开幕时间：2021-04-17 15:00

展览地址：南京江宁区汤山街道美泉路11号汤山矿坑公园灰窑遗址

参展人员：陈雨

展览介绍：

引言

Introduction

对于画家来说，题材与媒介的选择仅是进入绘画系统的某个部位零件，个体特质语言的精神注入，才是让其绽显光辉和生命力的核心所在。在绘画艺术所属的众多表现类别中，肖像画内含的时代性、历史性特征，以及人物承载的身份地位、地域环境等背景面貌，亦是令东西方画家们深深为之痴迷的原因。

For a painter, the choice of subject matter and media is only a part of the painting system, and the spiritual injection of individual characteristics and language is the core to make him shine and vitality. In the painting art belongs to many categories of expression, portrait painting contains the characteristics of The Times, historical characteristics, and the identity of the figure, the background of the regional environment, is also the reason that the eastern and western artists are deeply obsessed with.

陈雨近六年的绘画写像，除了描绘与之生活密切相关的常态化物象以外，另一条线索便是以艺术家、诗人、画家等形象为矩阵蓝本进行肖像画创作，而此次个展的诗人形象的绘制则是他内心表达世界最为丰富的元素载体之一：人物气质与血液流动合融在一起的生命交织，纷繁个性的人格魅力，在“他者”(the other)和“自我”(Self)肖像之间，似是触及心灵后而留下的影像痕迹，又似一场黑白幕布下具有仪式感的无声电影，并在通往现实信仰的语境中带来一种珍贵力量和记忆启示。

In addition to depicting the normal objects closely related to Chen Yu's life, another clue is to create portraits based on the images of artists, poets and painters. The painting of the images of poets in this solo exhibition is one of the most abundant element carriers for his inner expression of the world: Character temperament and melts in the blood flow in life are intertwined, and the personality charm of personality, in the "other" (the other) and between "Self" (Self) image, image seems to touch the heart after leaving traces, also like a black and white backdrop has ceremony feeling silent film, and in the context to the real faith brings a precious power and memory.

一、灵魂肖像之“自画像”

I "Self-portrait" of Soul Portrait

在反复描绘“众生相”肖像的过程中，灵动鲜活之气的人物心理状态被陈雨层层剖析和深入递进。我们可以看到他从英国文艺复兴时期剧作家、诗人莎士比亚肖像中描写出的荒谬与孤独，到中国当代艺术家毛焰肖像呈现出的冷峻和思辨；从法国十九世纪现代派诗人波德莱尔肖像流露出的抒情浪漫，再到中国当代诗人翟永明肖像展现出的奇诡与独特性……

In the process of repeatedly depicting the portrait of "all life", Chen Yu analyzes and advances the mental state of the vivid characters. We can see the absurdity and loneliness in the portrait of Shakespeare, the playwright and poet of the English Renaissance, and the coldness and critical thinking in the portrait of Mao Yan, the contemporary Chinese poet. From the lyrical romance in the portrait of French modernist poet Baudelaire in the 19th century, to the strange and unique portrait of Chinese contemporary poet Zhai Yongming...

不同时空间的个体写意性肖像，皆输入着画家对诗人以及其绘画语言更为深刻的真实探微，而对于诗歌文体的多样性来说，陈雨个人绘画语言所凸显出的强烈感染力，也在与表述肖像的图像结构中形成异向或相向的关联属性，这种关联性密切地链接着我们的身心感官，继而进入他表现的关于“灵魂肖像之自画像”的文本体系中。

No space at the same time the image of the individual "disconnection, input the painter of the poet and the painting language and more profound real micro, and for the diversity of poetry genres, Chen Yu personal painting language highlights the strong appeal, also in image structure and expression portrait form different or opposite to the attribute, correlation closely link with our senses of body and mind, and then enter his performance on" soul portrait self-portrait "the text of the system.

