当我们认认真真观察世界的时候，世界才能向我们显现某些真实，再微小的事物也开始变得陌生与可疑，我们的观看如何在这种陌生感中发现它的意义呢？即使我们去认真观察一个苹果，即使它向我们显现了某些真实，我们又该如何捕捉它呢？或以什么样的方式捕捉它呢？回到绘画的本体，一个苹果足以检验你对世界以及艺术的看法。森·山方说：＂在今天，包括我在内，没有一个画家有能力画好一个苹果，有能力恰如其分地’捉住’一个苹果的视象＂。绘画在这就是一个苹果的问题，但这又是一个无限的问题。我们有时候走得太远，而忘了回望一个苹果到底是怎么回事。

When we observe the world conscientiously, theworld can show us some truth. Even the tiny things begin to become strange andsuspicious. How can we find its meaning in this strange feeling? Even if welook at an apple carefully, even if it shows us some truth, how can we captureit? Or how to capture it? Back to the essence of painting, an apple is enoughto test your view of the world and art. "Today, no painter, including me,has the ability to draw an apple well and to 'catch' the image of an appleappropriately," Sen Shanfang said. Painting in this is an apple problem,but this is an infinite problem. Sometimes we go too far and forget to lookback at an apple.

徐振 Xu Zhen

Artworks  2011－2020

白瓶里两支干枯的玫瑰／Tow dried roses in white bottle

眺望终南山／Overlooking Zhongnan Mountain

山松／MountainPine

仁者乐山，智者乐水。自古山水便是中国人精神安放之所，从古至今，画家乐此不疲的寄情于此，形成了中国绘画庞大的主系。由于两宋时期的山水画为众峰之主，往后时代皆延续此峰神韵，或多或少出其左右，直至近代黄宾虹才在此基础上另开一面，打破了传统山水画视觉审美的可观、可卧、可游的境域和功能(就像塞尚打破西方绘画传统的功能一样，不必赘述)，让中国山水画上升到本质性绘画的审美构成之境，无关乎美丑，而关乎道之无限变化之构成形式，因而他提倡“太极图是书画秘诀”，一语中的。

The benevolent enjoy the mountain andthe wise enjoy the water. Since ancient times, landscape is the place where theChinese spirit is placed. From ancient times to the present, painters havenever been tired of placing their feelings on it, forming a huge main system ofChinese painting. Since the landscape painting of the Song Dynasty was the mainpeak, the charm of the peak continued in the later times, more or less out ofits left and right. Until modern times, Huang Binhong opened up another side onthis basis, breaking the traditional landscape painting visual aesthetic ofconsiderable, lying, and touring environment and function (just like Cezanne'sfunction of breaking the western painting tradition, it is not necessary torepeat), so that Chinese landscape painting rose to its original level Theaesthetic composition of qualitative painting has nothing to do with beauty orugliness, but with the infinite change of Tao. Therefore, he advocated that"Taiji diagram is the secret of calligraphy and painting”.

墨树雪石／Ink  colour snow stone

黄宾虹和塞尚开启了东西方绘画的新传统，而这种新传统还将对未来的东西方绘画产生深远影响。山水亦我所爱，每每出入其中，无论是现实美或是绘画美对我都是无限的吸引，卧游其间，满眼是山，满眼是画。而我的意图则是想沿着黄宾虹和塞尚的新传统之路继续向前探索。到底黄宾虹和塞尚的新传统之间的碰撞会产生什么样的境域，我不得而知，我试着去表达，也仅仅才开始。

Huang Binhong and Cezanne opened a newtradition of eastern and Western painting, which will have a profound impact onthe future of eastern and Western painting. I love mountains and rivers. When Igo in and out of them, whether it's the beauty of reality or the beauty ofpainting, I'm attracted infinitely. When I'm sleeping, my eyes are full ofmountains and my eyes are full of paintings. My intention is to continue toexplore the new tradition of Huang Binhong and Cezanne. I don't know what kindof situation will be produced by the collision between Huang Binhong andCezanne's new tradition. I try to express it, and it is only beginning.

