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前言

                       文|Angie

  （浙江大學(xué)美學(xué)研究所博士）

周保平的山水作品，傳承了古人的觀看方式，汲取了傳移摹寫的古法，尤以“一線臨界”觸發(fā)心機(jī)。多年筆墨紙硯的浸淫，練就了他對(duì)材料美學(xué)的高度敏感及以線條營(yíng)造空間的技術(shù)與能力。

他將法書線條的抑揚(yáng)頓挫、起承轉(zhuǎn)合間的確定性，與繪畫線條涂抹的隨機(jī)性，置于媒介物反復(fù)摩擦中，滲透以法書的嚴(yán)謹(jǐn)與涂抹的自由，在肯定與虛無(wú)、結(jié)構(gòu)與非結(jié)構(gòu)的關(guān)系中，營(yíng)造混沌與清晰、柔美與剛毅的視覺魅力，既不失傳統(tǒng)詩(shī)書畫印之要義，又能緊隨當(dāng)代藝術(shù)美學(xué)之精要。

心懷對(duì)中國(guó)傳統(tǒng)繪畫及藝術(shù)史的敬畏，對(duì)話傳統(tǒng)、推陳出新，正是本次展覽《隔江山色》的意義。

Grounded in traditional ink painting, Zhou Baoping has devoted himself to tracing ancient masters’ methods and been inspired most by “two different spaces created by one single brush stroke”. Over years immersing in brush, ink, paper and ink cake, he has developed a high sensitivity to material aesthetics, as well as the techniques and ability to create spaces with lines.

Calligraphic lines have the characteristics of swaying and cadence, and there is a certainty between starting, turning and closing, while painting lines are relatively random. In the process of repeated rubbing with the rice paper, his lines permeate the structural rigor and spiritual freedom. Combined calligraphic lines and painting lines, Zhou’s Shan shui creates a visual charm to be ambiguous and clear, soft and solid, which not only follows literati painting style of integration of poetry, calligraphy, painting and seal, but also explores the essence of contemporary art aesthetics.

In awe of Chinese traditional painting and art history, this exhibition Hills beyond a River tries to make a dialogue with the tradition and introduce new developments.

                                          2019.09