穿越时空场域的造像重构和解构，以特定逻辑性的主观情绪选择。这些肖像的个人气质被逐渐加强，情态的某种消减并非是人物性格的减化，而是陈雨应力于肖像之上的思想纯化，或者说是建立一个在本我和他者之间的生命通道。她/他们肖像之光中的自然意义的读取，是他已意识到个体精神在图像形式准则中克制力的重要性。画家将肖像本体附加上各自的自我性格、人性温度，最终转换为距离诗人心理更进一步的思维体认和心灵感应。

Through the reconstruction and deconstruction of the space and time field, the images are chosen with specific logical subjective emotions. The personal temperament of these portraits is gradually strengthened, and some reduction of the modal is not the reduction of the character, but the purification of Chen Yu's thought on the portrait, or the establishment of a life channel between the id and the other. By reading the natural meaning of the light of her/their portrait, he has realized the importance of the individual spirit's restraint in the norms of image form. Painters attach their own personality and human temperature to the portrait ontology, and finally transform it into the thinking recognition and telepathy that are further from the poet's psychology.

陈雨笔下的诗人肖像，有着交贯于皮肤表里间的气血之势，坚毅深邃、生动夸张的五官，以及在脸部光影间与背景交汇处幻化出的辉光墨迹，都透露着他对诗人肖像微妙的情感解读和理解，也从侧面诉意了陈雨在某一刻与这些诗人知遇对话的现场还原。就像史蒂文斯让一个画家以缪斯的声音说话一样：“用我的视力，你们又看见了地球，清除了它的僵硬、顽固，和人为的秩序。”

Chen Yu poet's portrait, with the penetration power of qi and blood, between in and out skin too deep, vivid and exaggerated facial features, as well as between light and shadow in the face and the background of interchange conjured the glow ink, revealed his poet portrait subtle emotional interpretation and understanding, also from the side v means the Chen Yu at some point and the poet meet the reduction in the dialogue. As Stevens told a painter to speak in the voice of a Muse: "With my sight you have seen the earth again, and removed its rigidity, its stubbornness, and its artificial order."

那些永恒肖像瞬间的追影捕获，致使我们身在其中，沉浸其中，并引导至另一环境场域，从而影射出画面中人物形象在现实世界里的真实状态。一个平面与灰色色调组合而成的富有通灵气息的生命个体，她/他们绚丽多姿、朦胧清轻、精妙确切，观者也在其间维度并行飘浮或沉迷……

The capture of those eternal portrait moments leads us to immerse ourselves in them and lead us to another environmental field, thus reflecting the real state of the characters in the picture in the real world. A combination of plane and gray color is a life entity full of psychic breath. It/they are gorgeous, dim and light, delicate and exact, and the viewer is floating or obsessed in the dimensions in parallel...

二、凝固坚质的诗性语言

II The solidified and solid poetic language

以水墨这一媒介在画面中的自由书写、延展，无不散发着陈雨对于材料本身的自在把控和灵敏反应。通过对对象容态抓取的意象神韵，及普质淡雅和强烈对比设色的理性输出，朴素若拙，而又严谨造型体现出来的人物情感，客观诠释了他对东西方人物在造型和空间处理上的学理研究。众生之相，千形万态之下，将肖像的内在心理活动团结而成，汇入至绘画之中的人性火光。罗兰·巴特：“对人类来说，似乎任何材料都适宜于叙事：叙事承载物可以是口头或书面的有声语言、是固定的或活动的画面、是手势，以及所有这些材料的有机混合”。

With the medium of ink painting, the free writing and extension in the picture all exudes Chen Yu's free control and sensitive response to the material itself. Through the image verve captured by the object, and the rational output of simple and elegant and strong contrast color, and the character emotion reflected by the simple and rigorous modeling, he objectively interprets his theoretical research on the modeling and spatial processing of eastern and western characters. The phase of all living beings, under thousands of forms, unites the inner psychological activities of the portrait and integrates them into the human flame in the painting. Roland Barth: "For human beings, it seems that any material is suitable for narrative: narrative carriers can be spoken or written spoken language, fixed or moving pictures, gestures, and an organic mixture of all these materials."

