画盐展评丨杨葵,我只写纸边儿，犹如画盐的节制
一朝侍立于硅酸盐门下，文艺并未消遁，再体会其魅力，反而更实在更真切。...
About the Critic丨介绍
杨葵，1968年生，江苏人，1989年从北京师范大学毕业。曾在作家出版社工作，编的书得过“五个一工程奖”、茅盾文学奖，本人获过“全国优秀编辑奖”、“中直系统十大杰出青年提名奖”，业余写散文随笔，还有影视剧，作品有《在黑夜抽筋成长》等，电影《黑白》曾获法国朗斯电影节评委会大奖。
杨葵 ·“画盐”参展作品
须弥山
作品类型丨 瓷画·釉上新彩
创作年份丨 2016年
作品尺寸丨 32cmx32cm
杨葵 ·“画盐”参展作品
妙法山
作品类型丨 瓷画·釉上新彩
创作年份丨 2016年
作品尺寸丨 32cmx32cm
初画盐
文/ 杨葵
三十多年后的今天，来自景德镇的策展人陈小雨邀请我参加“画盐”联展创作。乍听这名字就顿生好感；又问得旨在“重启瓷画小幅时代”，更觉遇了知己。
先说为什么顿生好感。从文艺到硅酸盐，这个好理解，就是透过现象探其本质的意思。人人都有这体会，无论生命的幼少青壮老，还是认识事物的逐渐深入，都会经历这一过程。陶瓷开始被看成文艺，是看到表面文章，绚且烂兮，美幻迷人。后来被看成硅酸盐，是拨风驱雾，看个究竟，哦是它。
有意思的是，一朝侍立于硅酸盐门下，文艺并未消遁，再体会其魅力，反而更实在更真切。当然，每个人对于文艺本身，也有个学习、经历、丰富发展过程，这是另一个话题了。
刘大志丨 Liu Dazhi
《岁月的印迹》丨Throb
2015
高温颜色釉丨 High temperature coloured glaze
29cm×28cm
沈敏丨 ShenMin
《花系列-怒放》丨Net mountain series
2015
高温瓷堆塑丨 High temperature heap
48.5cm×38cm
再说为什么觉得遇了知己。我近两年用心抄经不辍，抄写之余，利用剩墨和裁下的纸边儿，抄些美言美句。我从不将这些纸边儿称作书法，是不好意思，但也不尽然，确实不想和眼下的书法有任何瓜葛。大行其道的书法“界”，很多人沉溺于真草隶篆字体之炫技，六尺八尺纸张之挥霍，我和他们风马牛不相及，我只写纸边儿。
“瓷画小幅”和纸边儿，算是趣味相投。至少目前看来，这趣味不俗。钱锺书曾经总结“俗”之两大要素，一是量的过度；二是足以感动大多数人，所谓通俗是也。纸边儿和小幅瓷画，量上节制，也不可能为大众纷起而拥，所以不俗。
最后说说我创作这两幅瓷板的点滴体会。简单将纸上写字移至瓷板写字，只有“画”没有“盐”，不见材料特色，就会像老舍《茶馆》台词——把这点儿意思弄得不好意思了。我想让笔墨与材料之间，生出点更特别的关系。
对釉上瓷板完全没有经验，只能一次次试写摸索。最后寻到一条路：贯彻纸边儿概念，利用瓷板釉上写字可随意涂抹的特色，写好字后，用手指头裁边，留下或有或无、或浓或淡的边界。
初次画盐就这样完成了。
安德宇丨An Deyu
《四季山水》丨Source
2016
青花丨 underglaze blue
直径30cm
李水歌丨Li Shuige
《空镜》丨 Meikaiwufu
2016
青花丨 underglaze blue
32cm×32cm
My First Add More Ceramic Painting
Yang Kui
Thirty yearsago, I was still a boy. One day I went to the bookstore at Liulichɑng Street.Unexpectedly, I saw that the signature of the monumental masterpiece “ChineseCeramics History” was “Compiled by China Ceramic Society”. I felt very puzzledthen. At that time, I was full of literature and art and just knew that ceramicpainting is literary but didn’t know what’s ceramic.
