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Légendes de gauche à droite :
1/ Yin Zhaoyang - 尹朝阳, Autumn Temple - 秋寺, oil on canvas - 布面油画, 220×385 cm, 2013.
2/ Yin Zhaoyang - 尹朝阳, Early Spring - 早春图, oil on canvas - 布面油画, 200×150 cm, 2013.
3/ Yin Zhaoyang - 尹朝阳, Songfeng Valley - 松风谷, oil on canvas - 布面油画, 150×200 cm, 2012.
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présentation - 展览介绍 :
Curator: Xia Jifeng
Producer: Xia Jifeng
Exhibition Director: Tong Juanjuan
Organizer: Hive Center for Contemporary Art
As one of the most representative Chinese artists born in the 1970s, Yin Zhaoyang, well-known for his sharp critical realism and tragic heroism, is usually connected with such key words as confusion, sentimentality, struggle, exhaustion, sublimity, pain, lament and anger, ideal, eternity, etc. His previous works, revealing to the full the artist’s depth of feeling, are always enveloped in a strong mood of intense confrontation with social reality. There is no doubt that he belongs to the "the calf goes against the oak tree" type of artist: he sets for himself a goal that is difficult for ordinary people to achieve and faces the challenge squarely, never dwelling on the abstract and avoiding the real issues by bypassing difficulties. However, in recent years, Yin seems to act in opposition to the internationalization campaign of contemporary Chinese art and its theoretical propaganda by presenting a series of landscape paintings, which, in terms of style, contrast so drastically with his former creations that they seem uncomfortably inopportune. His works replace the once socially challenging and persistent artist with one who begins to “retreat in big strides” ( in Mo Yan’s words) and indulges himself in the tranquilizing landscape－in some way surprising and unexpectedly pleasant.
His recent series titled “Descend the Mountain” are based on the most common subject matter as mountains, woods, rivers, bright sunshine and desolated temples, but it is not about slavish imitation of the styles of Jing Hao, Guang Tong, Li Cheng, Fan Kuan, Guo Xi, and other great masters in the past. They are actually like the landscape in Songshan, He’nan province, his hometown, which is, though still towering, just an unavoidable reference. Xin Qiji’s lines:“the mountain is charming and lovely in my eyes and I expect the mountain feels the same for me.”expressing the poet’s heart-felt infinite love for the world and his own gracefulness and elegance, show that in some way Chinese landscaping paintings are the standard and weigh for the spiritual life of classical literati and also are, after thousands of years, the artistic direction pursued and sought by Yin Zhaoyang. The landscaping sentiment inherited from the interaction between ancient scholars and nature revives in Yin Zhaoyang’s paintings with modern treatment that reproduces, contextualizes to the point that it has become his own disposition and internal cultivation as well as a state of mind that one must hold in the bustling world. Guo Xi said inThe Elegance of The Bamboo and Spring: Landscapehis experience and standpoint in drawing landscaping paintings that people living in the world do not have to become a hermit in nature to preserve his moral integrity because a good landscaping painting is enough to make people “appreciate nature without being physically attached to it”. This, perhaps, is also one of the driving force and cause of Yin Zhaoyang’s creation of landscaping paintings. To “descend the mountain”, one has to first “retreat to mountain”, as the subject of a Buddhist painting titled “Sakyamuni Coming out from the Mountain” shows. Sakyamuni was thinned to the bone, but an outsider will never know, let along experience, what he experienced in the vigorous religious disciplining, realization of the truth, as well as his will and practice. What on earth does Yin Zhaoyang learn from his asceticism before “coming out of the mountain”? The answer is to confide and be true to his heart.
The return to landscape painting appears to be “retreats in big strides” instead of advancing with the times, but such “retreats” actually speak of this artist’s awareness and reference to the rich tradition for inspiration, and in my opinion, attesting to his mature artistic consciousness and boundless energy that “retreats to advance”. Consequently, we see in his paintings an increasingly obvious unique pictorial feature that is independent of Western aesthetics. In the wake of it, there are of course surprises and infinite anticipations.
策展人: 夏季风
出品人: 夏季风
展览总监: 佟娟娟
主办单位: 蜂巢当代艺术中心
作为70后中国最具代表性的艺术家之一，尹朝阳向来以现实主义手法和悲剧性的英雄主义色彩著称，附着在他身上的标签，通常与迷茫、伤感、抗争、疲惫、崇高、痛楚、悲愤、理想、永恒等等有关。在他以往创作的作品中，可以明显地感受到艺术家的内心，自始至终弥漫着一种与社会现实处于紧张、对峙的强烈情绪。他是属于那种牛犊顶橡树类型的艺术家，给自己预设某种常人难以企及的高度并且直面去挑战，从不会避实就虚，绕道而行。而在中国当代艺术国际化运动及其言论造势甚嚣尘上的今天，尹朝阳倾力推出的一系列山水风景作品，风格较过往创作反差之大，似乎让人产生某种难以适应之感。这个曾经对现实不断挑衅并且愈战愈勇的人物开始“大踏步撤退”（莫言语），“卧游”于溪山清远之处，“畅神”在林泉高致之中，多少令人感到意外以及由此带来的无垠喜悦。
在新作“出山”系列中，尹朝阳表达的虽然是中国传统绘画中最古典的主题，山水林木，晴峦萧寺，但却非亦步亦趋的写实与仿临，荆浩、关仝、李成、范宽、郭熙等前贤同行的作品图式，但更多的只是尹朝阳创作上一个无可回避的客观依据。“我看青山多妩媚，料青山见我应如是”，辛弃疾倾诉内心无限的天地爱恋和优雅韵致的诗句，从某种意义上来说，既可以理解为中国山水画作为古典文人精神生活建立的至高标准和衡度，也可以看作是千年之后尹朝阳所追寻和探索的艺术方向。那种古人与自然顾盼之间所沉淀、传承的山水情思，在尹朝阳的笔下以当代化的表现手法再现、造境，演绎为他个人的性情，胸中的丘壑，一种在喧嚣尘世中的内在修为。
“出山”的前提意味着必须“入山”，没有入就不存在出。正如佛教经典画题“释迦出山”，我们可以见到释迦出山示现时的形销骨立，但在入山之后的个人苦修、悟道、意志以及行持，则是道外之人永远无法获知，更不必说感同身受。尹朝阳“出山”之前的苦修究竟让他悟到了什么？惟有自己内心清楚。如果单从表面上看，他回归山水风景的创作，似乎非但没有与时俱进，反而在有意识地“大踏步撤退”。但正是在这种“撤退”当中，我们感知到了一个艺术家的自觉与自信，开始返身向丰硕的传统进发，目的明确地去搜寻自身文化经验的资源。
从另一个角度来说，这恰恰体现出尹朝阳艺术上成熟的清醒和身上蕴含着强大的“以退为进”的无限能量。出于对各种古典艺术形态及其现状的理解与把握，在他“出山”系列作品中，越来越明显地呈现出有别于以西方审美为主的绘画的异质性。
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