《博尔赫斯之三》附以一种全灰色调的基底铺于画面当中，由左上方倾泻而来的重色浓墨打破画面的平衡性，不安甚至惊诧的表情相貌，指引我们去往诗人内心更隐秘的思辨世界。全侧角度的正面面孔，在笔墨凝固的过渡间隙，其瞳孔被画家无限放大，背景与视觉中心部的边线交叠；浓淡施分的黑白位置，钩、勒的笔触印迹，皴、擦聚合成的团块状；感性与理性并存的诗性表现，在面部表情中随心入性，就此，平面中的灵魂之态夺目跳出。

Borges III is attached with an all-gray base spread in the picture. Heavy color and thick ink pouring from the upper left breaks the balance of the picture, and leads us to the more private speculative world in the poet's heart. In the full side Angle of the front face, the pupil is infinitely enlarged by the painter during the transition between the solidification of the brush and ink, and the background overlaps with the edge line of the visual center. The black and white position of the shades, the brush marks of the hooks and lures, the chapped and rubbed aggregates into masses; The poetic expression of perceptual and rational coexist, in the facial expression of the heart into the sex, at this point, in the plane of the soul state eye-catching jump out.

如果说陈雨是在寻找与诗人达至心相合一的共通点的话，那么这些面孔其实更像是他对诗歌的另外一种体会，是和他们/它们在现实之外的真实交流、碰撞，亦或是“弃绝”肖像肉身后对前人、当代人在现今世界前存在的一种绝对真实性的辨别。诚然，这种真实也穿引着我们对诗人作品的深入思考，虽有一种“依附和凌驾”图像之上的危险性，但这也恰恰为我们提供了一个观看陈雨绘画新视觉的注脚样式。就像塞尚所说的：“……平面的灵魂在闪光的彩色区域，在点燃的棱镜的火光中，在阳光中会合。”

If Chen Yu is looking for the poet to the heart that one thing in common, so these faces are more like another of his poetry, is outside and they/them in the real real communication, collision, or "rejected" behind portrait meat to there before, in the modern age, people in today's world of a kind of absolute truth. Admittedly, this kind of reality also leads us to think deeply about the poet's works. Although there is a danger of "clinging and overriding" the image, it also precisely provides us with a footnote style to watch Chen Yu's new vision of painting. As Cezanne said: "... The souls of the plane meet in the radiant zone of color, in the firelight of the lighted prism, in the sunlight."

在《100名诺贝尔奖获得者》中，不同肖像构图的选取，以四幅拼组而成一幅完整的肖像图像，我们能看到画家对于“平面灵魂”精神的提取和铺设，图像角度的非定性合成，不仅仅是我们观察人物特性的一种语言方式，还是具象图式激起观者视网膜兴奋的一种粘合剂。此时，100名诺奖获得者作为对象在看着我们，也被其自身所观看，方位的转变，基以灵魂（意识）般的视角目光看着“你”。与其对视间，就会出现难以分辨现实身份的各式人物，如同单色之为显现又遮蔽黑暗的空旷，博广而精微。这个层面的看视，是以跨越时空的界限为经纬度，继而刻画出一个真实面相的主体性肖像。

In the 100 Nobel Prize winner, the selection of different image composition, with four together and become a complete a portrait of the image, we can see the painter for the extraction of soul "plane" spirit and laid, the Angle of the image are not qualitative synthesis, we observe the character not only a language, or representation schema arouses view retinal excitement of a kind of adhesive. At this point, the 100 Nobel laureates are looking at us as objects, and being seen by themselves, shifting directions, looking at "you" from a soul (consciousness) perspective. Between its eyes, there will be a variety of characters difficult to distinguish the real identity, like monochrome to show and cover the darkness of the open, broad and subtle. This level of view is to cross the boundary of time and space for latitude and longitude, and then portray a real face of the subjectivity of the portrait.

《泰戈尔之三》单幅作品中，陈雨以极简化的平面视角注视前方，由头部发根生长出的流畅松弛的蜷曲头发，笔意未到之处，巧妙地连接铺满重灰色的躯干，并与雪白色的胡髯形成鲜明对比，凹陷专注的眼眸，和细微严密的外轮廓形成视觉上的节奏反差。氤氲飘渺的底色之下，正是他从人物个性中获得的敏锐感受及自我信念的切实表述。

In a single work of Tagore III, Chen Yu with extremely simplified graphic look at the front, smooth loose curled up by the head roots grow hair, not the meaning of a passage, cleverly connecting the torso covered with heavy gray, in sharp contrast with snow-white beard beard, sag of focus of the eyes, and slightly outside the outline to the rhythm of the visual contrast. Under the dense and vague background color, it is the acute feeling and the practical expression of self-belief that he obtains from the character personality.