树石荒寒／Tree  stone desolation

日复一日，日日相同且不同。时光这东西悄无声息的裹挟着世界万物向前发生着，个人在时空中的存在取决于个人的体验方式，这种体验方式，包括行动和思考。说来也够悲哀，在这种日复一日的时光中，多数人在行动中处于无清晰意识的状态中，并不能进入当下体验来获得新的思考和经验，于是生活变成无休止重复，个人的意义也不再发生，画家日复一日不停的画着，同样面临陷入重复盲从的危险当中，而莫兰迪在一生的绘画中，重复画那些瓶瓶罐罐，正是直面打破这种重复的危险，思索着面对同样的题材，甚至同一组静物，如何让新的意义在当下的观注中发生。一旦进入这种当下重新观注与体验的思想状态，相同的东西便生发出无穷的意义和可能性，生命便进入一种饱满状态。因此，莫兰迪面对同一组静物可以画多幅表面看似相同但内核完全各有新意的作品，是完全作用于自我而避免陷入重复危险的形而上思索，这也是当下体验的魅力和对日常重复状态的解救。我多年来不厌其烦地画着厨房系列也是基于此种思考。对象变成我对新的意思思索的载体，不再对题材本身的意义进行判断，也无所谓题材的美与丑，在相同的对象上生发出新的意义才是我所表达的。绘画毕竟首先要作用于自己，让自己在每一张画中的体验达到最饱满状态，没有比这更让人满足的了。

Day after day, the days are the same anddifferent. Time is quietly holding all things in the world forward. Theexistence of individual in time and space depends on the way of personalexperience, which includes action and thinking. It's sad enough to say that inthis day-to-day time, most people are in a state of unconsciousness in theiractions, and they can't enter into the current experience to obtain newthinking and experience. Therefore, life becomes endless repetition, and thepersonal meaning no longer occurs. The painter keeps painting day after day,and he is also faced with the danger of falling into repetition and blindobedience, while Morandi has been in the danger of being followed blindly inhis life In his paintings, repeated painting of those bottles, bottles and jarsis just to face the danger of breaking this repetition, thinking about how tomake new meanings happen in the current observation of the same subject matter,even the same group of still life. Once we enter this state of mind of reobserving and experiencing, the same things will produce infinite significanceand possibility, and life will enter a full state. Therefore, facing the samegroup of still life, Morandi can draw many works that look the same on the surfacebut have completely different ideas in the core. It is a metaphysical thinkingthat completely acts on the self and avoids falling into the danger ofrepetition. This is also the charm of the current experience and the rescue ofthe daily repetitive state. I have been drawing kitchen series for many yearsbased on this thinking. The object becomes the carrier for me to think aboutthe new meaning. I no longer judge the meaning of the theme itself, nor thebeauty or ugliness of the subject matter. It is what I express that gives birthto a new meaning on the same object. Painting, after all, should first act onthemselves, so that their experience in each painting to the full state, thereis no more satisfying than this.

雪石／Snowstone

开始终南山系列创作始于两前，之前有十多年的时间反复画着厨房静物系列。正是对厨房静物的数年研习。给我提供了关于绘画方方面面的众多营养。借静物之形来探索绘画本身的审美和意义，以及源于视觉绘画的可能性，对我来说就是五指练习。

我最推崇的两个画家，一个是塞尚，一个是黄宾虹。塞尚标志着西方绘画的真正开始，他为西方绘画建立了一条以视知觉的严谨构成为基础的真理之路。持续影响了现代主义绘画和当代绘画。黄宾虹是中国艺术精神集大成者。他直接改变了中国画的传统功能，遗其貌而直至其理，为中国传统艺术开拓了新方向，在很多方面和塞尚甚是感同。但塞尚仍以西方传统一点透视的构图实践着自己的艺术理念。而黄宾虹则顺着中国千百年来绘画的多点透视的构图形式一路走来。他们艺术理念及其相似，但绘画的构图形式却有着本质的差别。 

The creation of Zhongnanshan seriesbegan two years ago. Before that, he repeatedly painted the kitchen still lifeseries for more than ten years. It's years of study on kitchen still life. Itprovides me with a lot of nutrition about all aspects of painting. To explore theaesthetics and significance of painting itself by the form of still life, aswell as the possibility derived from visual painting, is five finger exercisefor me.

