唯心造——曾鹏作品展

唯心造——曾鹏作品展
策展:刘庆元
展期:6. 29-7.25,2010
开幕:6月29日 星期二下午6:00
地址:广州市农林下路5号亿达大厦G层 扉艺廊
联系:020-37688781/37688830
邮箱:feigallery@163.com
网址:www.feigallery.com


Create from the Heart: Exhibition of Ceramic Works and Ink Paintings by Zeng Peng
Curator: Liu Qingyuan
Duration: 6.29-7.25, 2010
Opening: 6:00 p.m., Tue., 29th, June, 2010
Address: Fei Gallery, G Floor, Estate Plaza, No.5, Nonglin Xia Road, GZ
Contact: 020-3768 8781/3768 8830
Email: feigallery@163.com
Website: www.feigallery.com


曾鹏生于佛山陶艺世家,后就读于景德镇陶瓷学院78级。其父为原佛山石湾美术陶瓷厂厂长、中国现代工艺大师曾良先生,曾鹏自幼耳喧目染中国传统文化和民间艺术之精妙,在他早期作品中已经不自觉的将传统制陶工艺与现代形式美学思想相结合,由此逐步发展为一种清新质朴、灵动鲜活、充满中国传统文人和民间意趣的个人风格。曾鹏将这种变化和灵动的个人书写意识融入亦或转换到其驾驭的各种视觉载体当中,无论陶瓷、金属、木艺还是纸本;无论是室内陈设还是户外公共艺术,无不信手拈来。从这个层面而言,曾鹏是以个人智慧做为其介入当下社会经济共同体的方法论者。
Born to a family of artist potters in Foshan, Zeng Peng entered Jingdezhen Ceramic Institute in 1978. His father, Zeng Liang, was a famous master ceramic artist in modern China as well as the former Director of Shiwan Artistic Ceramics Factory. Therefore Zeng Peng has been exposed to the essence of Chinese traditional culture and folk arts since his childhood. He had unconsciously combined traditional ceramic craft with modern formalism aesthetics in his early productions and gradually developed his unique personal style which is so unsophisticated, refreshing and vivid, featuring Chinese traditional flavor of both literati and folk artists. The artist naturally integrated his unique handwriting of exuberant variation and animated inspiration into various kinds of visual mediums such as ceramics, metal, wood and paper in terms of material, as well as indoor and outdoor in terms of space. In this respect, Zeng is a practitioner that engages himself in the social-economic community with his personal wisdom.


