展讯王东声：“图景”的阶段演进与视觉重构于延河文化艺术馆开展

更新时间：2026-01-20 17:51  浏览量：1

王东声：“图景”的阶段演进与视觉重构

Wang Dongsheng: The Evolution and Visual Reconstruction of the "Picture"

艺术家

王东声

展览策划

周岩 文白

展览筹备

樊星辰 侯连晖

展览时间

2026年1月15日至2026年3月15日

9:30-19:00

周一到周日正常开馆（节假日除外）

展览地点

延河文化艺术馆

（北京市房山区北京理工大学良乡校区文萃楼 C 座第二展厅）

主办单位

北京理工大学延河文化艺术馆

协办单位

朗禾空间

当传统文人的诗书画印遇上当代艺术的实验精神，当东方笔墨的内敛哲思碰撞西方抽象的形式张力，《王东声：“图景”的阶段演进与视觉重构》为观者铺展了一条跨越古今、贯通中西的艺术探索之路。

本次展览，集中呈现王东声自1991年的《山居手迹》到2025年的《图景》不同创作阶段的56件代表作，既是对其艺术历程的系统梳理，更是一场关于传统水墨、视觉解构与精神的深度对话。

山居手迹

Mountain Dwelling Manuscripts (Shanju Shouji)

大学4年，随后6年，即1991-2001年前后十年间，对油画的着迷，有些不能自拔。

然而，自己也同时处于探究与困惑并行的状态之中，——该如何画油画?中国人该如何画油画?油画怎样画才可能有点意思，有点意义，有点价值?

答案，似乎一直在风中。

也不断涂涂抹抹，做过多样尝试，但大多浅尝辄止。

1998年，开始撰写“中国意象油画点击”系列文字，2002年于《美术报》连载十期。其后，于2010年写就《意象油画研究》一书。

During my four years at university and the subsequent six years, spanning roughly a decade from 1991 to 2001, I became deeply immersed in oil painting, to the point of obsession. However, this period was also marked by exploration and uncertainty: How should one approach oil painting? How should a Chinese artist engage with this medium? How could oil painting be not only engaging but also meaningful and valuable?

The answers, as the song says, seemed forever “blowin’ in the wind.”

I experimented relentlessly, trying out various styles and techniques. Yet, most of these attempts remained superficial, lacking depth. In 1998, I began writing the essay series Commentary on Chinese Image Oil Painting, which was later serialized in ten issues by China Art Weekly in 2002. This culminated in the publication of my book, Image Oil Painting Study, in 2010.

山居手迹之十六

Mountain Dwelling Manuscripts (Shanju Shouji) No.16

纸本油画 oil on paper

37×53cm

1999

景致之五

Scenery No.5

布面油画 Oil painting on canvas

40×50cm

1999

入境山水

Entering the Landscape (Rujing Shanshui)

2001年后，重新回归水墨。

《入境山水》是对传统山水“家法”的一种“破坏”，是对山水符码的一种解构与“异化”，是一种以修习过油画专业的创作者在宣纸与墨笔之间粗粝地尝试。

山水的意象，笔墨的意象，似是而非的意象，恍兮惚兮，惚兮恍兮，于混沌中寻放一份虚空场域中的光明。

After 2001, I returned to ink painting.

Entering the Landscape (Rujing Shanshui) represents a deliberate ‘destruction’ of the traditional ‘norms’ of Chinese landscape painting — a deconstruction and ‘alienation’ of its established visual codes. It is a raw experimentation on rice paper with ink and brush, guided by the hands of an artist formally trained in oil painting.

In this series, the imagery of mountains and rivers blends ambiguously with the abstraction of brushstrokes. Forms shift between clarity and obscurity, hovering in a state of flux — “dim and vague, vague and dim”, as if searching for a glimmer of light within the void, emerging from the primordial chaos.

入境山水之一

Entering the Landscape (Rujing Shanshui) No.1

纸本墨笔设色 ink and color on paper

95×52cm

2016

入境山水之二

Entering the Landscape (Rujing Shanshui) No.2

纸本墨笔设色 ink and color on paper

95×52cm

2016

入境山水之三

Entering the Landscape (Rujing Shanshui) No.3

纸本墨笔设色 ink and color on paper

95×53cm

2016

空境

The Realm of Emptiness (Kong Jing)

《空境》是《入境山水》的一种进阶形态。约2013-2023作品。

大道至简，大象无形，大有至空。笔墨与笔墨精神，西画形式构成进行解构性重组，庄子“虚室生白”的审美意象，三位一体，似乎更暗合禅宗“空纳万境”的观照体系。

庄禅精神与简约主义，便有了在空性维度达成东方意境与极简主义的超验对话。

The Realm of Emptiness (Kong jing) is an evolved form of Entering the Landscape (Rujing Shanshui), comprising works created between 2013 and 2023.

The Great Dao is supremely simple; the Great Form is formless; the Great Fullness is emptiness itself. In this work, the spirit of ink and brush converges with the deconstructed recomposition of Western pictorial structures. At the same times, Chuang Tzu’s aesthetic ideal — “an empty room, full of light” (xushi sheng bai) — forms a trinity that resonates with Chan Buddhism’s contemplative framework of “emptiness embracing all realms” (kong na wanjing).

In this synthesis, the ethos of Chuang Tzu and Chan Buddhism dialogues with minimalist principles, forging a transcendental exchange between Eastern artistic philosophy and Western minimalism — unified within the dimension of emptiness (kong).