The two painters I admire most areCezanne and Huang Binhong. Cezanne marked the real beginning of Westernpainting. He established a road of truth based on the rigorous constitution ofvisual perception. It continues to influence modernist painting andcontemporary painting. Huang Binhong is a master of Chinese art spirit. Hedirectly changed the traditional function of Chinese painting, leaving itsappearance to its theory, and opened up a new direction for traditional Chineseart. In many ways, he shared with Cezanne. However, Cezanne still practices hisown artistic concept with the composition of western traditional perspective.Huang Binhong, on the other hand, has been following the multi-pointperspective of Chinese painting for thousands of years. Their artistic ideasand their similarities, but the composition of the painting form is essentiallydifferent.

二郎山清泉／ElrangshanQingquan 

“心要静，意要明，手要慢，身要勤” 这十二字是我画画时的信条。

“心要静”：对于画画的人来说，静心是必要的，很难想象一个心浮气躁、六神无主的人能把一幅画画好，对于我自己就更如此。画画是主体、客体、画面三者关系的高度统一。心不静则神不宁，神不宁则气散，气散而后画乱也。因此，画画时首先要做的就是静心。

“意要明”：画画时意图要明确。画一张画的时候想表达什么，想研究什么，关注点是什么要明确。如人射击，首先静下心来，注意力集中，然后瞄准目标，也就是有意可图，图到与否是后话，关键是有意。你所要瞄准的目标和要达到的以及如何达到就是你的意图。

“手要慢”：这点因人而异。对我而言，无法手快。我更适合于慢工，一笔颜色放到画布上即要考虑位置、又要考虑形，即要考虑色彩关系，又要考虑轻重关系等综合关系。慢一点可以让注意力、意图、心境与笔触融为一体，达到整全的表达。这过程是练形与神高度统一的过程。慢一点会有思考的时间，有了思考的时间你的每一笔才会有你思想的存在，同时也有了你自己的存在。画画过程不就是自我存在得以在画中显现的过程吗？你所有的意义都是通过你的笔呈现在画里。你越是投入、越是注意力集中、思想明确、整全观察，你作品中聚集的存在就越饱满。慢一点会更有条理的完成这种状态。

“身要勤”：提醒自己忽懒惰、要勤画，画画就得认认真真勤勤恳恳，一笔一笔画，没有捷径。“三分靠天才，七分靠勤奋”说的在理。

根据个人经验总结的这几句话可以在我心浮气躁时、在我意图不明时、在我出手太快而忘神时、在我消极偷懒时能给我以提醒，提醒我进入那整全的物我合一的美妙绘画世界里去。

The twelve words "mind should bequiet, meaning should be clear, hands should be slow, and body should bemoving".

"Mind should be quiet": it isnecessary for a painter to be calm. It is hard to imagine a person who isimpetuous and indifferent to his own will be able to draw a picture well,especially for myself. Painting is a highly unified relationship among subject,object and picture. If the mind is not calm, the spirit will be restless; ifthe spirit is not calm, then Qi will disperse, and then the painting will bedisorderly. Therefore, the first thing to do when drawing is meditation.

"The meaning should be clear":when drawing, the intention should be clear. When drawing a picture, you shouldbe clear about what you want to express, what you want to study, and what yourconcerns are. If a person shoots, he should first calm down and pay attention,and then aim at the target, that is to say, he can plan intentionally. If hecan get the picture or not, the key is intention. What you aim at and what youwant to achieve and how to achieve it is your intention.

"Slow hands": this varies fromperson to person. As far as I'm concerned, I can't be quick. I am more suitablefor slow work. When a stroke of color is put on the canvas, it is necessary to considerthe position, shape, color relationship and other comprehensive relations. Slowdown can make attention, intention, mood and brushwork integrated to achieve acomplete expression. This process is a highly unified process of training shapeand spirit. If you slow down, you will have time to think. When you have timeto think, you will have your thoughts and your own existence. Isn't the processof painting a process in which self existence can be revealed in the painting?All your meaning is presented in the painting through your pen. The more youput in, the more focused you are, the clearer your thoughts, and the morecomplete your observations, the fuller the presence will be in your work. Ifyou slow down, you will be more organized to complete this state.

