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精心挑选《《抵岸》读后感》相关文章文案。（精选5篇）
更新日期:2025-08-15 05:11
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1. "明确核心主题与个人感悟 (Clarify the Core Theme and Personal Insights):" "阅读理解：" 首先要深入理解《抵岸》这本书的核心内容、主题思想、主要情节或人物命运。它探讨了什么？（例如：人生旅程、抵达目标后的迷茫、对过程的反思、对现实的感悟、特定时代背景下的挣扎与成长等）。 "提炼感悟：" 思考这本书触动了你什么？是哪个情节、哪个人物、哪句话让你印象深刻？你从中获得了哪些关于生活、人性、社会或价值观的思考与感悟？"这是读后感的灵魂，必须真实、具体。"
2. "选择合适的切入点 (Choose a Suitable Angle):" 《抵岸》可能涉及多个方面。你可以选择一个你最感兴趣、感触最深的角度来写，不必面面俱到。例如： 聚焦于某个核心意象（如“岸”的象征意义）。 分析某个关键人物的性格、命运及其给你的启示。 探讨书中某个情节或主题对你的现实生活的联系。 比较书中内容与你的阅读经验或其他书籍的异同。 一个清晰的
丁捷：“纪实”是一种文学责任
视频加载中...
熟悉丁捷的读者都知道，他曾是著名的青春作家，长篇小说《依偎》斩获七项国内外大奖。近年来，他的创作脱虚向实，先是抛出“问心”三部曲，引起广泛讨论。近日，他又出版了以江苏交通事业为题材的长篇报告文学《“三”生有幸》。
△丁捷
为何近年来的创作重心转向了纪实文学？
丁捷一直认为，文学应有效介入现实，切实发挥社会效用，“如果文学一点社会效用都没有，越来越小众，最后被边缘化，文学也许会慢慢消亡，这是所有文学人不愿意看到的结果。我希望以个人的微薄之力抓取一些大家了解却又无法细究的现实主义题材进行创作，也许能发挥文学的现实作用。”
对丁捷而言，“纪实”是一种文学责任，“虚构”则是一种文学理想。如果说现实主义来源于他多年来踏实行走在大地上的见闻和思考，那么浪漫主义则根植于作家的天性。难得的是，丁捷在两个方向都取得了斐然成绩。
01
因父亲在交通运输管理站工作，童年时期的丁捷常随着船队在水上度过暑假。日行百里，夜枕波涛，他在旅途中萌发了对远方的向往，也灌入了蓬勃的诗意。徜徉中，丁捷写下了他的文学“处女作”，一首咏叹汽车和公路、轮船与江河的诗歌。
这份对交通的情怀摇曳至今。丁捷一直想写一部围绕运输船员的爱情和命运展开的小说，只是迟迟未动笔。所以当受邀前往江苏交控调研时，他毫不犹豫地答应了。
2022年的酷暑，高速公路路面温度将近70摄氏度，丁捷穿着养护工装，足蹬2.5公斤的特制鞋，随高速养护工奔波于站点之间，曾出现过中暑昏迷。同年冬天，丁捷前往黄海的海上风电场体验“风电小哥”的生活，经过一整天的海上摇摆，疲惫不堪的丁捷走下船时，无意识地向后倒去，跌在甲板的铁梯子上，伤及肩膀，至今仍未完全康复。
“这还只是采访，就发生了几件在我看来比较危险的事故，你可以想象长年累月在交通一线工作的员工，他们的工作环境和工作状态多么不容易。”丁捷说只有深入一线，亲身体验，才能理解什么是平凡人的伟大。他也由此反思起人们对交通事业的忽视。
曾经，人们挤在绿皮火车上，十几个小时才能到达另一个城市；人们坐在摇橹或汽船中，在风浪颠簸中祈祷着尽快抵岸。短短几十年，江苏交通的基础设施建设完成了从一穷二白到四通八达的转变，但所有人都在享受着现代交通的便捷之时，却不在意这奇迹是如何发生的，又是谁在默默维持着交通体系的运转。
真正踏入江苏土地上的交通网络工作，丁捷发现大多数人对交通运输事业的了解是片面的。江苏交控负责全省高速公路、过江桥梁、铁路、机场、港口的运营和管理，同时涉及电力能源、客运渡运、智慧交通等产业。具体到这个每时每刻都在运转着的庞大系统上的“螺丝钉”，则涵盖了道路清障、公路养护、机电维护、技术研发等众多工种。
感动和震动交织中，丁捷写下了《“三”生有幸》。他希望通过交通事业发展这一小切口，呈现中国式现代化进程中，一代代国企人如何栉风沐雨，构筑了国计民生的支柱和保障，成为中国式现代化的强力推手。
“我要把这些故事告诉所有人，告诉那些天天奔波在旅程中的人们，我们走的每一条路、乘的每一条船、坐的每一个航班里都蕴含着交通人的千辛万苦。交通承载着所有中国人的梦想。”
02
除了走访实地工作环境外，丁捷还阅读了数百万字的相关材料，深度访谈了五十多位交通人——他们是时代发展的参与者、见证者，也是最普通、最平凡的人。丁捷在书中着重书写了这些交通人的喜怒哀乐和悲欢离合，其中不乏让人感佩的人物和令人动容的故事。
在开篇《夜来风雨晨来香》中，丁捷用复调音乐的结构写了余丽琴和郑兆芳两位“中国最美路姐”的故事。这两位同龄同职业的女人，一个热爱舞蹈却在花季失肢，一个家庭幸福却在中年失夫。她们曾经迷茫过、消沉过，但最终都重回生活的正轨，并在工作中获得了肯定和尊敬。值得一提的是，这两位从未谋面的“路姐”，却都曾因对方的事迹受到鼓舞，或许这就是良好的集体氛围带给人们的力量。
清障员胡海平的故事也让人印象深刻。清障说到底是跟事故打交道，胡海平的日常工作中，曾遇到过很多触目惊心的事故。2005年3月29日，一辆在京沪高速公路行驶的罐式半挂车在江苏淮安段发生交通事故，引发车上罐装的液氯大量泄漏。为了堵漏，胡海平和两位清障员身着防护服在事故前沿工作了三天三夜，也因为这次中毒，他的嗓子落下了病根。二十年来，胡海平带领清障队员救援3万余起，解救受困驾乘人员千余人次，成功处置多起特重大事故，可以说是以命相搏，保障京沪大动脉安全畅通和人民群众的生命财产安全。
报告写事，文学写人，写人就离不开写情。因《“三”生有幸》中个性鲜活的典型形象与深入人心的情感共鸣，中国作协副主席吴义勤评价丁捷“对当下报告文学所进行的思想、艺术纠偏取得了很好的审美效果和读者效应”。
丁捷认为，写报告文学，不管是多么宏大的题材，最终都要写具体而微小的事，要进入人性深处和人物的内心：“你有没有悲悯之心？你能不能触摸到别人尖锐的疼痛或欣喜若狂的愉悦？你要真正跟写作对象相处，走入他们内心最深处，唤起共鸣共情。这时候，你才能真正设身处地，从对方的内心出发来书写。”
丁捷曾与余丽琴有过两个半天的促膝长谈，也许是早已消化了病痛与磨难，在讲述自己故事的过程中，余丽琴一直显得很平静，她甚至还抽了两张纸巾递给感动流泪的丁捷。完成书稿后，丁捷和余丽琴见了第三次面。这一次，余丽琴热泪盈眶，“我都没能讲到自己内心深处这么‘远’，是你把我带到自己内心这么远的地方来了，我现在读这个故事，更能够认识自己，也为自己感到自豪和激动。”
“这就是文学的力量，作家只有走到人的内心最深处，才能感动主人公，感动作者，最终感动读者。”丁捷说。
03
熟悉丁捷的读者都知道，他曾是著名的青春作家，长篇小说《依偎》斩获七项国内外大奖。近年来，他的创作脱虚向实，先是抛出“问心”三部曲，引起广泛讨论，而今又奉上这部报告文学。
为何近年来的创作重心转向了纪实文学？
“用中国作协领导的话来说，我是中国作家中所谓的‘现象级’作家。我本身的人生阅历比较丰富，从未埋头在书斋创作，而是扎根在火热的生活中，做一份普通的工作，与时代融合在一起。我自己就是我所有作品里面的人物。”丁捷说，他毕业后先后做过大学教师、省级机关干部、省属企业集团负责人，并援疆三年，“我的见闻中有热度的素材太多了，我要把这些先写出来，趁热捧给读者。”
此外，丁捷一直有一个观点，那就是文学应有效介入现实，切实发挥社会效用，“如果文学一点社会效用都没有，越来越小众，最后被边缘化，文学也许会慢慢消亡，这是所有文学人不愿意看到的结果。我希望以个人的微薄之力抓取一些大家了解却又无法细究的现实主义题材进行创作，也许能发挥文学的现实作用。”
但丁捷本质上还是一个浪漫主义的人，用学者丁帆的话说是“充满不确定性”的作家。近年来，丁捷迷上了绘画，对他而言，绘画充满着浪漫色彩和超现实因素，有效弥补了他在现实题材创作过程中对似是而非、虚拟情感空间的需要。去年末，丁捷出版了文学绘画集《白话胶囊》，并陆续办了多场画展；近日，南京地铁首次发布了联名公交卡——作家丁捷文学绘画纪念卡。丁捷“画家”的身份也为更多人所知。
对丁捷而言，“纪实”是一种文学责任，“虚构”则是一种文学理想；如果说现实主义来源于丁捷多年来踏实行走在大地上的见闻和思考，那么浪漫主义则根植于作家的天性。难得的是，丁捷在两个方向都取得了斐然成绩。
文学“痴情儿”永远没有停止的时候。丁捷告诉记者，他有两部非虚构作品将于年底交稿，也在继续小说创作，“前几年接受采访时也跟记者说过在构思一部小说，但都没有兑现。明年你再来问我，我还没有开始写的话，就很惭愧啦！”
■对话
中国故事就是打动千千万万普通人的故事
现代快报：评论家吴义勤在序中肯定了《“三”生有幸》是“讲好中国故事”的生动样本，是展示可信、可爱、可敬的中国形象的一次鲜活的文学表达。关于“讲好中国故事”，您有什么心得和体会？
丁捷：我们现在经常提一个词“人类命运共同体”，如何让全世界的人感受到“命运”是共同体？你所讲述的命运故事，应该直抵所有人的内心，唤起所有人的共鸣，追求人性中美好良善的一面。“讲好中国故事”不一定是宏大的故事，但一定是能打动千千万万普通人的故事。
现代快报：书中的很多人物故事让我看到了父辈们工作的身影和精神，他们的事迹能够带给当下年轻人怎样的工作和人生启示？