唯心造物
早在八十年代,来自佛山的曾鹏就曾在中国美术馆举办个人陶艺作品展,一直以来,曾鹏就以制陶大家的形象出现在众人的视野之中。九十年代曾鹏自创“虞公窑”品牌以陶为业并率先以沉船木为材打造家俬制品,如今习仿者众多但曾鹏却一如既往不为人间江湖所动,不为世俗杂事所困扰,大隐于乡野坊间,其与兄长曾力所创立的“虞公窑”制品风格多端变化、意趣生动足已让众多习仿者望其项背而不得法,这大概皆因其出品来自于个人的亲力亲为、澄怀万物所故。曾鹏以手造物为业,闲淡清澈,既不沉溺于传统行业趣味又不束缚于艺术江湖的游戏规则,在他身上或更多在于他的日常动静当中,早已化意趣为现实;化品格为通俗,实为大雅大俗大实在之人。
曾鹏生于佛山陶艺世家,后就读于景德镇陶瓷学院78级。其父为原佛山石湾美术陶瓷厂厂长、中国现代工艺大师曾良先生,曾鹏自幼耳喧目染中国传统文化和民间艺术之精妙,在他早期作品中已经不自觉的将传统制陶工艺与现代形式美学思想相结合,由此逐步发展为一种清新质朴、灵动鲜活、充满中国传统文人和民间意趣的个人风格。曾鹏将这种变化和灵动的个人书写意识融入亦或转换到其驾驭的各种视觉载体当中,无论陶瓷、金属、木艺还是纸本;无论是室内陈设还是户外公共艺术,无不信手拈来。从这个层面而言,曾鹏是以个人智慧做为其介入当下社会经济共同体的方法论者。
从文本初始到成品终端;从绘画衍生到设计格局;数十年的制陶生涯和清和的心性促成了曾鹏的作品始终以心趣天成而自具一格的风貌。有趣的是,曾鹏将自己多年以来的水墨画作戏称为“一旧云” (粤语发音,意为一团云),而正是这些“文人图稿”及其延伸出来的市场反馈却让我们惊讶于在急功近利的今天,还可以有如此质朴的方式得以维系并顽强的存活下来,而且还有滋有味,这不禁让我们感慨于时代的网开一面。做为城市动物的大多数,我们或许早已习惯于对发展前景的运筹帷幄亦或个人焦虑的提前预支。一方面,我们总是急于迫切的在这片热土上建立些什么而不屑于再从土地下挖掘更多的给养,或许仅仅只是应有的尊重;而另一方面,现实总是一次又一次地教育我们,似乎只要掌握权力和资本,这个世界的一切就皆可把握,唯一只是时间和手段的问题了;我们不再活在一个平和的现在之中,我们只是在没完没了的为未来努力做准备。曾鹏是个沉溺于幻想的人,他总是自愿地去想象世界,再把这个世界当成真实加以描绘。在其作品中,我们似乎看到作者笔下的某种过去总是在全力以赴的追赶着今天,在永远不确定的未来,当下却逐渐在缩短和回避。关于曾鹏现象,我个人更倾向于以“视觉人类学”的角度去解读这一“身处发达数字时代背景下的抒情诗”——乡野,水墨画,虞公窑每每出炉的陶器,工厂里的工人和工人的孩子们,机器打磨沉船木的轰鸣声,精致的庭院,一池子的锦鲤,茶,一条叫乌嘴或大脚的丹麦狗,古琴。
今天总是处于运动、不断更新和短暂即逝之中,它在我们每一个人的目光里发生变化,每个人都时刻面临着人和人或人和物的情景转换,曾鹏当属后者。曾鹏的作品面貌有着清晰直白的生活方式化倾向,如果可以把书写视为手的延伸,书写是直接与身体心性相连接的技术,你一但使用它,就不再可能放弃它。曾鹏正是以作画、制陶、习琴、品茶、养花种草等悠然自得的日常行为还原于唯心造物的初始。对于曾鹏的作品面貌我们如果循规蹈矩的挪用专业学术评价似乎有点可笑,因为他从来就没有固守于个人世界的念头和游走于艺术江湖的欲望 ,他的作品(也是“产品”)从来没有待价而沽和获奖参选的机心,唯一的只是与有缘之士共同分享,这种生活平行于品性的方式,让曾鹏身上富于一种奇特的“自在佛”似的气息。
曾鹏制陶必先画画,他的画作大多取自民间艺术、神话传说、乡土民俗、南方风物志等元素,其作画自成一格,所谓不拘成法者如是也。记得每次观其作水墨画,我还以为他在丈量土地(制陶则像搭积木),方寸间上下左右皆可出手,墨迹纵横交错、草草而就但觉一气呵成跃然而出,这与曾鹏师傅制陶造木如出一辙,其作品中流露出来的气息总是引发观者对生活方式的向往。这让我不禁想到一个尚未界定的词语——“后民艺”。“后民艺”现象包括民谣、民间影像、民间文化艺术交流等以独立个体出现的诸种方式。我的理解是,今天的“后民艺”是指在大时代背景下,在经济浪潮中屹然存活下来的流淌着传统和民间血液的具有个人风格的艺术家们,他们的作品传递着来自脚下土壤的气息;树梢的歌声;山林间的清新空气;万物的性灵意趣,这些经他们自发改良后的传统和民间艺术则成为与时代相望的利器,改变之后的幸存者,以另一种方式呈现的独特性。
曾鹏唯心造物,雁过无声而自娱自乐。
一直以来,曾鹏既是我的朋友也是我的师长。
刘庆元




Create from the Heart

As early as 1980’s, Zeng Peng from Foshan had held his individual exhibition of ceramic works in the National Art Museum of China and was since then known to the public as a ceramic master. In the 1990’s, Zeng Peng started the pottery business under the brand “Yu Gong Kiln”. He took the lead in making furniture from sunken wood and now there are throngs of followers. But he remains unaffected by market competition and worldly concerns in his countryside workshop like a hermit. The products of “Yu Gong Kiln” established by him and his brother Zeng Li are so vivid, intriguing and varied in styles that they are far beyond the reach of their numerous imitators. Their winning secret probably owes to the fact that all the products are hand made by the artist himself and the creation is from his pure and accommodative heart. Zeng takes craft as occupation and leads a simple leisurely life, neither indulging in the stale palate of traditional craft industry nor fettered by game rules in the art field. His excellent taste has been turned into reality as manifested by his behavior and activities in everyday life. Exhibiting elegance in popular art forms, he is honestly a person of both refined and popular tastes.

