作者：周岩
出版社：河北美术出版社
格式: AZW3, DOCX, EPUB, MOBI, PDF, TXT
一样的风景——周岩作品集试读：
作者简介
周岩，曾用名周芫，女，1971年出生于北京。
1994、2001年于首都师范大学美术学院油画专业分别获得学士学位和硕士学位。2013年于北京理工大学设计与艺术学院获得博士学位。
现为北京理工大学设计与艺术学院造型艺术系主任，博士、副教授，美术学硕士研究生导师。北京美术家协会会员、北京女美术家联谊会会员。
Zhou Yan, female, was born in Beijing in 1971.
She obtained her bachelor’s degree in 1994 and master’s degree in 2001 with the major of Oil Painting in the College of Fine Arts at Capital Normal University．In 2013 she received a doctor degree in the School of Design and Arts at Beijing Institute of Technology.
Dr．Zhou Yan is an associate professor, head of the Department of Plastic Arts in the School of Design and Arts at Beijing Institute of Technology, research supervisor of post-graduate students of fine arts, member of Beijing Artists Association, and member of Beijing Female Artists Sodality.
自然丘壑内营——周岩的写生
段君山水和风景是两个不同的概念，周岩的写生画作更靠近山水，并不是因为她画的是山石，而是她作品的品相看上去与中国传统山水更具渊源。
所谓“仁者乐山”，在周岩的笔下，山也概莫能外，她把它们处理得仿佛具有永恒的质感，而不只是简单地描绘各种景色在不同时刻下的变幻。在周岩的写生画里，常有茂盛的植被树木出现在视角的近端，山体的团块感因此显得异常强烈，其笔触也颇为凝重繁密，并且在诸多山体之间形成了回旋的沟壑，进而使画面产生了一种并非装饰性的秩序感。
中国的艺术院校每年都产生数以千万计的写生画作，周岩笔下的山虽然也都是写生，但对她来说，写生并不完全是为了最终的创作，或者说，写生并不是为了创作做准备，写生具有它自己的独立价值。
画论有言：“夫画物特忌形貌采章，历历具足，甚谨甚细”，周岩画山，虽然细腻，但并没有将“形貌采章”一一具足，她所描绘的山石表面，选择性地穿凿着微弱的旋涡状动势，好像蕴藏凝聚着山石作为地球物质的能量。在周岩的画面中，山石的形式和颜色都有向抽象转移的趋势，表面的细节几乎构成了一种韵律，如同存在于山石自然形态本身里的复杂因果。
整体来看，周岩笔下的山并不十分险峻，相反倒有几分柔美，色泽沉稳，画面冷静且简洁，这跟她平时低调的性格不无关系。在她描绘的风景中，我们可以轻易地察觉到光线的角度和光线的强弱，虽然我们无法说出其光线是在什么时候由一个山头转向另一个山头的，但画面上的确存在着时间的流动性。远处的天有时候被简单地处理成轻抚过的平面，它甘愿作为远景，按照艺术家所要求的那样，成为不可及的和模糊的存在，中国传统思想中所说的“天得一以清，地得一以宁，神得一以灵”，在周岩创作的景色中似乎有所体现。火山口 布面油彩2011CraterOil Painting on Canvas
可以断定，周岩写生作品中的情绪更多的是属于过去或以往，它们都处在完成或永恒的样式之中，画面流露出来的重度，并不会压迫观者的感官，石块受光的效果虽然也具有自然主义的特质，但由于画家处理的力度较为沉着，而且画面的空间也相当中性，因此能够使人强烈而自觉地意识到以山为德，水为性的内在修为意识，浮躁的人们或许可以从中找到咫尺天涯的情感寄托。
众所周知，自然的永恒性一直都是通过自然界地质的演化和地形的冲蚀，以及季节的变换来加以验证的，而周岩所据以图写和塑造出来的视觉性，无疑源自于她个人对自然世界的体验和理解，这恰恰应了董其昌的那句老话：“读万卷书，行万里路，胸中脱去尘浊，自然丘壑内营，立成鄄鄂。”
Artistic Nature Inside Mountains Depicted in Heart/Inside Inner Shan shui Zhou Yan’s Sketches
Duan JunShan shui (Mountain-water) is a concept different from Feng jing (landscape)．What Zhou Yan paints is closer to Shan shui, not just because her objects are mountains and water, but her works seem to be more connected with Chinese traditional Shan shui painting.