丁捷：当下的年轻人，各方面都比上一代人强，但也缺少长远的目光，急于向人生索取回报。就像好酒要酿，人生也是这样，过早地向人生兑现幸福，反而兑现不了，因为人生太单薄了。年轻人应有朝向未来的格局，同时有一颗能够踏实往前走的恒心，这两者缺一不可。《“三”生有幸》第一章里面的这两位女士（余丽琴和郑兆芳），都是普通的女孩子，但她们为自己赢得了灿烂的人生，这跟她们有韧劲、始终相信未来有关系。
现代快报：从14岁开始写作，这么多年来您的文学观点有没有变化？
丁捷：我从没有认真思考过自己的文学观念。十几岁懵懵懂懂的时候，因为对文学的喜爱开始写作，自我表达后就觉得很开心。青少年时期通过文学艺术奔放自我，那么中年时期则更多地在逃避自我。能够在文学创作中寻找到逃离现实的真空状态，远离世俗物质主义的绞杀。每个人都需要物质生存，但陷入物欲，也有可能毁了自己。
我有一些被社会定义为成功人士的朋友，饱受失眠的困扰。他们告诉我，一个人静下来，那些生活中的伤害和困顿便在脑中席卷而来，反复伤害他们。很多人缺少心灵的真空天地，我们能够在文学创造的虚拟空间中安放自我。
现代快报：如何保持充沛的创作活力？
丁捷：我天生是一个敏感脆弱的人，不管是来自内部还是外部的刺激，都能引发内心巨大的波动。这种波动有痛苦也有美妙，但它是最好的文学艺术，我时不时就将这些情感呈现出来。
现代快报：最近在阅读什么书？
丁捷：最近见了梁晓声老师，他赠送了《父父子子》和《人世间》，我正在阅读。我虽然不写科幻题材小说，但我非常喜欢科幻小说；我也非常喜欢阅读各个国家的历史；我常年读国外原版的艺术画册。年轻的时候不喜欢中国画，但到了一定年龄，经过沧桑之后，好像才看得懂，最近在大量阅读中国古典文学和绘画、书法。
现代快报+记者 张垚仟/文 牛华新 郑芮/摄
游江：一半是海水，一半是火焰
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“艺术创作对我来说并不那么重要，艺术学习和创作的过程，就是仿佛在不断的提醒自己，要去感知真实的世界，通过艺术拓宽个体的视野，增加生命的纬度”。2023年4月下旬，我在位于东湖公园内的深圳美术馆举办的名为“学余游艺”的游江首次个展中，看到他用这段文字表达着自己对艺术的态度，感受到他在感性之外的极度理性和谦卑，他对艺术保持着敬畏，也保持着持续学习并滋养自我精神世界的宽阔格局。
我认识游江十多年，他以策展人、艺术评论家的身份，工作于美术馆，以文字表达观点，为艺术家及公众提供服务。而此次个展，让我们看到他用画作来呈现其艺术观，的确让认识他的人大吃一惊，惊喜，也惊叹。事实上，画画是他自小的理想和最爱，南京艺术学院毕业并工作后，他一直都是读书、写作、画画并行的日常状态，只不过，画画始终是与自己独处时最享受之事，甚少对外。而策展与写评论，则是他与社会和时代同频的工具，他通过文本的表达，来呈现自己的情感和想法。 一个人的时间用在何处，自然会在何处开花。在深圳十余年来，游江陆续写过《构念的剧场》《中国艺术经典》《中华美术百年》等著作。在这座南国之城，他积极投入奔腾的工作与生活，与城市的节奏保持着共振。但同时，他坚持用创作表达某种“出世”的姿态，对他而言，这是心境上的“大隐隐于市”。他每天正常上班下班，在忙碌的间隙，在沸腾喧嚣的城市中，他戴上防噪耳机，就可以随时进入自己的世界，在这个世界里，游江深潜在自己的时区里，阅读、写作、思考、画画。他把无数个碎片时间连在一起，以自己的方式，抵抗着热闹的爆炸式的信息海洋的干扰，专注地进入艺术家的状态。 正是这种若即若离的疏离姿态，让游江对生活、工作及艺术创作，都保持着某种清醒。他沉醉于艺术，但清醒地用艺术滋养自己的人生并增加个体生命的肌理和厚度。所以，他在水墨中增加了色彩，在传统山水画的文脉中，寻得自己的独有路径，让黑白二色的山山水水，对应着当下的都市与时代的山河。于是，我们可以看到，游江的画作里，似乎以实验般的审视姿态，让古与今形成对话，画面中含着某种混搭，又保持着某种润物细无声的平衡与协调。一半是传统的水墨，另一半又是充满色彩的当下，他对这个世界的观察和思考自然地融于画中，内在很传统，但构图又非常自由，这是难得的创新。如《我们的山水只存在于周末》《画了一半觉得构图不好看》等画的题目与画面般。正如他自己所言，“有了传统，我们就能在世界上，在宇宙中，找到自己的坐标”。画中的山水，是某种信仰，他为墨上色，又对这个世界不断“去色”，这是一个持久的体悟过程，也是他寻找真实自我生命的过程。 在我看来，游江对真实的世界保持着拥抱的姿态，扎扎实实的工作，认真地陪伴两个正在成长的孩子和正在日渐老去的父母，坚持健身超过五年，构建着稳定的内在秩序感。他认真对待时间，不让自己陷入虚无主义的虚妄之中。同时，他并没有放弃自我的精神追求，他以画寄情，如某种宗教，既在传统中寻得精神的来处，也在都市中寻得某种自洽，找到自己的桃花源。然后，去体验个体在这个世界的意义，感受自己的平凡人生。
在游江的画作前凝视，我感受到一位人在深圳的艺术家内心的光芒，他审视自己与时代，思考个体与社会，他的内省，他的热情，他的真诚与理性，他持续的自我成长，让我看到了这座移民城市的某种特质，奋斗的，奔跑的，理性的，有着稳定的价值观与内核。正因于此，游江在深圳的创作，是会让你我有心有戚戚之感——既有火焰，又有海水。 我禁不住要为他喝彩，并写下这些文字。
以下内容来自深圳美术馆官方新媒体报道
展览简介 A Brief Introduction to the Exhibition
The “Exhibition: Deliberate Practice & Repeated Understanding - You Jiang Art Exhibition” is a solo exhibition held under the “Luohu Youth Artists Promotion Project” of Shenzhen Luohu District Artists Association, which exhibits the art creation and achievements of You Jiang in the fields of contemporary ink painting in recent years. You Jiang is a local artist in Shenzhen and has been very active in the fields of art criticism and exhibition planning. Mr. You has a number of books published and a series of influential exhibitions and activities held, through his continuous efforts and contribution. Mr. You has been studying drawing and painting ever since his childhood, which gave him solid foundations in modeling. In addition to his devoted contribution in the fields of theoretical researches, You Jiang combined his theories with practices, studies and art creations. Through the four chapters: Landscape · Implied Meaning, Urban Experience · Perceiving the World, Image · Insight, and Art as Therapy · Angle of View, the exhibition shows the audience the profound academic accumulation of contemporary young artists who keep inheriting and innovating the most wonderful parts in art and form their personal characteristics through practices. In his art creation process, You Jiang starts with painting traditions and combines them with contemporary painting skills, his own experience and deep insights in life, unfolding before us a splendid picture of his profound understandings from the aspects of migrants, dreams, beliefs, and meanings of life. Out of his ongoing art creation practices, You Jiang is forming his unique and personal conception of arts and styles of painting.