Born to a family of artist potters in Foshan, Zeng Peng entered Jingdezhen Ceramic Institute in 1978. His father, Zeng Liang, was a famous master ceramic artist in modern China as well as the former Director of Shiwan Artistic Ceramics Factory. Therefore Zeng Peng has been exposed to the essence of Chinese traditional culture and folk arts since his childhood. He had unconsciously combined traditional ceramic craft with modern formalism aesthetics in his early productions and gradually developed his unique personal style which is so unsophisticated, refreshing and vivid, featuring Chinese traditional flavor of both literati and folk artists. The artist naturally integrated his unique handwriting of exuberant variation and animated inspiration into various kinds of visual mediums such as ceramics, metal, wood and paper in terms of material, as well as indoor and outdoor in terms of space. In this respect, Zeng is a practitioner that engages himself in the social-economic community with his personal wisdom.

From original drawings to finished products, from painting deviating to design, Zeng’s works has kept its unique unsophisticated feature thanks to his peaceful mind throughout his decades of pottery making career. It is interesting that he laughingly named his ink paintings in these years “A Piece of Cloud”. While the market response to such “sketches by literati” really takes us aback. In an era when everyone is eager for instant success and quick profit, it is indeed a rare exception that the artist could survive and furthermore, enjoy life to the fullest in his plain way. Like most urban residents, we are so used to planning ahead for future development and worry about the uncertainties all the time. We are always anxious to establish something on this hot land while reluctant to dig deeper into the earth to get the nourishment we need, or perhaps all our mother land need is merely respect she deserves. On the other hand, the reality seems to have taught us again and again that as long as one has money and power, he/she can manipulate everything in this world and the only problem would be time and means. We can no longer live in the present moment with peace, instead we are constantly making preparation for the future. Zeng is someone that indulges himself in imagination. He always imagines the world in his own way and then depicts the imagined world as if it were real. In his works, we seem to find a kind of past going all out to chase the present, while the present is gradually shrinking and evading in the forever uncertain future. Personally I tend to interpret the Zeng Peng phenomenon, i.e., lyrics against the backdrop of advanced digital era, from the perspective of “visual humanics” – country field, water-ink painting, ceramic works produced by the Yu Gong Kiln, workers in the workshop and their children, rumble of the machine polishing the sunken woods, a delicately decorated yard, a koi carp pool, tea, a Danish dog named black mouth or big feet, Guqin (ancient lute).

The present day is constantly in the move, keeps updating in transience. It changes in the eyes of each of us and everyone has to be ready to face the constant changes in situations that involve one person and another, or people and objects. Zeng’s works obviously depict situations of the latter, which features a clearcut and straightforward lifestyle. If handwriting can be taken as an extension of the hand, it can also be viewed as a technique that is directly linked with one’s body and soul, which will never be abandoned once adopted. In his daily leisure activities such as painting, pottery making, string playing, tea drinking and gardening, Zeng comes back to the origin of creating from the heart. It would seem ridiculous to criticize Zeng’s works by conventional academic standards, since he never adheres to his own little world nor does he desire to wander in the commercial art field. Moreover, his works, or say products, never aim to sell a good price or win a prize. All he wishes is to share with someone who really understands and appreciates them. Keeping a lifestyle in parallel with his character, he seems to be endowed with the air of a “Hindrance-free Buddha”.

Zeng always paints first before he makes pottery. His paintings usually draw on folk art, fairy tales, indigenous folkways, southern customs, etc. and have established a unique style that is unconfined by any existing conventions. I remember everytime I saw him paint, I would thought he was doing kind of land measuring (while his pottery making was like playing with building blocks). He just thrust the brush in all directions, spilling the ink here and there randomly, and finally finished the piece of work in a stroke. His ceramic products and wood sculptures are made in a similar way. The breath emanating from his works always trigger spectators’ aspirations for his unique lifestyle. An undefined word occurred to me – “post folk art”. The “post folk art” phenomenon involves folk music, folk film and folk arts festival that take place independently as individual art form. My understanding of the post folk art today refers to the artists that survive the economic wave in the current era, stick to the traditions and folk arts, and have strong individual artistic features. Their works convey the smell of the soil under our feet, song from the treetop, fresh air in the mountain woods as well as the soul of every living thing. The traditions and folk arts, having been spontaneously meliorated by the artists, become an edge tool that faces this era on the other side to keep the balance and transform the survivors in its unique way.

Zeng Peng creates from the heart, just to enjoy himself instead of pleasing anyone else, leaving his name writ in water.

Zeng Peng has been my friend and my coach for a long time.

Liu Qingyuan

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