As the ancient saying goes, man of virtue loves mountains．Mountains are indispensable in Zhou Yan’s paintings, tinted with a touch of eternity rather than simply changing with time and space．Exuberant trees often appear in the painting in the near-side of the sight, making the mountain more concrete and solid．Her dense strokes leave whirling ravines among mountains, creating a non-decorative sense of order.
Tens of millions of paintings are created from China’s art academies every year, but the ones from Zhou Yan are different．For her, her paintings are not entirely aimed at the final work．In other words, painting is not prepared for production, but has its own independent value.
An ancient theory of painting says:“Minor details are not worth exploration.”Zhou Yan’s paintings are meticulous, but do not focus on the details of outer appearances．The surface of her mountains and rocks is embellished with slight whirling momentum, as if containing the energy as part of the spinning earth．The forms and colors of her mountains and rocks have the tendency towards abstractness．The apparent details seem to form a piece of melody, like the complex inter-forces inside the natural forms of the mountains and rocks.
From holistic perspective, Zhou Yan’s mountains are not steep, but rather graceful and stable in color and light．The coolness and conciseness of her painting has something to do with her low-profiled personality．The angle and strength of lights can be easily observed in her scenery．Although we cannot tell when the light moves from one mountain to another, there exists a flowing of time．Sometimes, the sky far away is depicted as a panel slightly stoked, serving as a distant background, intangible and obscure, according to the artist’s will, which seems to embody the traditional Chinese idea that“with Tao, the heaven becomes clear, the earth becomes tranquil, and man becomes enlightened.”
It can be concluded that the emotions in Zhou Yan’s paintings are those of the past or the history, conserved in a pattern of completion or eternity．The heaviness coming out of the picture does not put pressure upon viewers’ senses．The slightly naturalistic lighted effects of rocks, handled with composure by the artist, combing the neutrality of the space, give people a strong sense of the internal characters of mountains and water, upon which the lost minds may rest.
It is known that the perpetuity of nature has always been testified by geological evolution, erosion and the changing of seasons．The visual effects created and shaped by Zhou Yan through brush and ink undoubtedly come from her own perception and understanding of the natural world．It is reminiscent of the old saying:“abundant reading and traveling shed confusion off your heart, so with nature inside your mind, a piece of art can be created in no time.”
以形媚道 得之象外——简评周岩的油画风景
孙涤南朝宋人宗炳在其著名的《画山水序》中说:“夫圣人以神法道而贤者通，山水以形媚道而仁者乐。”体验个体和自然的关系，并给出自己的解释，是每个人人生感悟中最重要的部分之一。画家与他人的不同之处在于画家选择了通过形象来了解世界，再通过形象来诉说感受。这亦近乎古人所说的“以形媚道”的过程。