艺术家简介
（拍摄者：李钦鹏） Photographer:Li Qinpeng
游江，毕业于南京艺术学院，获硕士学位，一级美术师，深圳大学喻继高中国工笔画研究院客座教授，中国美术批评家年会学术委员，广东省美术家协会会员，广东省中国画学会会员，深圳市美术家协会理事，深圳市青年美术家协会副会长，现供职于深圳美术馆。 You Jiang graduated from Nanjing Arts Institute with a master's degree. He is also a visiting professor at Yu Jigao's Chinese Academy of Fine Arts at Shenzhen University, an academic member of the Chinese Art Critics' Annual Meeting, a member of the Guangdong Artists Association, a member of the Guangdong Chinese Painting Society, a director of the Shenzhen Artists Association, and a vice president of the Shenzhen Youth Artists Association. He currently works at the Shenzhen Art Museum.
近年来所创作的美术作品曾在中国美术馆、韩国大邱美术馆、关山月美术馆、深圳美术馆等机构展出，出版个人画册《游江当代水墨作品集》。数十篇论文发表于国内艺术类专业刊物，撰写《构念的剧场》《中国艺术经典》《中华美术百年》等著作。 In recent years, his artistic works have been exhibited in China Art Museum, Daegu Art Museum of Korea, Guan Shanyue Art Museum, Shenzhen Art Museum and other cultural institutions, and he also has published his first personal album "You Jiang Contemporary Ink Works Collection". Dozens of research papers have been published in domestic professional art journals. Besides these papers, he also wrote some books such as "The Theatre of Construction", "Chinese Art Classics", and "A Century of Chinese Art".
近年策划的展览有：“见字如晤 纸短情长——深圳美术馆典藏现代书画艺术大家信札暨精品展”“关系——2021中国当代艺术展”“法模·心范——2019中国当代艺术展”“观·照——2018深圳美术馆当代影像展”“透镜——2017中国当代艺术展”“城市·梦想——深圳地铁美术馆系列展”“第九届深圳国际水墨双年展·鹏城墨韵专题展”“温度——2015当代艺术展”“眼与心——2015中国当代联觉实验艺术展”“城怀味象——2014中国当代艺术展”“拟像的碎片——中国当代艺术展”“再历史——中国当代艺术展”“微体验——青年艺术家展”等。其中，2016年策划的“城市记忆”深圳地铁美术馆项目获得深圳市文体旅游局2016年度创新奖；“见字如晤 纸短情长——深圳美术馆典藏现代书画艺术大家信札暨精品展”获得2018年中国文化和旅游部年度优秀项目；“城市记忆”“见字如面”“讲好深圳故事”系列公教项目分别获得2016、2018、2019年中国文化和旅游部年优秀公共教育项目。“春天的故事”系列公共教育获得2020年中国文化和旅游部年优秀公共教育项目提名。 In addition to artistic creation and writing, he also planned a number of exhibitions, For example, “Seeing words like meeting paper and feeling long - Letters and Masterpieces Exhibition of Modern Calligraphy and Painting Art Collected from Shenzhen Art Museum”, “Beyond the Perspective -2021 Chinese Contemporary Art Invitation Exhibition”, “Inheritance & Innovation-2019 China Contemporary Art Invitation Exhibition”, “View of City -- 2018 Shenzhen Art Museum Contemporary Photography Art Exhibition”, “Simulacrum Living - 2017 China Contemporary Art Invitation Exhibition”, “City · Dream - Shenzhen Metro Art Museum Series Exhibition”, “The 9th Shenzhen International Ink Painting Biennale”, “Thermomatter-2015 Contemporary Art Invitation Exhibition”, “Eyes and Mind -2015 China Contemporary Sympathy Experimental Art Exhibition”, “Urban Images in Ink Painting -2014 China Contemporary Art Invitation Exhibition”, “Fragments of Imitation - China Contemporary Art Invitation Exhibition”, “Re-History - China Contemporary Art Invitation Exhibition”, “Micro Experience - Youth Artist Invitation Exhibition”, etc. Among the exhibitions and activities planned by You Jiang, the “City Memories” Art Museum at Shenzhen Metro project planned by You Jiang in 2016 won him the Innovation Award of 2016 by Shenzhen Bureau of Culture, Physical Education and Tourism. The “Seeing words like meeting paper and feeling long" - Letters and Masterpieces Exhibition of Modern Calligraphy and Painting Art Collected from Shenzhen Art Museum” was recognized as one of the most outstanding exhibitions of 2018 by the Ministry of Culture and Tourism of the People’s Republic of China, and his “City Memories” “Letters Alive” and “Tellers of Shenzhen Story” series public education projects were recognized by the Ministry of Culture and Tourism as the outstanding public education projects of years 2016, 2018 and 2019 respectively. The “Spring Story” series public education activities were nominated by the Ministry of Culture and Tourism for the outstanding public education project awards in 2020.
艺术家自述 Artist Statement
我们从哪里来，我们是谁，我们要到哪里去？传统让我们知道自己是谁，从哪里来，和谁在一起，有了传统，我们就能在世界上、在宇宙中，找到自己的坐标。 Where are we from, who are we, and where are we heading for? Tradition lets us know who we are, where we are from and who we are with. Only with tradition can we find our position in this world and this cosmos.
山水画是中国优秀的传统文化，中国人的山水画，似乎从来都不是要画一个看得见的山水。中国画的山水，既是“看山是山，看水是水”的山水，也是“看山不是山，看水不是水”的山水，更是“看山还是山，看水还是水”的山与水。 Landscape paintings are a part of Chinese traditions. To Chinese, paintings of landscapes are far more than the beautiful scenes in the real world. Landscapes in Chinese paintings are both those that have and those that have not forms, and more importantly they represent something beyond the forms.
从某种程度上，我们从山水中来，我们是驾着一叶小舟逍遥于湖光山色之间的渔夫，或是误入平行世界桃花源中的旅人，亦或是奔向大海的山泉···山水是一种信仰，是一个对世界去“色”体悟过程与找寻真实自我的生命过程。 At some point, we are just something out of the landscape, either a fisherman enjoying his little leisure time on a boat among the mountains and lakes, or a traveler who happen to be visiting a paradise in the other world, or even a clear spring running down the hills heading for the sea. Landscape is more of a belief, where we look beyond the forms and find our real selves.
艺术创作本身对我来说并不那么重要，艺术学习和创作的过程，就是仿佛在不断地提醒自己，要去感知真实的世界，通过艺术来拓宽个体的视野，增加生命的纬度。 What matters to me is not the art itself, but the process of art studying and creation, it is like that I keep reminding myself of feeling the real world, of expanding my horizon through arts, and of finding new dimensions in life.