Thirty yearslater, Curator Chen Xiaoyu from Jingdezhen, invited me to attend the “Add More CeramicPainting China Travel Exhibition”. I instantly was intrigued on hearing thisname. Later, I knew that it was aimed at “opening the era of Add More ceramicpainting”. I felt that I met a bosom friend.
Firstly, I willshare with you why I instantly was intrigued. It’s easy to understand that theprocess from literature and art to silicate is the process of exploring naturethrough phenomenon. Everyone has such experience that whether your life isyoung or old or gradually deepening of recognition of thing's essence, you willgo through this process. At first, ceramic painting was regarded as literatureand art on specious surface because it’s gorgeous and charming. Later, it’sseen as silicate because its essence was found and seen.
What’s interestingis that once you set about ceramic painting, literature and art did notdisappear. When you experience its charm again, you will feel that it’s morerealistic and real. Of course, for literature and art itself, everyone willenjoy the process of learning, experience, enrichment and development and thiswill be another topic.
李逸之丨Li Yizhi
《梵城》丨 Mandarinfish
2016
釉上彩丨 on -glazed
32cm×32cm
罗凡丨LuoFan
《无题》丨 Mandarinfish
2016
釉上彩丨 on -glazed
31.5cm×31.5cm
Secondly, Iwill share with you why I felt that I met a bosom friend. In recent two years,I devoted myself to copying classical books. During my spare time, I like tocopy some beautiful words and sentences with the remaining ink and edge papers.I never think to call these edge paper works as calligraphy since I’membarrassed and really don't want to have any relation with currentcalligraphy. In this quite prevailing calligraphy “world”, many people areindulged in showing their skills in writing cursive script, clerical script andseal script. They waste papers at the size of six feet and eight feet. Itotally have nothing in common with them. I just write in remaining edgepapers.
“Add MoreCeramic Painting China Travel Exhibition” and edge paper writing are kind ofcongenial. At least they are congenial for the time being. This is uncommon. QianZhongshu once summed up two elements of “being common”. One is the excess of amountand the other is the sufficiency enough to move the majority of people, alsoknown as “common”. Edge paper writing and Add More ceramic painting are frugalin amount and they may not be upheld by the majority of people, so they areuncommon.
Finally, I willshare with you my experience of creating these two pieces of ceramic painting.It’s simple to write in ceramic plate instead of paper, only"painting" without "ceramic" and material characteristics.Just like the lines in Lao She’s Teahouse that I make this small thingembarrassed. I want to create a special relationship between the ink andmaterial.
Because I hadno experience on glaze ceramic painting and writing, so I had to grope for ittime and time again. Finally, I found a way out: Continue to carry out the ideaof painting on edge papers. Make full use of the characteristic that you cancasually scrawl the writing on glaze porcelain. Cut the edge with your fingerswhen you finish writing and leave the all-or-nothing and thick or thin boundary.
My first Add Moreceramic painting was finished like this.
李云雷丨 Li Yunlei
《鱼乐》丨 yearn for
2016
釉下彩丨Underglaze colour
直径31cm
许润辉丨 Xu Runhui
《时光系列》丨 live in seclusion
2015
釉上彩丨 on -glazed
30cm×30cm
周先锋丨Zhou Xianfeng
《标本-china》丨Throb
2015
釉上彩丨 on -glazed
32cm×32cm
画
盐
人类一切对美的的追求都是对死亡的抵抗，
也是对麻木与虚无的抵抗。
现实总是表现呈为一种物质性和有限性。
人对于美的探索使物质有了光泽，使有限朝着无限的方向延展。
陶瓷，硅酸盐，无机，坚硬，泥巴与火焰的孩子。
艺术家在瓷上作画，借助画笔使无机的趋于有机，
使坚硬的趋于柔软，使物质的趋于精神。
画盐，正是这样一种尝试、这样一种探索、这样一种挣脱。
因为他们的努力，我们可以想象某种自由。
画盐·小幅瓷画巡展丨盐
人类一切对美的的追求都是对死亡的抵抗，
也是对麻木与虚无的抵抗。
现实总是表现呈为一种物质性和有限性。
人对于美的探索使物质有了光泽，使有限朝着无限的方向延展。
陶瓷，硅酸盐，无机，坚硬，泥巴与火焰的孩子。
艺术家在瓷上作画，借助画笔使无机的趋于有机，
使坚硬的趋于柔软，使物质的趋于精神。
画盐，正是这样一种尝试、这样一种探索、这样一种挣脱。
因为他们的努力，我们可以想象某种自由。
ADD MORE
CERAMIC PAINTING TRAVEL EXHIBITION
主办机构丨金陵美术馆 已未文化发展有限公司
Host: Jinling Art Museum YIWEI Culture Development co., Ltd.