空境之一

The Realm of Emptiness (Kong Jing) No.1

纸本水墨 ink on paper

69×41cm

2017

空境之二

The Realm of Emptiness (Kong Jing) No.2

纸本水墨 ink on paper

70×43.5cm

2018

空境之三

The Realm of Emptiness (Kong Jing) No.3

纸本水墨 ink on paper

53×39cm

2018

写山水状

Depicting Landscapes (Xie Shanshui Zhuang)

在乡野文明渐行渐远的今日时代，“山水”这一主题如何承继笔墨传统，又能够拓展笔墨程式语言的固有模式?

在现代人多维度的时空观之下，“三远法”是否仍是山水画创作的唯一视角?

如何理解“笔墨即精神”的传统美学观，体现“师古人之心”而非“迹”的复制?

纸墨无言，因缘造化，静待花开。

In an era where rural civilizations are increasingly distant, how can the theme of ‘landscape’ (shanshui) preserve the traditions of brush and ink while transcending the conventional patterns of their formulaic language? In the multidimensional perspectives of time and space in modernity, does the ‘Three Distance Techniques — high, deep, level distance’ (san yuan fa) remain the only perspective for creating landscape paintings? How might we interpret the traditional aesthetic value of “brush and ink embodying spirit”? How can we “learn from the spirit of the ancients” without merely “imitating of their forms”?

Silent yet resonant, paper and ink abide by the interplay of causality (yinyuan) and natural rhythm (zaohua), quietly awaiting the bloom of time.

写山水状 2022-006

Depicting Landscapes (Xie Shanshui Zhuang) 2022-006

纸本墨笔设色 ink and color on paper

35×34cm

2022

写山水状 2022-019

Depicting Landscapes (Xie Shanshui Zhuang) 2022-019

纸本墨笔设色 ink and color on paper

35×34cm

2022

写山水状 2022-005

Depicting Landscapes (Xie Shanshui Zhuang) 2022-005

纸本墨笔设色 ink and color on paper

35×34cm

2022

写山水状·在场

Depicting Landscapes:Presence

一直不习惯实景写生，更愿意面对实景做另外一种视角的冷眼旁观。

面对实景，喜欢先到处走走，对整体氛围与生态，做相对全方位的了解。写生不一定依赖纸笔，画家与“现场感”之间应该互相给予灵感，内心对场景之间应该重新解构，而非单方面的服从。

理想化的写生，不应是对现场的复制，而应是一种“精神的采集”。

I have never grown accustomed to on-site sketching. Instead, I prefer to observe real scenes from a detached perspective — maintaining a certain critical distance. When encountering a real scene, I like to walk around first to gain a relatively comprehensive understanding of the overall atmosphere and environment. To me, sketching doesn’t necessarily depend on paper and brush; it should be a reciprocal exchange of inspiration between the artist and the ‘sense of place.’ The mind must reconstruct its relationship with the scene, transcending mere submission to its surface appearance.

An ideal sketch is not a replication of the scene, but a ‘collection of the spirit.’

写山水状·义乌春天之一

Depicting Landscapes: Spring in Yiwu No.1

纸本墨笔设色 ink and color on paper

45x34cm

2025

写山水状·义乌春天之二

Depicting Landscapes: Spring in Yiwu No.2

纸本墨笔设色 ink and color on paper

46x34cm

2025

写山水状·义乌春天之三

Depicting Landscapes: Spring in Yiwu No.3

纸本墨笔设色 ink and color on paper

46x34cm

2025

图景

Picture (Tu Jing)

如何突破传统文士的矫饰滥情?如何突破那种在诗词格律间堆砌意象、在风月典故里贩卖悲喜的创作惯性?

面对乡野文明远去，面对已然信息化、全球化、智能化迅猛发展的今日时代，中国水墨艺术如何建构现代性转型的新秩序，创作个体的创作该如何直面当下的现代性问题?引人思考。

How can we break free from the affectation and excessive sentimentality of traditional literati? How can we move beyond the tendency to mechanically pile up imagery within rigid poetic forms, or to trade emotions through overused allusions to romanticized landscapes?

In an era where rural civilizations are gradually fading, displaced by the rapid tides of informatization, globalization, and artificial intelligence, how might Chinese ink art establish a new paradigm for modern transformation? How can individual artists confront the issues of contemporary modernity in their creations? These questions are thought-provoking.

无所住之一

Abiding Nowhere No.1

纸本墨笔设色 ink and color on paper

2025

无所住之二

Abiding Nowhere No.2

纸本墨笔设色 ink and color on paper

2025

无所住之三

Abiding Nowhere No.3

纸本墨笔设色 ink and color on paper

2025

王东声

中国国家画院研究员，博士生导师，京华印社副社长兼秘书长，中国美术家协会会员，中国书法家协会会员。

从事艺术创作、教学和视觉文化研究，近年多涉及水墨艺术、书画印比较、陶瓷印艺术及当代审美研究。曾举办“意图如此——王东声2015-2020阶段创作呈现”“无处可寻·山水意象与人文空间——王东声个展”“大道不孤·一个人的视觉谱系：王东声作品展”“画禅妙有——王东声水墨作品展”“王东声书法品鉴展暨《王东声:书写与表达》新书分享会”“王东声:图景 2025”等个展。著有《不以为然——关于现当代艺术的一些批评与品读》《当代逸品·王东声卷》《当代书法十家·王东声卷》《中国陶瓷印·王东声卷》《虚室生白——董其昌心中的画与禅》《意象油画研究》及合集多种。主编《画语者》《中国水墨读本》《当代篆刻名家研究》等。主持与策划国家艺术基金“瓷印辉光——中国陶瓷印创作生态研究展”项目、北京文化艺术基金“陶瓷印艺术高层次人才培养”项目、国家财政重点支持项目“中国水墨国际话语推广项目”（联合主持）等。