部分展出作品欣赏
“山·水”Landscape·Implied Meaning
《刻意练习no.10》38cm × 38cm 纸本水墨 2012
《刻意练习no.20》38cm × 38cm 纸本水墨 2013
《刻意练习no.2》38cm × 38cm 纸本水墨 2021
易东华（何香凝美术馆研究部主任）：“摹古”是一种日课，不仅可以修正笔墨品质的偏差，更重要的从中获得熏习。2012年我曾入职深圳美术馆，一晃10年有余，游江画画、写书，没停过。画境也总在新我、旧我之间往返，现在有了自己的图式，或许我们也可以以现在为起点，想见十年之后的他。（节选自易东华《与古为徒》一文） Yi Donghua(Director of the Research Department of He Xiangning Art Museum):It has been over 10 years since I joined Shenzhen Art Museum in 2012. Time slipped through our fingers like grains of sand, but I never see You stop painting and writing. Painting keeps swaying between the new and the former, and has now developed its own pattern. Maybe we can take now as a new start and imagine what You will be come in the next ten years.(Excerpt from the article 'Befriend the Ancients')
“市·隐”Urban Experience·Perceiving the world
“小隐隐于野，大隐隐于市。”——晋王康琚《反招隐诗》 Whilst lesser hermit lives in seclusion in the country, the greater one does so in the city. -- Wang Kangju, On Hermits
《自由之光》68cm × 68cm 纸本水墨 2010
《蓄势之城》68cm × 68cm 纸本水墨 2019
《春天的故事之一》38cm × 38cm 纸本水墨 2022
徐志君（南京大学艺术学院副研究员）：总体来看，游江的都市水墨作品基于自己的生活体验，希望找到更成熟的画面形式而为此不断调试。我们看到他在题材方面，尝试了传统、现代都市和重大时代事件的链接。在语言方面，他借鉴了抽象艺术，甚至其他画种的一些创作方法。从画面效果来说，这些作品还没有像他的其他系列创作那样，呈现较为统一的面貌。站在他的都市水墨画作前，似乎可以看到画家在自己画案前的灯光下，冥想着窗外巨大的都市的肌理。当他试图去描述自己所想时，还有些迟疑，并在过程中试图拣选更合适的词汇。但最终画家完成了他的讲述时，我们才意识到，迟疑和困惑可能是我们忽视的都市情感的重要方面。它属于当代，属于生活其中的每一个人。（节选自徐志君《华灯之下》一文） Xu Zhijun(Associate research fellow at the School of Art of Nanjing University):As a whole, the urban ink paintings of You Jiang are based on his life experience, and he keeps adjusting to find a more mature way of expression. We can see his attempts to link up traditions. Modern metropolises and major events, in the aspects of painting themes. Speaking of art language, he used for reference the abstract arts and the painting techniques of other genres. From the aspects of graphic effect, there artworks did not show a unified pattern, like You Jiang’s other series did. Standing before his urban ink paintings, we could see the painter sitting under the lights on his table, meditating about the huge metropolis outside the window. When he tried to depict his thoughts, he paused, and trying to find a more appropriate word in the pause. When the painter finally finished his narration, we came to realize that the pause and confusion were important parts in our metropolis emotion, but we had ignored them. It belongs to now and every person who are living their lives.(Excerpt from the article 'Under the Lights')
“象·心”Image·Insight
“色即是空，空即是色。”——《般若波罗蜜多心经》 Form is emptiness and the very emptiness is form. -- The Heart Sutra
《抵岸20131216》68cm × 68cm 纸本水墨 2013
《抵岸系列》68cm × 68cm × 4 纸本水墨 2015
《抵岸-20150412》121cm × 69cm × 5 纸本水墨 2015
《抵岸20170316》50cm × 60cm 纸本水墨 2017
《抵岸20170516》50cm × 60cm 纸本水墨 2017
《抵岸20170618》1000cm × 35cm 纸本水墨 2017
《抵岸201912》140cm × 80cm × 2 纸本水墨 2019
刘筱（江苏省国画院美术理论研究所所长、研究馆员）：游江的《抵岸》系列一直在延续，并随着他阅历的丰富而拓展。图像范式上因克孜尔千佛洞、敦煌莫高窟的激发，精神内核上因城市扩张的都市生活体验与艰辛个人奋斗的筚路蓝缕而自洽，在这套纸本水墨作品中，他一直在营造一种西方波普般的东方绘画维度。纸本水墨决定了这套作品的色彩必然不像西方波普那样多样而斑斓，也不像东方石窟那样干燥而静穆，它给人的感觉是有一点戏谑成份在内，却又欲说还休的流动感，它以黑白水墨作为基调却又深浅浓淡总相宜，偶尔还会点缀以素雅的赋色。它像一个无穷大的数学符号一样让人觉得连绵不绝却又让人觉得有鲜明的界限感。这就是他的《抵岸》系列，一组对现代都市人群的拼搏心态、生存状态和精神现状的一种绘画形式的解读。（节选自刘筱《既是自我修正，也是殊途同归——观游江<抵岸>系列作品有感》一文） Liu Xiao:(President and Research librarian, Aesthetics Research Institute of Jiangsu Traditional Chinese Painting Institute):The Faramita collection of You Jiang keep having new artworks, and will be further expanded to a large scale, as You Jiang’s personal experience goes richer. You Jiang’s image patterns were inspired by the Buddha caves in Kizil and the Mogao Caves in Dunhuang, and spiritually his life experience in the urban expansion process well echoed with his personal struggles and accomplishments. In this collection of ink-wash paintings, You Jiang strove to create a painting dimension, like the pop arts in western countries. As ink-wash paintings, this collection of artworks cannot be as colorful as the western pop arts or as dry and peaceful as the eastern paintings on the cave walls. They gave people an emerging but vague sense of banter in there, and took black and white ink as the base tone decorated with pale colors here and there. It is like a huge infinity mark in mathematics that makes people feel the endless loop but distinct boundaries at the same time. This is his Faramita series, a collection of artworks reflecting the ambitions, status of living, and spiritual world of the youth, through the brushes and ink.(Excerpt from the article 'Self-correction and Origin of All-- Thoughts on the Faramita series artworks of You Jiang')
“游·观”Art as Therapy·Angle of View
"仰观宇宙之大，俯察品类之盛，所以游目骋怀，足以极视听之娱，信可乐也。"——魏晋王羲之《兰亭集序》 Looking up, I see the immensity of the cosmos; bowing my head, I look at the multitude of the world. The gaze flies, the heart expands, the joy of the senses can reach its peak, and indeed, this is true happiness. -- Wang Xizhi, The Orchid Pavilion
《我们的山水只存在于周末》38cm × 38cm 纸本水墨 2022
《画了一半觉得构图不好看》66cm × 45cm 纸本水墨 2022
《成像系列之六》38cm × 38cm 纸本水墨 2022
《想象中的桂林山水》50cm × 50cm 纸本水墨 2022
《无题之一》38cm × 38cm 纸本水墨 2022
《视界系列之二》38cm × 38cm 纸本水墨 2022
《无题》38cm × 38cm × 3 装置 2023
黄戈（傅抱石纪念馆馆长、研究员、艺术学博士后）:尽管游江如此这般自由的徜徉在传统山水笔墨间，但凡看过游江一系列的“新山水画”我们又不会把他归为传统型山水画家，至少在图式乃至风格上有着当代水墨对传统程式的解构倾向和实验意味。在抽象与半抽象的水墨晕染效果中杂糅着斑驳迷离的色彩，水、墨、色的情感抒发与巧思设计的画面构成共同生发出一种对“传统山水”对象化的“另类”解读和“崭新”诠释，加之“戏谑”般的题目，令人产生似曾相识而又不那么熟悉的程式和意趣，譬如《 86版的西游记一直在脑海里》《不满意就加点儿水》《我们的山水只存在于周末》等等。就整体而言，山水的传统程式固然是山水画的标尺和边际，但在游江的观念中传统山水的诸多元素亦可以成为新画面的新元素，诸如变形、加框、肢解、投射、叠加……任何词汇都不足以覆盖游江对山水传统程式的改造和利用，似乎游江感兴趣的不是沿着传统脉络上溯古人而皈依千古不易“六法金针”，更像是一位21世纪的青年艺术家游走在时光穿梭机，翻阅一页页历史的经典而为自己的艺术追求凭添一份底蕴，增添一份力量。在游江笔下，传统作为历史记忆而被唤起，作为创作资源而被发掘，并在新的审美环境中得到转化与重构，形成了一种“旧中有新、借古开今”的精神涤滤和实践探索。作为同道和好友，我为游江取得的成绩击节叫好，更看好他无可限量的未来之路。企盼游江的“新山水画”推陈出新又历久弥新，我们拭目以待。（节选自黄戈《经典的转化与重构——简评游江的“新山水系列”》一文） Huang Ge( Ph. Doctor of Arts, researcher, Curator of Fu Baoshi Memorial Hall):Though You Jiang enjoyed the leisure and freedom in his world of landscape paintings, as long as we see his “New Landscape” series, we can hardly take him as a traditional landscape painter, at least he has shown to us, through the patterns and styles of his paintings, the revolution and experiments on traditional painting techniques brought by the contemporary artists. Blended and blurred in the abstract and semiabstract ink effect are mottled colors. Water, ink, colors echo with the exquisite painting structure and feeling expressions, presenting to the audience a usual but brand-new interpretation to the traditional landscape paintings. In addition, with the funny and joking titles, his works give the audience an artistic conception that we feel the familiarity and strange, for example his “Journey to the West 1986 Kept in Mind”, the “Get More Water If Not Satisfied”, and “Our Landscapes Exist Only on Weekends”, etc. As a whole, despite that traditions give landscape