“方寸·万象——林海钟、沈浩、潘汶汛作品展” 将于2022年10月22日（周六）在杭州瀚阳艺术中心开幕。
本次展览，我们荣幸地邀请到林海钟、沈浩、潘汶汛这三位在当代中国画和书法领域有着重要地位和学术影响力的艺术家参展，共展出优秀力作四十余件，其中大部分均为艺术家们近期倾力创作的新作。为了更好地诠释艺术家的创作理念和作品特质，让更多喜爱艺术家作品的观者能够充分理解和感受作品里东方精神的独特之美，我们特别邀请了雅昌艺术分别对三位艺术家进行专访，同时邀请南京艺术学院美术馆学术部主任、著名策展人林书传老师撰写了展览前言。
林海钟、沈浩、潘汶汛三位艺术家的创作材料都是笔墨、宣纸，从外在笔墨和内在精神两个维度来考察，都是既得东方哲学的精髓，同时又兼有石涛言及的“笔墨当随时代”的当代面貌。他们通过绘画，书法的实践，完美接续了传统骨血和时代景观。从而宇宙万类都在他们精妙的笔墨方寸之间，得以显形和发出内在而延绵不绝的能量。
这是瀚阳艺术中心在黄龙饭店艺术长廊举办的第七十二期展览，展期至2023年1月6日结束。欢迎莅临观展。
序言
Preface
林海钟、沈浩、潘汶汛三个人的作品并置在一起进行展呈，就像从浩瀚的中国画和书法海洋里打捞起的一颗钻石的三个瓣面——紧挨在一起的三个瓣面，在天光流转和互相映射之间，勾勒出了一幅既深及传统东方美学精粹，又兼具时代精神元气，且相对比较面目清晰的传统笔墨在当代的精神肖像。
The juxtaposition of the works of Lin Haizhong, Shen Hao and Pan Wenxun is like a three-facet diamond from the vast ocean of Chinese painting and calligraphy - between the flow of light and mutual reflection, the three facets outline a clearer spiritual portrait of traditional art in the modern era, not only deeply integrated with the essence of traditional oriental aesthetics but also have the spiritual energy of the times.
与西方美学的几何思维、理性思维、符号思维不同，东方美学在本质上是诗性思维、感性思维和抽象思维。五四以后，随着白话文运动的出现，很多传统的血脉早在百年之前就被切断了，到了现在，仍然根正苗红地承继了东方美学衣钵，且最成系统、最有辨识度的，毫无疑问是国画和书法。虽然在这两个领域里面，和当代艺术一样，也是随处可见各种急功近利者、沽名钓誉者和“满壶不响，半壶叮当”者，也是糟粕齐飞、赝品成堆，但细细考量下来，那些有份量的，有积淀的，真正不辱没笔墨的继承者还是大有人在的。
Unlike the geometric, rational, and symbolic thinking of Western aesthetics, Eastern aesthetics is poetic, sensual, and abstract in nature. After the May Fourth Movement, with the emergence of the vernacular movement, the essence of many traditions was cut off a century ago. To this day, the most systematic and recognizable traditions that still inherit the Eastern aesthetic are undoubtedly Chinese painting and calligraphy. Although in these two fields, as in contemporary art, there are some people eager to make a profit and fish for compliments, fame and credit, disturbing the ecology of art. However, after careful consideration, I believe there are still plenty of competent, accumulated and talented successors.
就国画和书法而言，千百年以来，笔墨、宣纸这些创作材料都没有变过，变的是人，变的是人的认知、格局、境界。林海钟、沈浩、潘汶汛三位艺术家用笔墨、宣纸，从外在笔墨和内在精神两个维度，回应了石涛言及的“笔墨当随时代”，也成功地彰显出各自的当代面貌。他们通过绘画，书法的实践，完美接续了传统骨血和时代景观。从而宇宙万象都在他们精妙的笔墨方寸之间，得以显形和发出内在而延绵不绝的力量。
In the case of Chinese painting and calligraphy, for thousands of years, the materials of creation, such as brush, ink and rice paper, have not changed. What has changed is people, their perception, vision, and mind. With their respective brushes, ink and rice paper, three artists respond to Shi Tao's statement that "art should follow the times" in both form and spirit, and also successfully reveal their respective contemporary faces. Through their practice of painting and calligraphy, they perfectly connect the essence of Chinese tradition with the contemporary landscape of the times. With their exquisite brush and ink creations, the universe is revealed to show an unending inner power.
这个方寸，是李白的“他人方寸间，山海几千重”，是曹雪芹的“辞达意尽为止，何必若世俗之拘拘于方寸之间哉”，也是林海钟、沈浩、潘汶汛的纸笔砚田。这个万象，是张孝祥《念奴娇》里的“尽吸西江，细斟北斗，万象为宾客”，是苏轼《参寥上人初得智果院会者十六人分韵赋诗轼得》里的“一眼吞江湖，万象涵古今”，也是司空图《二十四诗品》里的“真力弥满，万象在旁”，这个万象，既是天地万物，也是林海钟画卷里的云林禅迹、湖海乾坤，是潘汶汛“墨气游走”中的敦煌意蕴或庞贝气息，也是沈浩笔端的深浅长短、钩环盘纡。
As above, so below. This "below" is both the reality of life, the constraints of the rules, and the artistic creation of Lin Haizhong, Shen Hao and Pan Wenxun. This "above" is every phenomenon on earth, all the objects in the world and everything in the universe, which is reflected in Lin Haizhong's scrolls of clouds, forests, lakes and seas, Pan Wenxun's landscape paintings of Dunhuang and Pompeii, and Shen Hao's calligraphy with smoothly curved.
在今天这样一个智能化、多元化、去中心化甚至元宇宙的虚拟化甚嚣尘上的背景下，显得难能可贵的是，林海钟依然坚信画山水是出生“贵胄”，他的努力是朝向“源头”的努力，沈浩则是人如其名地追求一种“水利万物而不争”的境界，潘汶汛追求的是陆机的“心游万仞”，是“人从笔下长出”的“仙气”。毋庸置疑的是，他们三位艺术家及其一系列卓有成效的创作实践，为中国画和书法创作在我们今天这个时代里标示出了一种独特的器局和气格。
In today's context of intelligence, pluralism, decentralization, and even the sweeping metaverse, it is remarkable that Lin Haizhong firmly believes that landscape painting is born of "nobility" and his efforts are directed toward the "source". Shen Hao, on the other hand, pursues the virtue of water, that "silently nourishes everything in the world without competing". For Pan Wenxun, he reveals the "immortality" of the figure through the brushstrokes and is not bound by the constraints of time and space. There is no doubt that the three artists and their series of fruitful creative practices have marked a unique vision and style for Chinese painting and calligraphy in our time today.
林书传
Lin Shuchuan
2022-10-6