"The body should move": remindyourself that if you are lazy and want to paint frequently, you should beconscientious and diligent in painting. There is no shortcut for each stroke.It is reasonable to say that "three depends on genius and seven depends ondiligence".

According to my personal experience,these words can remind me to enter the wonderful painting world of the unity ofthings and I when I am impetuous, when I have no idea, when I am too quick andforget God, when I am passive and lazy.

徐振 Xu Zhen

有台历的写字台／There'sa desk calendar 

红坐垫／Red cushion

灰色的厨房／Grey kitchen

艺术家选取身边之物，瓶花、器皿里的柿子、在空间里行走的猫、山的局部与水、一株枝叶……，在叶与叶、叶与枝干、叶子枝干与空间、构图、元素安排、主体与客体的关系中，每个元素都在自己准确的位置中，塞尚开拓了古典绘画的稳定结构与印象派光影色彩关系的链接，呈现了一个源于视觉直观的稳固而真实的世界。而徐振沿着塞尚的道路，看见了画面组合的正负，正如宇宙真相，道的阴阳。这种发现不是简单的概念的阐述，他用科学家的精神去剖析画面里的种种关系，归纳概括的物形、色彩冷暖与微妙变化、空间关系、物在空间里如何达成一致，从而实现了“空无，如一”这样的结果。毕达格拉斯说万物皆数，徐振把物象归纳概括成几何形，并有着他严密数列排放，一朵如异石的花朵，一支如舞蹈着又似吹奏着风琴带叶柿子，就会发现他对秩序的理解与重视，正如荀子的“乐礼”合乎道的有序与标准。

夏加尔说“我的每一笔颜色都是极其严格准确的”，徐振亦是，但不同于夏加尔的是，徐振不但有着西方文化的学养，又有着东方文化的基因与养料，他对色彩的研究与选用皆来自他审慎冷静的文人精神和科学家般严谨的对自然万物的观察与领悟。

徐振的低色系选用，不同于莫兰迪修士般灰调。徐振的色彩是严苛的理性，科学的研究与过滤，但又忍不住带着他个人的色彩偏好。细腻、微妙、有隐藏不住的灵魂的喜悦，有一种天性里美妙的生机与活力，这与他的个性特质和年龄有关系。与徐振聊天，你是信任他的，他说“心要静、意要明、手要慢、身要勤”是他画画的信条。看他的画面，“知行合一” ，尽了一位让人尊敬的艺术家的本分。又如一个枝柄的折痕，一条线的松紧，一株植物的生命阶段，诸如此总等等，都研究透彻，交代清楚。在两幅“五台山松枝”系列作品的比较中，他把一株枝条的生命走势、强劲与消减、以及隐藏在线条里面的力量都清楚的提炼出来。他既以一种较为疏离俗世的人文心态观看山川草木，自然万物，在描绘中运用了一种“方”和“拙”的方式在布上小笔徐徐捺出清净的场景。又是有着数学家、科学家的严谨工作态度。天性自然美妙的艺术觉察，用着冷静修养理性来成就画面。借用徐振在终南山写的文字：“最爱终南荒寒意，满山唐宋元明清。若涤浮华世间尘，遍走终南峰和岭”，来增进了解他的绘画精神。

泰勒斯看到了水，阿那克⻄曼德看到了气，赫拉克利特看⻅了火，恩培多克勒看到了土，柏拉图看⻅了几何体，亚里士多德看⻅了以太，老庄看⻅了道。徐振把他的看见放进了画面。您看见了什么？