paintings rules and boundaries, many of the traditional landscape elements are also used in the modern paintings, such as transformation, frame, dismemberment, projection, overlapping. There isn’t a word that can fully cover the innovations and utilization of You Jiang to the traditional patterns and techniques. It seems that what attracts You Jiang is not to mechanically follow the ancient “Six Principles”, but to travel through time as a young artist from the 21st century, surfing on the classics that have become the history on pages. This gives him the culture deposition and power pushing him forward in the pursuit of arts. Under the brushes of You Jiang, traditions are recalled as historical memories and utilized as resources in art creation, and are transformed and restructured in the new aesthetics, which washes his mind and drives his painting practice by integrating the ancient traditions and new techniques. As a like-minded friend, I cheer for and applaud the achievements of You Jiang, and am pretty optimistic about his future development. I hope that the “New Landscape” of You Jiang keeps innovating, and let’s wait and see.(Excerpt from the article 'Transformation and Restructuring of Classics -- Critique on You Jiang’s New Landscape Series')
展览现场 Exhibition
开幕现场 Opening Ceremony
嘉宾合影
深圳罗湖区青年美术家推广计划 Shenzhen Luohu District Youth Artists Promotion Project
学余游艺——游江作品展 Deliberate Practice & Repeated Understanding - You Jiang Art Exhibition
指导单位 Support Unit 深圳市罗湖区文学艺术界联合会 Shenzhen Luohu District Federation of Literary and Art Circles
主 办 Organizer 深圳市罗湖区美术家协会 Shenzhen Luohu District Artists Association
展 期 Duration 2023年4月27日至5月7日 April 27 to May 7, 2023
开幕式 Opening Ceremony 2023年4月27日下午3点半 April 27, 2023 3:30 PM
地 点 Venue 深圳美术馆 Shenzhen Art Museum
学术主持 Academic Director 方晓龙 Fang Xiaolong
策展人 Curator 赵伟东 Zhao Weidong
策展助理 Exhibition Assistant 邓丽君 Deng Lijun 张腾 Zhang Teng 邓正杰 Deng Zhengjie
特邀批评家 Invited Critics 黄戈Huang Ge 易东华Yi Donghua 徐志君Xu Zhijun 刘筱Liu Xiao
设计 Graphic & Display Design 一木 YIMU
影像拍摄 Photographer 迈诺影视 Meta Mate 李钦鹏 Li Qinpeng 张腾 Zhang Teng 视频策划 Video Planning Aniu
视频创意制作 Video Production Josh
鸣谢 Translation Support 感谢樊波教授为此次展览命名 Thanks for Professor Fan Bo for naming this exhibition 深圳市欧译翻译有限公司 Only Translation & Interpretation Co.,Ltd 艺术与财富 Artand Fortune
艺术家简介
（拍摄者：李钦鹏） Photographer:Li Qinpeng
游江，毕业于南京艺术学院，获硕士学位，一级美术师，深圳大学喻继高中国工笔画研究院客座教授，中国美术批评家年会学术委员，广东省美术家协会会员，广东省中国画学会会员，深圳市美术家协会理事，深圳市青年美术家协会副会长，现供职于深圳美术馆。 You Jiang graduated from Nanjing Arts Institute with a master's degree. He is also a visiting professor at Yu Jigao's Chinese Academy of Fine Arts at Shenzhen University, an academic member of the Chinese Art Critics' Annual Meeting, a member of the Guangdong Artists Association, a member of the Guangdong Chinese Painting Society, a director of the Shenzhen Artists Association, and a vice president of the Shenzhen Youth Artists Association. He currently works at the Shenzhen Art Museum.
近年来所创作的美术作品曾在中国美术馆、韩国大邱美术馆、关山月美术馆、深圳美术馆等机构展出，出版个人画册《游江当代水墨作品集》。数十篇论文发表于国内艺术类专业刊物，撰写《构念的剧场》《中国艺术经典》《中华美术百年》等著作。 In recent years, his artistic works have been exhibited in China Art Museum, Daegu Art Museum of Korea, Guan Shanyue Art Museum, Shenzhen Art Museum and other cultural institutions, and he also has published his first personal album "You Jiang Contemporary Ink Works Collection". Dozens of research papers have been published in domestic professional art journals. Besides these papers, he also wrote some books such as "The Theatre of Construction", "Chinese Art Classics", and "A Century of Chinese Art".
近年策划的展览有：“见字如晤 纸短情长——深圳美术馆典藏现代书画艺术大家信札暨精品展”“关系——2021中国当代艺术展”“法模·心范——2019中国当代艺术展”“观·照——2018深圳美术馆当代影像展”“透镜——2017中国当代艺术展”“城市·梦想——深圳地铁美术馆系列展”“第九届深圳国际水墨双年展·鹏城墨韵专题展”“温度——2015当代艺术展”“眼与心——2015中国当代联觉实验艺术展”“城怀味象——2014中国当代艺术展”“拟像的碎片——中国当代艺术展”“再历史——中国当代艺术展”“微体验——青年艺术家展”等。其中，2016年策划的“城市记忆”深圳地铁美术馆项目获得深圳市文体旅游局2016年度创新奖；“见字如晤 纸短情长——深圳美术馆典藏现代书画艺术大家信札暨精品展”获得2018年中国文化和旅游部年度优秀项目；“城市记忆”“见字如面”“讲好深圳故事”系列公教项目分别获得2016、2018、2019年中国文化和旅游部年优秀公共教育项目。“春天的故事”系列公共教育获得2020年中国文化和旅游部年优秀公共教育项目提名。 In addition to artistic creation and writing, he also planned a number of exhibitions, For example, “Seeing words like meeting paper and feeling long - Letters and Masterpieces Exhibition of Modern Calligraphy and Painting Art Collected from Shenzhen Art Museum”, “Beyond the Perspective -2021 Chinese Contemporary Art Invitation Exhibition”, “Inheritance & Innovation-2019 China Contemporary Art Invitation Exhibition”, “View of City -- 2018 Shenzhen Art Museum Contemporary Photography Art Exhibition”, “Simulacrum Living - 2017 China Contemporary Art Invitation Exhibition”, “City · Dream - Shenzhen Metro Art Museum Series Exhibition”, “The 9th Shenzhen International Ink Painting Biennale”, “Thermomatter-2015 Contemporary Art Invitation Exhibition”, “Eyes and Mind -2015 China Contemporary Sympathy Experimental Art Exhibition”, “Urban Images in Ink Painting -2014 China Contemporary Art Invitation Exhibition”, “Fragments of Imitation - China Contemporary Art Invitation Exhibition”, “Re-History - China Contemporary Art Invitation Exhibition”, “Micro Experience - Youth Artist Invitation Exhibition”, etc. Among the exhibitions and activities planned by You Jiang, the “City Memories” Art Museum at Shenzhen Metro project planned by You Jiang in 2016 won him the Innovation Award of 2016 by Shenzhen Bureau of Culture, Physical Education and Tourism. The “Seeing words like meeting paper and feeling long" - Letters and Masterpieces Exhibition of Modern Calligraphy and Painting Art Collected from Shenzhen Art Museum” was recognized as one of the most outstanding exhibitions of 2018 by the Ministry of Culture and Tourism of the People’s Republic of China, and his “City Memories” “Letters Alive” and “Tellers of Shenzhen Story” series public education projects were recognized by the Ministry of Culture and Tourism as the outstanding public education projects of years 2016, 2018 and 2019 respectively. The “Spring Story” series public education activities were nominated by the Ministry of Culture and Tourism for the outstanding public education project awards in 2020.
艺术家自述 Artist Statement
我们从哪里来，我们是谁，我们要到哪里去？传统让我们知道自己是谁，从哪里来，和谁在一起，有了传统，我们就能在世界上、在宇宙中，找到自己的坐标。 Where are we from, who are we, and where are we heading for? Tradition lets us know who we are, where we are from and who we are with. Only with tradition can we find our position in this world and this cosmos.
山水画是中国优秀的传统文化，中国人的山水画，似乎从来都不是要画一个看得见的山水。中国画的山水，既是“看山是山，看水是水”的山水，也是“看山不是山，看水不是水”的山水，更是“看山还是山，看水还是水”的山与水。 Landscape paintings are a part of Chinese traditions. To Chinese, paintings of landscapes are far more than the beautiful scenes in the real world. Landscapes in Chinese paintings are both those that have and those that have not forms, and more importantly they represent something beyond the forms.