承办机构丨三境堂美学生活工作室
Organizer: Sanjing Studio
展览时间丨2016年7月5日-7月15日
Duration: 26th June - 12nd July, 2016
展览地点丨金陵美术馆三号展厅
Venue:Hall 3, Jinling Art Museum
艺术顾问丨李林洪 景德镇陶瓷大学教授
Art Adviser：Li Linhong
Professorof Jingdezhen Ceramic Fine Arts Academy Art Department
学术支持丨高天民 中国国家画院美术研究院常务副院长、研究员
夏可君 中国人民大学教授、著名评论家、策展人
张甘霖 景德镇陶瓷大学陶瓷美术学院史论系副教授
Academic moderator ：Gao Tianmin
Vice president and researcher of ChinaNational Academy of Painting Fine Arts Research Institute
Xia Kejun
Professor of Renmin university of China，critic，Famous curator
Zhang Ganlin
Associate Professor of Ceramic Fine ArtsAcademy History Department, Jingdezhen Ceramic Fine Arts University.
策 展 人丨陈小雨
施 思
张 凡
Curator: Chen Xiaoyu
ShiSi
ZhangFan
艺 术 家 |
特邀艺术家
汤立 边平山 濮列平 刘红沛 李文亮 陈湘波 老树 许宏泉 明瓒 张子康 程风子 刘春杰 陈子游 张建华 杨葵 邓 英 汪为新 孙洪 王晓明 罗凡 一了 李逸之 徐光聚 李水歌 李云雷 张炜 赵丽娜 李卡 丛伟 虚石
陶瓷艺术家
王锡良 李林洪 柯和根 罗 皓 吴以徐 王豫明 涂志浩 张国君 邓和平 范敏褀 朱 迪 柯育天 石佳宜 安锐勇 齐冬根 尹志军 朱斐翡 许焕然（润辉） 刘大志 周先锋 安德宇 沈 敏 邵长宗 赵永丽 麻汇源 王晓林 周昌贵
Artists:
TangLi Bian Pingshan Pu Lieping ZhangShu Liu Hongpei Li Wenliang Chen Xiangbo Lao Shu Xu Hongquan MingZan ZhangZikang Cheng Fengzi Liu Chunjie ChenZiyou Zhang Jianhua Yang Kui Deng Ying Wang Weixin SunHong Wang Xiaoming LuoFan YiLiao Li Yizhi Xu Guangju Li Shuige Li Yunlei ZhangWei Zhao Lina Li Ka CongWei XuShi
Wang Xiliang Li Linhong Ke Hegen Luo Hao Wu Yixu Wang Yuming Tu Zhihao Zhang Guojun Deng Heping Fan Minqi Zhu Di Ke Yutian Shi Jiayi An Ruiyong Qi Donggen Yin Zhijun Zhu Feifei Xu Huanran (Runhui ) LiuDazhi Zhou Xianfeng An Deyu ShenMin Shao Changzong Zhao Yongli Ma Huiyuan Wang Xiaolin ZhouChanggui特别提示：画盐·小幅瓷画巡展南京站7月5日至7月15日结束，欢迎大家来观展。
开放时间：周二到周日 9:00-17:00 （16:30停止入馆）周一闭馆
电 话：025-84628786
地 址：南京市秦淮区剪子巷50号(原南京色织厂内)
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