在风景画里，“以形媚道”似乎体现得尤为典型。风景画家的画笔如果仅局限于勾描具体景物，而忽略了其内在的“道”，则易在不知不觉中落于下乘。也许正是由于体悟到这一点，青年油画家周岩在多年的艺术探寻中，从没放弃对形象背后的“本质”的追求，于不弃的绘画求索当中，她也愈来愈接近“以形媚道”而“得之象外”的境界。
从这十年来画风的变化，可以看出周岩追求的轨迹，她的油画创作大体可分为：漂流瓶时期、飘时期和写生时期。
漂流瓶时期的作品是周岩硕士毕业时拿出的一批创作，从年轻女性的角度表达了自己对个体和世界之关系的理解，现在看起来，其面貌略带青涩，但仍不乏真实地映射出当代都市女性独自面对外部世界时的漂泊不安感以及难以融入的隔膜和疏离感。那一时期的作品中，瓶中人物是她画面的主体，山野风景还只是配角。山弯弯布 面油彩2011Curve MountainsOil Painting on Canvas
随着“漂流瓶”尝试的展开，周岩在某一天，动笔击碎了瓶子，把瓶中的人物释放出来，让她们飘游漫步于旷野山峦之上。曾经人与外部世界的隔膜变成了人与自然的相容，也许这时的画家周岩也在某种意义上同“自我”达成了“和解”吧。这一番“解放”不仅落于有关绘画内容的暗喻上，“解放”更加实在地落在“状物”和笔法上，因绘画的表达一旦抽离对具体情状的刻板说明，才可期在精神层面上收获更加精准的叙说。随着这些山岚人物的微步凌波，周岩的绘画语言开始松弛起来，她似乎隐约触摸到通往“象外之意”的门径。于是“飘”系列的创作维持了不长的时间，周岩作品中的人物便彻底消失了，她很快跨入纯风景画的领域并迅速地爱上了画风景，尤其是迷上了直接写生。
德·库宁说过：“艺术是一种‘理解生活’的工具。”那么，写生对于周岩而言，便是理解自然和自己的工具。
周岩在读硕士期间去过敦煌、甘南等地采风。由此她的脚步便没有停歇，从欧洲的博物馆到美国的大峡谷，从印度到印尼，从皖南到山东……2011年她在河北井陉的吕村、石头村写生，2012年春天她在北戴河，夏天又到了河南林州的太行大峡谷，2013年她去到江西，不久又转赴张北。从2011年至今这不停游走的两三年是她风景画的高产期，更是她风格确立的关键时期。《山弯弯》是周岩2011年秋天在河北太行山脉的井陉县测鱼镇的写生，这张标本性的作品直接呈现出画家写生的过程：炭条勾勒山地的大形，灰黑、土黄、赭红几色调了松节油薄薄的铺陈一遍。松动的笔触相互洇晕，干爽的炭条线条透着骨感。画没画完，有约四分之一的画面裸露着空白画布，不是时间不允许，而是画家觉得此刻恰到好处，画面已经完整了，既然话说已说清，就此停笔吧。留下充满了写生现场感的效果完整的“未完成”作品。
2011年，从太行山写生回来，根据记忆，周岩创作了《关于山的记忆》组画，这一组作品中，山峦脉络的转折、山间的菜畦、被阳光照耀的山坡，和山坳的阴影都被涂抹成不同大小的团块。疏疏密密的线条和团块之间，呈现着不同的肌理，有的流淌，有的干裂，有的油润，有的斑驳……种种痕迹都被笼在灰调子里，周岩以大面积高雅的中灰色，统一着冷的灰蓝、暖的灰褐、暗的灰黑、和亮的土黄，同时利用肌理的松紧透出或淡雅轻松、或厚重苦涩的情绪感。
周岩在画风景初期，也曾致力于对多种材料效果的反复尝试，例如利用丙烯和油画颜料干燥时间不同，颜料表面的伸缩力不同，而带来一些特别效果。但在后期的风景中，她不再囿于对形象的具体刻画，更不受限于材料的特殊效果，而是直面景物，让眼前的山川做主。2012年春天，周岩在北戴河画海景，夏天，她就到了河南林州太行山画山景，在写生中，她敏锐地捕捉着每一个瞬间的感受，迅速整理、归纳和变形，不再受具象型和肌理的限制，更不肯重复自己已有的造型程式，只忠实于自然山川和个人感受，诗性地、即兴地抒写着。通过这一年的一系列作品，周岩终于逐步确立了自己的风景画风格：简率阔大的笔触，张弛有度的节奏，松弛舒畅的即兴性绘画状态和“不求形似”的意象化造型语言。这是她通过不懈地寻找和反复地锤炼而得来的。
纵观绘画史，架上绘画的面貌繁复多样，理智而宏观地打量古往今来中西绘画的众多“形象”，我们看到，从“极端具象”到“极端抽象”之间存在着一段“象”的宽阔领域。在这段“象”的两极之间左右试探，反复寻觅，探索“象”可能呈现的种种面貌和其表达出的微妙差异，是多数画家必经的过程。灿如星河的古今大师们在这段宽阔的领域里都找到了属于自己的位置，周岩和如她一般的年轻画家们，正站在寻找自己语汇的关键路口，相信她必然会通过对自然之“象”、内心之“象”和“象外之意”的倾心以求，最终得到对“象”的超然把握，而能与古今“以形媚道”者“会心一笑”。毫无疑问，这是值得为之终生求索的。Manifestation of Daoism through Artistic Forms, and Meditation on Essence behind ImagesA Brief Review on Zhou Yan’s Landscape Oil PaintingSun Di
“Sages manifest Daoism through spirit, which man of wisdom understands;Mountains and water demonstrate Daoism through artistic forms, which man of virtue loves,”said Zong Bing, a literati in the Southern Dynasty．As a human being, to experience and expound its relationship with nature is one of the most important part to complete his life．An artist who devotes herself to painting is special in that she chooses to understand the world through images, and then express emotions again through images, a process similar to the demonstration of“Daoism through artistic forms”described by the ancients.
The process seems especially typical of landscape painting．An artist who is confined to only depicting specific scenery without noticing the inner“Daoism”is prone to inferiority．Probably realizing this idea, in her years of artistic exploration, the young oil painter Zhou Yan has never stopped seeking the“essence”hidden behind images, through which process her demands herself to pursue“the quintessence behind images.”