从某种程度上，我们从山水中来，我们是驾着一叶小舟逍遥于湖光山色之间的渔夫，或是误入平行世界桃花源中的旅人，亦或是奔向大海的山泉···山水是一种信仰，是一个对世界去“色”体悟过程与找寻真实自我的生命过程。 At some point, we are just something out of the landscape, either a fisherman enjoying his little leisure time on a boat among the mountains and lakes, or a traveler who happen to be visiting a paradise in the other world, or even a clear spring running down the hills heading for the sea. Landscape is more of a belief, where we look beyond the forms and find our real selves.
艺术创作本身对我来说并不那么重要，艺术学习和创作的过程，就是仿佛在不断地提醒自己，要去感知真实的世界，通过艺术来拓宽个体的视野，增加生命的纬度。 What matters to me is not the art itself, but the process of art studying and creation, it is like that I keep reminding myself of feeling the real world, of expanding my horizon through arts, and of finding new dimensions in life.
部分展出作品欣赏
“山·水”Landscape·Implied Meaning
《刻意练习no.10》38cm × 38cm 纸本水墨 2012
《刻意练习no.20》38cm × 38cm 纸本水墨 2013
《刻意练习no.2》38cm × 38cm 纸本水墨 2021
易东华（何香凝美术馆研究部主任）：“摹古”是一种日课，不仅可以修正笔墨品质的偏差，更重要的从中获得熏习。2012年我曾入职深圳美术馆，一晃10年有余，游江画画、写书，没停过。画境也总在新我、旧我之间往返，现在有了自己的图式，或许我们也可以以现在为起点，想见十年之后的他。（节选自易东华《与古为徒》一文） Yi Donghua(Director of the Research Department of He Xiangning Art Museum):It has been over 10 years since I joined Shenzhen Art Museum in 2012. Time slipped through our fingers like grains of sand, but I never see You stop painting and writing. Painting keeps swaying between the new and the former, and has now developed its own pattern. Maybe we can take now as a new start and imagine what You will be come in the next ten years.(Excerpt from the article 'Befriend the Ancients')
“市·隐”Urban Experience·Perceiving the world
“小隐隐于野，大隐隐于市。”——晋王康琚《反招隐诗》 Whilst lesser hermit lives in seclusion in the country, the greater one does so in the city. -- Wang Kangju, On Hermits
《自由之光》68cm × 68cm 纸本水墨 2010
《蓄势之城》68cm × 68cm 纸本水墨 2019
《春天的故事之一》38cm × 38cm 纸本水墨 2022
徐志君（南京大学艺术学院副研究员）：总体来看，游江的都市水墨作品基于自己的生活体验，希望找到更成熟的画面形式而为此不断调试。我们看到他在题材方面，尝试了传统、现代都市和重大时代事件的链接。在语言方面，他借鉴了抽象艺术，甚至其他画种的一些创作方法。从画面效果来说，这些作品还没有像他的其他系列创作那样，呈现较为统一的面貌。站在他的都市水墨画作前，似乎可以看到画家在自己画案前的灯光下，冥想着窗外巨大的都市的肌理。当他试图去描述自己所想时，还有些迟疑，并在过程中试图拣选更合适的词汇。但最终画家完成了他的讲述时，我们才意识到，迟疑和困惑可能是我们忽视的都市情感的重要方面。它属于当代，属于生活其中的每一个人。（节选自徐志君《华灯之下》一文） Xu Zhijun(Associate research fellow at the School of Art of Nanjing University):As a whole, the urban ink paintings of You Jiang are based on his life experience, and he keeps adjusting to find a more mature way of expression. We can see his attempts to link up traditions. Modern metropolises and major events, in the aspects of painting themes. Speaking of art language, he used for reference the abstract arts and the painting techniques of other genres. From the aspects of graphic effect, there artworks did not show a unified pattern, like You Jiang’s other series did. Standing before his urban ink paintings, we could see the painter sitting under the lights on his table, meditating about the huge metropolis outside the window. When he tried to depict his thoughts, he paused, and trying to find a more appropriate word in the pause. When the painter finally finished his narration, we came to realize that the pause and confusion were important parts in our metropolis emotion, but we had ignored them. It belongs to now and every person who are living their lives.(Excerpt from the article 'Under the Lights')
“象·心”Image·Insight
“色即是空，空即是色。”——《般若波罗蜜多心经》 Form is emptiness and the very emptiness is form. -- The Heart Sutra
《抵岸20131216》68cm × 68cm 纸本水墨 2013
《抵岸系列》68cm × 68cm × 4 纸本水墨 2015
《抵岸-20150412》121cm × 69cm × 5 纸本水墨 2015
《抵岸20170316》50cm × 60cm 纸本水墨 2017
《抵岸20170516》50cm × 60cm 纸本水墨 2017
《抵岸20170618》1000cm × 35cm 纸本水墨 2017
《抵岸201912》140cm × 80cm × 2 纸本水墨 2019
刘筱（江苏省国画院美术理论研究所所长、研究馆员）：游江的《抵岸》系列一直在延续，并随着他阅历的丰富而拓展。图像范式上因克孜尔千佛洞、敦煌莫高窟的激发，精神内核上因城市扩张的都市生活体验与艰辛个人奋斗的筚路蓝缕而自洽，在这套纸本水墨作品中，他一直在营造一种西方波普般的东方绘画维度。纸本水墨决定了这套作品的色彩必然不像西方波普那样多样而斑斓，也不像东方石窟那样干燥而静穆，它给人的感觉是有一点戏谑成份在内，却又欲说还休的流动感，它以黑白水墨作为基调却又深浅浓淡总相宜，偶尔还会点缀以素雅的赋色。它像一个无穷大的数学符号一样让人觉得连绵不绝却又让人觉得有鲜明的界限感。这就是他的《抵岸》系列，一组对现代都市人群的拼搏心态、生存状态和精神现状的一种绘画形式的解读。（节选自刘筱《既是自我修正，也是殊途同归——观游江<抵岸>系列作品有感》一文） Liu Xiao:(President and Research librarian, Aesthetics Research Institute of Jiangsu Traditional Chinese Painting Institute):The Faramita collection of You Jiang keep having new artworks, and will be further expanded to a large scale, as You Jiang’s personal experience goes richer. You Jiang’s image patterns were inspired by the Buddha caves in Kizil and the Mogao Caves in Dunhuang, and spiritually his life experience in the urban expansion process well echoed with his personal struggles and accomplishments. In this collection of ink-wash paintings, You Jiang strove to create a painting dimension, like the pop arts in western countries. As ink-wash paintings, this collection of artworks cannot be as colorful as the western pop arts or as dry and peaceful as the eastern paintings on the cave walls. They gave people an emerging but vague sense of banter in there, and took black and white ink as the base tone decorated with pale colors here and there. It is like a huge infinity mark in mathematics that makes people feel the endless loop but distinct boundaries at the same time. This is his Faramita series, a collection of artworks reflecting the ambitions, status of living, and spiritual world of the youth, through the brushes and ink.(Excerpt from the article 'Self-correction and Origin of All-- Thoughts on the Faramita series artworks of You Jiang')
“游·观”Art as Therapy·Angle of View
"仰观宇宙之大，俯察品类之盛，所以游目骋怀，足以极视听之娱，信可乐也。"——魏晋王羲之《兰亭集序》 Looking up, I see the immensity of the cosmos; bowing my head, I look at the multitude of the world. The gaze flies, the heart expands, the joy of the senses can reach its peak, and indeed, this is true happiness. -- Wang Xizhi, The Orchid Pavilion
《我们的山水只存在于周末》38cm × 38cm 纸本水墨 2022
《画了一半觉得构图不好看》66cm × 45cm 纸本水墨 2022
《成像系列之六》38cm × 38cm 纸本水墨 2022
《想象中的桂林山水》50cm × 50cm 纸本水墨 2022
《无题之一》38cm × 38cm 纸本水墨 2022
《视界系列之二》38cm × 38cm 纸本水墨 2022
《无题》38cm × 38cm × 3 装置 2023