肖像对象的重新建构和感知性，源自于陈雨对肖像本体的知觉之为主体反省的观看，可见以及清晰的面孔。如是阿尔布雷特·丢勒的众多自画像一样，画家的“自身性”（Selfhood）是否已经被模糊化，亦或是转承到另一个人身上，甚至是对镜子之中的对影复合。从这个角度来看，他的肖像作品确实有着可见性与不可见性的心理预判，在被“对象”观看的同时，他也进入了一种被观者看视的空间。反观其之，自省于心，“非时间性”的绘画风貌在彼时顿然生成，画面“内部的能量”构成肖像以外的某种心理或者文化状态，沉潜出丰富而又厚重的气息韵味。

The reconstruction and perception of the portrait object is derived from Chen Yu's reflection on the subject's perception of the portrait itself, the visible and clear face. Like so many of Albrecht Durer's self-portraits, does the artist's "Selfhood" become blurred, or transferred to another person, or even compounded to a reflection in a mirror? From this point of view, his portrait works do have the psychological prediction of visibility and invisibility. When being viewed by the "object", he also enters a space to be viewed by the viewer. On the contrary, introspection in the heart, the painting style of "non-time" suddenly emerged at that time, and the "internal energy" of the picture formed a certain psychological or cultural state outside the portrait, which developed rich and heavy flavor.

陈雨这一系列肖像的色彩选择和形态攫取，并不是对既定图像的复制挪移。相反，这是他对原始图像的主观分析，恢复或者能够贴切其本身的特质，也是他对形象思索的纯粹体现，纵有部分色彩注入画面当中，却依然是自身显现的纯然反应。人物的内在张力和空间想象，贯穿着我们观视这些肖像的另一类方向：即水与墨交融形成的偶然性印迹，和画家与她/他们对话生成的人物“对立性”的平衡感。

The color selection and form capture of Chen Yu's portraits are not the copying and moving of the established images. On the contrary, it is his subjective analysis of the original image to restore or fit its own characteristics, and it is also the pure embodiment of his thinking on the image. Even though some colors are injected into the picture, it is still a pure reflection of its own appearance. The inner tension and spatial imagination of the figures run through the other direction in which we view these portraits: the accidental imprints created by the fusion of water and ink, and the balance of the "oppositions" of the figures generated by the dialogue between the artist and her/them.

就肖像《兰波》而言，大刀阔斧式的黑白色层，将诗人冷峻、忧愁的脸表现的淋漓尽致。犀利的眼神死死地紧盯着这个虚伪荒诞的世界，他像是一位来自灵界的“通灵者”，俗世意义的任何使命似乎都与他没有多大关联，尖锐深远般的内质张力，纯粹透质地看视万象千物：仿佛一把利剑想要戳破世界虚伪的基体肌层。同样，笔触的节奏感赋予，更增添了画面美感的坚质性和自由性。

As for the portrait Rimbaud, the bold black and white layer shows the poet's cold and sad face incisively and vividly. Sharp eyes were riveted on the false and absurd world, he seems to be a "psychic" from the spirit world, any mission of earthly meaning seems to be associated with his little, sharp profound endoplasm tension, visited vientiane thousand pure through material: as if a sword want to prick the hypocrisy of substrate layer. In the same way, the rhythm of the brush strokes adds to the firmness and freedom of the aesthetic feeling of the picture.

余论

Conclusion

绘画之中，是绘画自身回归到个体心灵的内在映照，它是生命本身生发的一个奇迹。在这个过程当中，陈雨循环往复地以人物肖像作为绘画的生命对象，并将自我的绘画语言切入到具有强有力生命的感召之物的里面。一幅肖像在社会景观和世界意义中，不仅是他对她/他们诗歌的追忆和诚敬，还是在这追忆中体味世界与个人存在的奥义所在，以及与这个时代时刻保持间隔的生命探险。灵魂的肖像，是“众生相”，亦是画家本人。

In painting, it is the inner reflection of painting itself returning to the individual mind, and it is a miracle of life itself. In this process, Chen Yu repeatedly takes portraits of people as the life objects of her paintings, and cuts her painting language into the objects with powerful life inspirations. In the social landscape and world significance, a portrait is not only his recollection and sincere respect for his/her poetry, but also his appreciation of the meaning of the world and personal existence in this recollection, as well as the exploration of life kept apart from this time. The portrait of the soul, is the "life", is also the painter himself.