The path of her pursuit can be seen from the changes of her oil painting style through the past ten years, which can be roughly divided into the period of drift bottles, the period of floating, and the period of sketches.
Works of the period of drift bottles were created when she was finishing her master degree．Expressing her own perceptions of the relationship between individuals and the world through a young woman’s eye, the paintings now seem less mature, but still vividly reflect the insecurity of drifting, isolation and alienation from the external world which contemporary urban women face alone, unable to mingle in．Theworks of that period feature bottled men as the main subjects and mountains as mere supporting roles.
In the wake of the adventure with drift bottles, Zhou Yan was suddenly struck by an impulse to break open her bottles, letting the characters out to float and wander in the wilderness and mountains．The estrangement of man and the external world melted into the mutual inclusiveness of man and nature, which in a sense may represent the“reconciliation”of Zhou Yan the painter with“herself”．This“liberation”is not only expressed in the metaphors concerning the content of her paintings, but also in the more concrete“depiction”and drawing techniques, because painting can only be most delicate in spiritual narrative when it is detached from stereotype descriptions of specific forms．As these once bottled men wandered and floated at will, Zhou Yan loosened her painting language and seemed to have vaguely felt about the path to“essence behind images”．This way, the period of drifting lasted for a short time before human figures disappeared completely from her work, and she quickly slided into the field of pure landscape painting, with which she fell in love, especially with life drawing.
According to Willem de Kooning, art is an instrument for the“understanding of life”．For Zhou Yan, then, life drawing is an instrument for the understanding of the relationship between nature and herself.
During her master study, Zhou Yan went to several places for inspiring herself to create new paintings．It includes Dunhuang and Gannan．From that moment, she has never stopped her journey ever since, travelling from the museums in European to Grand Canyon in America, from India to Indonesia, and from Southern Anhui to Shandong．In 2011 she was painting from life in Lu Village and Stone Village in Jingxing County, Heibei．She stayed in Beidaihe in the spring of 2012 and then continued her journey to Taihang Grand Canynon in Linzhou, Henan in the summer, before touring to Jiangxi and was soon heading towards Zhangbei County until 2013．The close to three years witnessed the proliferation of her landscape paintings and the gradual establishment of her style.
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