黄戈（傅抱石纪念馆馆长、研究员、艺术学博士后）:尽管游江如此这般自由的徜徉在传统山水笔墨间，但凡看过游江一系列的“新山水画”我们又不会把他归为传统型山水画家，至少在图式乃至风格上有着当代水墨对传统程式的解构倾向和实验意味。在抽象与半抽象的水墨晕染效果中杂糅着斑驳迷离的色彩，水、墨、色的情感抒发与巧思设计的画面构成共同生发出一种对“传统山水”对象化的“另类”解读和“崭新”诠释，加之“戏谑”般的题目，令人产生似曾相识而又不那么熟悉的程式和意趣，譬如《 86版的西游记一直在脑海里》《不满意就加点儿水》《我们的山水只存在于周末》等等。就整体而言，山水的传统程式固然是山水画的标尺和边际，但在游江的观念中传统山水的诸多元素亦可以成为新画面的新元素，诸如变形、加框、肢解、投射、叠加……任何词汇都不足以覆盖游江对山水传统程式的改造和利用，似乎游江感兴趣的不是沿着传统脉络上溯古人而皈依千古不易“六法金针”，更像是一位21世纪的青年艺术家游走在时光穿梭机，翻阅一页页历史的经典而为自己的艺术追求凭添一份底蕴，增添一份力量。在游江笔下，传统作为历史记忆而被唤起，作为创作资源而被发掘，并在新的审美环境中得到转化与重构，形成了一种“旧中有新、借古开今”的精神涤滤和实践探索。作为同道和好友，我为游江取得的成绩击节叫好，更看好他无可限量的未来之路。企盼游江的“新山水画”推陈出新又历久弥新，我们拭目以待。（节选自黄戈《经典的转化与重构——简评游江的“新山水系列”》一文） Huang Ge( Ph. Doctor of Arts, researcher, Curator of Fu Baoshi Memorial Hall):Though You Jiang enjoyed the leisure and freedom in his world of landscape paintings, as long as we see his “New Landscape” series, we can hardly take him as a traditional landscape painter, at least he has shown to us, through the patterns and styles of his paintings, the revolution and experiments on traditional painting techniques brought by the contemporary artists. Blended and blurred in the abstract and semiabstract ink effect are mottled colors. Water, ink, colors echo with the exquisite painting structure and feeling expressions, presenting to the audience a usual but brand-new interpretation to the traditional landscape paintings. In addition, with the funny and joking titles, his works give the audience an artistic conception that we feel the familiarity and strange, for example his “Journey to the West 1986 Kept in Mind”, the “Get More Water If Not Satisfied”, and “Our Landscapes Exist Only on Weekends”, etc. As a whole, despite that traditions give landscape paintings rules and boundaries, many of the traditional landscape elements are also used in the modern paintings, such as transformation, frame, dismemberment, projection, overlapping. There isn’t a word that can fully cover the innovations and utilization of You Jiang to the traditional patterns and techniques. It seems that what attracts You Jiang is not to mechanically follow the ancient “Six Principles”, but to travel through time as a young artist from the 21st century, surfing on the classics that have become the history on pages. This gives him the culture deposition and power pushing him forward in the pursuit of arts. Under the brushes of You Jiang, traditions are recalled as historical memories and utilized as resources in art creation, and are transformed and restructured in the new aesthetics, which washes his mind and drives his painting practice by integrating the ancient traditions and new techniques. As a like-minded friend, I cheer for and applaud the achievements of You Jiang, and am pretty optimistic about his future development. I hope that the “New Landscape” of You Jiang keeps innovating, and let’s wait and see.(Excerpt from the article 'Transformation and Restructuring of Classics -- Critique on You Jiang’s New Landscape Series')
展览现场 Exhibition
开幕现场 Opening Ceremony
嘉宾合影
深圳罗湖区青年美术家推广计划 Shenzhen Luohu District Youth Artists Promotion Project
学余游艺——游江作品展 Deliberate Practice & Repeated Understanding - You Jiang Art Exhibition
指导单位 Support Unit 深圳市罗湖区文学艺术界联合会 Shenzhen Luohu District Federation of Literary and Art Circles
主 办 Organizer 深圳市罗湖区美术家协会 Shenzhen Luohu District Artists Association
展 期 Duration 2023年4月27日至5月7日 April 27 to May 7, 2023
开幕式 Opening Ceremony 2023年4月27日下午3点半 April 27, 2023 3:30 PM
地 点 Venue 深圳美术馆 Shenzhen Art Museum
学术主持 Academic Director 方晓龙 Fang Xiaolong
策展人 Curator 赵伟东 Zhao Weidong
策展助理 Exhibition Assistant 邓丽君 Deng Lijun 张腾 Zhang Teng 邓正杰 Deng Zhengjie
特邀批评家 Invited Critics 黄戈Huang Ge 易东华Yi Donghua 徐志君Xu Zhijun 刘筱Liu Xiao
设计 Graphic & Display Design 一木 YIMU
影像拍摄 Photographer 迈诺影视 Meta Mate 李钦鹏 Li Qinpeng 张腾 Zhang Teng 视频策划 Video Planning Aniu
视频创意制作 Video Production Josh
鸣谢 Translation Support 感谢樊波教授为此次展览命名 Thanks for Professor Fan Bo for naming this exhibition 深圳市欧译翻译有限公司 Only Translation & Interpretation Co.,Ltd 艺术与财富 Artand Fortune
部分展出作品欣赏
“山·水”Landscape·Implied Meaning
《刻意练习no.10》38cm × 38cm 纸本水墨 2012
《刻意练习no.20》38cm × 38cm 纸本水墨 2013
《刻意练习no.2》38cm × 38cm 纸本水墨 2021
易东华（何香凝美术馆研究部主任）：“摹古”是一种日课，不仅可以修正笔墨品质的偏差，更重要的从中获得熏习。2012年我曾入职深圳美术馆，一晃10年有余，游江画画、写书，没停过。画境也总在新我、旧我之间往返，现在有了自己的图式，或许我们也可以以现在为起点，想见十年之后的他。（节选自易东华《与古为徒》一文） Yi Donghua(Director of the Research Department of He Xiangning Art Museum):It has been over 10 years since I joined Shenzhen Art Museum in 2012. Time slipped through our fingers like grains of sand, but I never see You stop painting and writing. Painting keeps swaying between the new and the former, and has now developed its own pattern. Maybe we can take now as a new start and imagine what You will be come in the next ten years.(Excerpt from the article 'Befriend the Ancients')
“市·隐”Urban Experience·Perceiving the world
“小隐隐于野，大隐隐于市。”——晋王康琚《反招隐诗》 Whilst lesser hermit lives in seclusion in the country, the greater one does so in the city. -- Wang Kangju, On Hermits
《自由之光》68cm × 68cm 纸本水墨 2010
《蓄势之城》68cm × 68cm 纸本水墨 2019
《春天的故事之一》38cm × 38cm 纸本水墨 2022
徐志君（南京大学艺术学院副研究员）：总体来看，游江的都市水墨作品基于自己的生活体验，希望找到更成熟的画面形式而为此不断调试。我们看到他在题材方面，尝试了传统、现代都市和重大时代事件的链接。在语言方面，他借鉴了抽象艺术，甚至其他画种的一些创作方法。从画面效果来说，这些作品还没有像他的其他系列创作那样，呈现较为统一的面貌。站在他的都市水墨画作前，似乎可以看到画家在自己画案前的灯光下，冥想着窗外巨大的都市的肌理。当他试图去描述自己所想时，还有些迟疑，并在过程中试图拣选更合适的词汇。但最终画家完成了他的讲述时，我们才意识到，迟疑和困惑可能是我们忽视的都市情感的重要方面。它属于当代，属于生活其中的每一个人。（节选自徐志君《华灯之下》一文） Xu Zhijun(Associate research fellow at the School of Art of Nanjing University):As a whole, the urban ink paintings of You Jiang are based on his life experience, and he keeps adjusting to find a more mature way of expression. We can see his attempts to link up traditions. Modern metropolises and major events, in the aspects of painting themes. Speaking of art language, he used for reference the abstract arts and the painting techniques of other genres. From the aspects of graphic effect, there artworks did not show a unified pattern, like You Jiang’s other series did. Standing before his urban ink paintings, we could see the painter sitting under the lights on his table, meditating about the huge metropolis outside the window. When he tried to depict his thoughts, he paused, and trying to find a more appropriate word in the pause. When the painter finally finished his narration, we came to realize that the pause and confusion were important parts in our metropolis emotion, but we had ignored them. It belongs to now and every person who are living their lives.(Excerpt from the article 'Under the Lights')
“象·心”Image·Insight
“色即是空，空即是色。”——《般若波罗蜜多心经》 Form is emptiness and the very emptiness is form. -- The Heart Sutra
《抵岸20131216》68cm × 68cm 纸本水墨 2013
《抵岸系列》68cm × 68cm × 4 纸本水墨 2015
《抵岸-20150412》121cm × 69cm × 5 纸本水墨 2015
《抵岸20170316》50cm × 60cm 纸本水墨 2017
《抵岸20170516》50cm × 60cm 纸本水墨 2017
《抵岸20170618》1000cm × 35cm 纸本水墨 2017
《抵岸201912》140cm × 80cm × 2 纸本水墨 2019