Artistsoften choose things around them as their materials. For example, a flower in abottle,persimmon in a container, a cat walking in space, a part of a mountainand water, a branch and leaf, etc. In the relationship between leaves andleaves, leaves and branches, leaves and branches and space, composition,arrangement of elements, subject and object, each element is in its own exactposition. Cezanne has opened up a link between the stable structure ofclassical painting and the relationship between the color and shadow ofImpressionism,presenting a solid and real world rooted in visual world. WhileXu Zhen saw the positive and negative of the picture combination at the base ofCezanne, just like the truth of the universe, the Yin and Yang of the Tao. Thisdiscovery is not a simple concept. He uses the spirit of scientists to analyzethe relationships in the picture, and summarizes the general shape,color,subtle changes, spatial relationships, and how objects reach a consensus in thespace, so as to achieve “Emptiness, Consistency”. Pythagoras said that everything iscounted, and Xu Zhen summarized the objects into geometric shapes with hisstrict sequence of arrangement. For example, a flower like a stone, a persimmonlike dancing as well as playing the organ. It is found that his understandingand attention to order are just like Xunzi's "Mile" in accordancewith the order and standard of "Tao". 

Chagallsaid, "Every color of mine is extremely strict and accurate." So doesXu Zhen. but different from Chagall, Xu Zhen not only has the education ofWestern culture, but also the genes and nutrients of Oriental culture. Theresearch and selection of color come from his prudent and calm literati spiritand the scientist's rigorous observation and comprehension of all things innature. 

Theselection of Xu Zhen's low color is different from the gray tone of Morandi. XuZhen's color is rigorous rationality, scientific research and filtering, but italso has his personal color preference. His color is delicate, subtle, and withthe joy that cannot be hidden, and it also has the wonderful and naturalvitality, which is related to his personality and age. When you chat with XuZhen, you trust him. "Be quiet, clear, slow, and diligent" is hiscreed. Looking at his picture, "the unity of knowledge and deeds"does his duty as a respectable artist. Besides, he also refines the crease of abranch handle, the elasticity of a line, the life stage of a plant, etc. In thecomparison of two paintings of "The Pine Branches of Wutai Mountain",he clearly extracted the life trend, strength and reduction of a branch, andthe power hidden in the line. He viewed mountains, rivers, vegetation andnatural things with a relatively detached humanistic mentality. In thepainting, he used a "square" and "clumsy" way to draw aclean scene on the cloth with a pen. At the same time, he had the rigorous workattitude of a mathematician and scientist and the artistic awareness of thenatural beauty. He was good at using calmness, self-cultivation and rationalityto make the picture. Borrowing from Xu Zhen's words written in Zhongnanmountains: "I love the desolation of Zhongnan mountains, which containsthe Tang, Song, Yuan, and Ming and Qing Dynasties. If you want to wash away thedust from your soul, welcome to Zhongnan mountains," you can have afurther understanding of hid drawing spirit.

Thalessaw the water. Anakmand saw the gas. Heraclitus saw the fire. Empedocles sawthe earth. Plato saw the geometry. Aristotle saw the aether. Laozi and Zhuangzisaw the Tao. Xu Zhen put his vision into the painting. What did you see?

习却Xi Que

雨月松石 徐振个展 06.20-08.20.2020   

徐振Xu Zhen

1981年生于安徽，2000年毕业于西安美院附中，2005年毕业于西安美院油画系获学士学位，2005 - 2010年受聘任教于西安美院油画系具象表现绘画工作室，2013年毕业于西安美院油画系获硕士学位，现工作生活于北京。近期参与的展览及项目有:《度物》（徐振个展，西安美术馆，2017）、《劳绩之诗》（徐振个展，北京妙有艺术，2019）、《雨月松石》（徐振个展，北京妙有艺术，2020）。

XuZhen, born in Anhui in 1981, graduated from the high school attached to Xi'anacademy of fine arts in 2000, graduated from the oil painting departmentof Xi'an academy of fine arts with a bachelor's degree in 2005, employed toteach at the Xi'anacademy of fine arts painting studio figurative expressionism from 2005 to2010, graduatedfrom the oil painting department of Xi'an academy of fine arts with a master’s degree in 2013, currently lives andworks in Beijing. Recentgroup exhibitions and projectsinclude: ‘Thingsinvestigated’ (Xu Zhen’ssolo exhibition, Xi'an Art Museum, 2017); ‘Poetry of Achievement’ (Xu Zhen's soloexhibition, Beijing MOUartgallery, 2019); ‘AutumnEvening in the Mountains’ (XuZhen's solo exhibition, Beijing MOUartgallery, 2020).

作者：雅昌拍卖图录