emotion， reflection， or an open chaotic state？ The confusion of viewers is an ingenious metaphor of knowledge dilemma and the multiple choices of value judgment in the information era.

Jin Rilong‘s artworks during the creation

创作中的金日龙作品

　　金日龙艺术创作重点的转变正映射了西方艺术史从写实到抽象的发展趋势，也见证了中国抽象绘画语言的形成与发展，讲述概念性表达如何最终超越视觉语言和形式审美的艺术探索习惯。金日龙的作品不再桎梏於生活记录，转而将宏观的态度与感受寓於其中。

　　The shift in the focus of Jin Rilong’s artistic creation not only reflected the development trend of Western art history from realism to abstraction but also witnessed the formation and development of Chinese abstract painting discourses， telling how conceptual expression finally surpasses the artistic exploration habits of visual language and formal aesthetics. Jin Rilong‘s artwork is no longer shackled in the function of life records， but instead incorporates macroscopic attitudes and feelings towards the world.

天地玄黄 Baraka，2019

Acrylic on Canvas 丙烯.布面

80 x 161 cm

　　金日龙曾说：“其实具象、抽象都是人为给出的限定，”有些东西可能一直在变，但是有些东西会一直不变，当谈及何为不变时，他吐露“表达精神上的东西是一直未曾改变的，以前是油画、笔、後来是媒体等作为材料，跟文字不一样，这些是文字没有办法表达的，用区别於文字的语言去表达精神世界是一直没有改变的东西”。

　　Jin Rilong once said： “Actually， either figurative or abstract is an artificially given definition.” Something may be constantly changing， but something will stay still forever. When talking about what is never changing， he confessed that “Expressing spirits have never been changed. In the past， we used oil paintings， pens， and later digital media as materials. They are different from texts because there is something that cannot be expressed by texts. Expressing the spiritual world by languages beyond the texts is never changing. “

金日龙与天地玄黄（一）

Jin Rilong with Baraka1，2019

Acrylic on Canvas 丙烯.布面

300 x 300 cm

>>> 金日龙近期作品 <<<

01

2020天地玄黄-日记1 Baraka-diary 1

Acrylic on Canvas 丙烯.布面

50 x 102 cm

　　「天地玄黄，宇宙洪荒」源於中国先秦巨着《易经》，象徵古老的东方哲学观，蕴藏着古人对万物、宇宙和时空的认知。玄即为天色，而黄则对应土地，「天地玄黄」便是天地初开之时，一片混沌的景象。在而今这样一个特殊时间，金日龙在作品中再次传达「天地玄黄」概念，来作为他疫情时期的心灵日记。面对破碎、重组，一切归零的世界，这种句充满哲思的话是否增添了新的意味呢？”The sky was black and the earth was yellow， The universe was vast and a dark whole.“ originated from the Pre-Qin Dynasty Chinese masterpiece “The Book of Changes”， which symbolizes the ancient oriental philosophy. It contains ancient Chinese cognition of objects， universe， and space and time. It is a chaotic scene when the sky and earth appear at the very beginning. At such a special time nowadays， Jin Rilong conveyed the concept once again in his recent works. The painting itself could be seen as a diary of his during the pandemic period. Facing the crushing， reconstruction， and all back to zeros in the world， does this philosophical phrase have some new meanings？

02

2020.2.22

Acrylic on canvas 丙烯.布面

61 x 61 cm

　　关於疫情期间的新作品“2020.2.22”，金日龙这样阐释：“疫情期间，我做了很多思考，包括地球、环保、？类的问题，整个地球就是个共同体，每个地？都是分不开的。不可预计的”新冠肺炎“，中断了我们繁忙正常的？作和？活，14亿？的农历新年都在家隔离防治传染疫情。对我来说，三？多年来每逢春节固定拜访导师的？程也只能改为在家拨去电话。2？22？，是我？？的当天，家？在国外提醒我吃？寿？，这便是我？？期命名作品的缘由。”

　　About his recent artwork 2020.2.22， he said： “During the pandemic， I thought a lot， including the problems of the earth， environmental protection， and human beings. The entire earth is truly a community that every single part is inseparable. The unpredictable “Novel Coronavirus Pneumonia” interrupted our routine of work and life. 1.4 billion people were isolated at home to prevent and control the pandemic during the Chinese New Year. For me， over more than 30 years， my schedule of regular visits to my teacher has also been canceled. I can only dial him a phone call at home. On February 22， it was the day of my birthday. My family reminded me from abroad to eat ’Long-life noodles‘.“

03

2020.2.2.

Acrylic on canvas 丙烯.布面

61 x 61 cm

　　从2月春节期间疫情全面爆发至今，2020年或已成为某种？化象徵，其背後追随着？系列的沉痛反思。在金日龙眼中这是？种肇端，在数不清的「隔离空间」下，我们会更加清醒意识到？？然的每个？命体都是贵重且无可替代的，共？共存。？与？的交织呼应，蕴藏着对？命的无？思考。From the outbreak of COVID-19 back to February till now， the year of 2020 might have already become a symbolic sign which signifying a series of painful reflection. In the eyes of the artist， this is a kind of sign. Under the countless “isolated spaces”， we are more soberly aware that every life form of nature is precious and irreplaceable， and we coexist with each other. The interplay of black and white echoes the silent thought of life.

Interior Image of Jin Rilong’s recent artworks

金日龙近期作品室内效果图

About Artist 艺术家简介

　　金日龙是一位来自吉林延边的朝鲜族艺术家，1982年他以反映少数民族生活的作品《奶奶》获得第一届全国少数民族美术作品展金奖，一举成名。他在考察民族传统艺术瑰宝敦煌石窟壁画之後，便有意在平面上发掘绘画语言的表现力，创造富有音乐感和写意风采的油画作品，受到人们的关注。之後，他1996年先後在韩国两座美术大学任教并攻读博士学位，广泛接触现代艺术，开始深入地探索绘画语言的形式美感，其中包括用丙烯表现色彩和笔触，肌理的丰富性，语言趋於含蓄，抽象，艺术感觉更为细致，微妙和具有内在的文化意味。在此基础上，他又迈步综合材料和装置艺术，在现代设计艺术领域中一显身手，追求艺术当代，展现了他开阔的国际视野和多方面的才能。2006年学成归国後，金日龙到中央美术学院设计学院任教，开始投入美术学院的教学及科研中。20多年的设计创作与教学工作，不仅没泯灭他对绘画艺术的热爱，反而促进了他对平面绘画与设计艺术的关联研究，从而使他的艺术走了一条与众不同的道路，并且收获了丰饶的果实。

　　Jin is an artist from Yanbian Korean Autonomous Prefecture in Jilin Province. 1982， he attained Gold Award in the First National Exhibition of Minority Fine Arts with his work “Grandma” and shot to fame. After investigating the national traditional art treasure， the Dunhuang Grottoes murals， he decided to explore the expressiveness of painting. He created oil paintings that have a sense of music and a style of freehand brushwork and attracted more attention. Jin taught and got a doctoral degree in two art institutes in Korea in 1996. With broader exposure to modern art， he began to further explore the formal aesthetics in painting， including the use of acrylic to present the richness of color， strokes， and texture， the more implicit and abstract language， and the more delicate， subtle feeling that has inherent culture meaning. On this basis， he moved forward to the mixed media and installation art， worked in the field of modern design art， pursued contemporaneity， and showed his international vision and varieties of skills. Jin is a professor and doctoral advisor at the Central Academy of Fine Art now.