刘筱（江苏省国画院美术理论研究所所长、研究馆员）：游江的《抵岸》系列一直在延续，并随着他阅历的丰富而拓展。图像范式上因克孜尔千佛洞、敦煌莫高窟的激发，精神内核上因城市扩张的都市生活体验与艰辛个人奋斗的筚路蓝缕而自洽，在这套纸本水墨作品中，他一直在营造一种西方波普般的东方绘画维度。纸本水墨决定了这套作品的色彩必然不像西方波普那样多样而斑斓，也不像东方石窟那样干燥而静穆，它给人的感觉是有一点戏谑成份在内，却又欲说还休的流动感，它以黑白水墨作为基调却又深浅浓淡总相宜，偶尔还会点缀以素雅的赋色。它像一个无穷大的数学符号一样让人觉得连绵不绝却又让人觉得有鲜明的界限感。这就是他的《抵岸》系列，一组对现代都市人群的拼搏心态、生存状态和精神现状的一种绘画形式的解读。（节选自刘筱《既是自我修正，也是殊途同归——观游江<抵岸>系列作品有感》一文） Liu Xiao:(President and Research librarian, Aesthetics Research Institute of Jiangsu Traditional Chinese Painting Institute):The Faramita collection of You Jiang keep having new artworks, and will be further expanded to a large scale, as You Jiang’s personal experience goes richer. You Jiang’s image patterns were inspired by the Buddha caves in Kizil and the Mogao Caves in Dunhuang, and spiritually his life experience in the urban expansion process well echoed with his personal struggles and accomplishments. In this collection of ink-wash paintings, You Jiang strove to create a painting dimension, like the pop arts in western countries. As ink-wash paintings, this collection of artworks cannot be as colorful as the western pop arts or as dry and peaceful as the eastern paintings on the cave walls. They gave people an emerging but vague sense of banter in there, and took black and white ink as the base tone decorated with pale colors here and there. It is like a huge infinity mark in mathematics that makes people feel the endless loop but distinct boundaries at the same time. This is his Faramita series, a collection of artworks reflecting the ambitions, status of living, and spiritual world of the youth, through the brushes and ink.(Excerpt from the article 'Self-correction and Origin of All-- Thoughts on the Faramita series artworks of You Jiang')
“游·观”Art as Therapy·Angle of View
"仰观宇宙之大，俯察品类之盛，所以游目骋怀，足以极视听之娱，信可乐也。"——魏晋王羲之《兰亭集序》 Looking up, I see the immensity of the cosmos; bowing my head, I look at the multitude of the world. The gaze flies, the heart expands, the joy of the senses can reach its peak, and indeed, this is true happiness. -- Wang Xizhi, The Orchid Pavilion
《我们的山水只存在于周末》38cm × 38cm 纸本水墨 2022
《画了一半觉得构图不好看》66cm × 45cm 纸本水墨 2022
《成像系列之六》38cm × 38cm 纸本水墨 2022
《想象中的桂林山水》50cm × 50cm 纸本水墨 2022
《无题之一》38cm × 38cm 纸本水墨 2022
《视界系列之二》38cm × 38cm 纸本水墨 2022
《无题》38cm × 38cm × 3 装置 2023
黄戈（傅抱石纪念馆馆长、研究员、艺术学博士后）:尽管游江如此这般自由的徜徉在传统山水笔墨间，但凡看过游江一系列的“新山水画”我们又不会把他归为传统型山水画家，至少在图式乃至风格上有着当代水墨对传统程式的解构倾向和实验意味。在抽象与半抽象的水墨晕染效果中杂糅着斑驳迷离的色彩，水、墨、色的情感抒发与巧思设计的画面构成共同生发出一种对“传统山水”对象化的“另类”解读和“崭新”诠释，加之“戏谑”般的题目，令人产生似曾相识而又不那么熟悉的程式和意趣，譬如《 86版的西游记一直在脑海里》《不满意就加点儿水》《我们的山水只存在于周末》等等。就整体而言，山水的传统程式固然是山水画的标尺和边际，但在游江的观念中传统山水的诸多元素亦可以成为新画面的新元素，诸如变形、加框、肢解、投射、叠加……任何词汇都不足以覆盖游江对山水传统程式的改造和利用，似乎游江感兴趣的不是沿着传统脉络上溯古人而皈依千古不易“六法金针”，更像是一位21世纪的青年艺术家游走在时光穿梭机，翻阅一页页历史的经典而为自己的艺术追求凭添一份底蕴，增添一份力量。在游江笔下，传统作为历史记忆而被唤起，作为创作资源而被发掘，并在新的审美环境中得到转化与重构，形成了一种“旧中有新、借古开今”的精神涤滤和实践探索。作为同道和好友，我为游江取得的成绩击节叫好，更看好他无可限量的未来之路。企盼游江的“新山水画”推陈出新又历久弥新，我们拭目以待。（节选自黄戈《经典的转化与重构——简评游江的“新山水系列”》一文） Huang Ge( Ph. Doctor of Arts, researcher, Curator of Fu Baoshi Memorial Hall):Though You Jiang enjoyed the leisure and freedom in his world of landscape paintings, as long as we see his “New Landscape” series, we can hardly take him as a traditional landscape painter, at least he has shown to us, through the patterns and styles of his paintings, the revolution and experiments on traditional painting techniques brought by the contemporary artists. Blended and blurred in the abstract and semiabstract ink effect are mottled colors. Water, ink, colors echo with the exquisite painting structure and feeling expressions, presenting to the audience a usual but brand-new interpretation to the traditional landscape paintings. In addition, with the funny and joking titles, his works give the audience an artistic conception that we feel the familiarity and strange, for example his “Journey to the West 1986 Kept in Mind”, the “Get More Water If Not Satisfied”, and “Our Landscapes Exist Only on Weekends”, etc. As a whole, despite that traditions give landscape paintings rules and boundaries, many of the traditional landscape elements are also used in the modern paintings, such as transformation, frame, dismemberment, projection, overlapping. There isn’t a word that can fully cover the innovations and utilization of You Jiang to the traditional patterns and techniques. It seems that what attracts You Jiang is not to mechanically follow the ancient “Six Principles”, but to travel through time as a young artist from the 21st century, surfing on the classics that have become the history on pages. This gives him the culture deposition and power pushing him forward in the pursuit of arts. Under the brushes of You Jiang, traditions are recalled as historical memories and utilized as resources in art creation, and are transformed and restructured in the new aesthetics, which washes his mind and drives his painting practice by integrating the ancient traditions and new techniques. As a like-minded friend, I cheer for and applaud the achievements of You Jiang, and am pretty optimistic about his future development. I hope that the “New Landscape” of You Jiang keeps innovating, and let’s wait and see.(Excerpt from the article 'Transformation and Restructuring of Classics -- Critique on You Jiang’s New Landscape Series')
展览现场 Exhibition
开幕现场 Opening Ceremony
嘉宾合影
深圳罗湖区青年美术家推广计划 Shenzhen Luohu District Youth Artists Promotion Project
学余游艺——游江作品展 Deliberate Practice & Repeated Understanding - You Jiang Art Exhibition
指导单位 Support Unit 深圳市罗湖区文学艺术界联合会 Shenzhen Luohu District Federation of Literary and Art Circles
主 办 Organizer 深圳市罗湖区美术家协会 Shenzhen Luohu District Artists Association
展 期 Duration 2023年4月27日至5月7日 April 27 to May 7, 2023
开幕式 Opening Ceremony 2023年4月27日下午3点半 April 27, 2023 3:30 PM
地 点 Venue 深圳美术馆 Shenzhen Art Museum
学术主持 Academic Director 方晓龙 Fang Xiaolong
策展人 Curator 赵伟东 Zhao Weidong
策展助理 Exhibition Assistant 邓丽君 Deng Lijun 张腾 Zhang Teng 邓正杰 Deng Zhengjie
特邀批评家 Invited Critics 黄戈Huang Ge 易东华Yi Donghua 徐志君Xu Zhijun 刘筱Liu Xiao
设计 Graphic & Display Design 一木 YIMU
影像拍摄 Photographer 迈诺影视 Meta Mate 李钦鹏 Li Qinpeng 张腾 Zhang Teng 视频策划 Video Planning Aniu
视频创意制作 Video Production Josh
鸣谢 Translation Support 感谢樊波教授为此次展览命名 Thanks for Professor Fan Bo for naming this exhibition 深圳市欧译翻译有限公司 Only Translation & Interpretation Co.,Ltd 艺术与财富 Artand Fortune
开幕现场 Opening Ceremony
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