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王鑫生意象现实主义的文化跨越
时间：2011-9-1 15:03:04 点击次数:4830 |
王鑫生意象现实主义的文化跨越
艺术史学博士、中国美协理事、中国美协理论委员会委员、《美术》杂志执行主编/尚 辉
跨文化现象是今天社会发展中越来越带有普遍性的一个问题。美术中的跨文化现象，更多地出现在旅居、定居或移民到国外的一些美术家的创作上。一方面，这些在国外生活与工作的美术家为适应异域的文化生存而自觉与不自觉地去表达所在国的人文情感，艺术语言与表现手法也多半追随所在国的流行艺术样式；另一方面，这些美术家又十分自然地流露出母体文化的审美情感，甚至于一些最基本的艺术判断与艺术崇尚也都摆脱不了母体文化的影响。这样就形成了这些美术家艺术创作的跨文化特征。
移居美国休斯顿已近20年的王鑫生，在他的艺术创作中就非常鲜明地体现了这种文化的跨越性。一方面他用相对写实的油画描绘了当代美国民众的日常生活，并通过肖像绘画塑造了美国民众心目中的一些公众人物形象，从中不难看出作者作为美国公民与他们思想情感的息息相通；另一方面他的油画艺术特征又隐藏着中国本土文化的深深烙印。譬如，他画的草根系列、音乐家系列、爵士乐系列，虽然描绘的都是美国人，但作者选择的表现对象却主要集中于美国社会的底层民众，尤其是选择的一些具有社会批判性的黑人乞丐、越战老兵和街头艺术家。具有现实主义思想特征的这些作品，无疑都和王鑫生在中国本土受到的艺术教育密切相关。再譬如，他选择写实油画作为他绘画的基本表现形态，这不仅适应了美国当地艺术收藏家的审美趣味，而且便于他现实主义艺术创作的思想表达。富有意味的是，他的写实油画和国内追随欧洲传统写实油画的流风相距甚远，而多多少少体现了美国抽象表现主义的遗韵。但更为重要的他的那种可以作为他个性风格标志的意象写实主义，却来自于中国母体文化，尤其是中国画的水墨写意特征几乎构成了他意象性的全部艺术灵感与才化。还譬如，除了描写人物，他还创作了禅荷系列、睡莲系列和雨鹤惊春等风景。但这些充满禅意、表现天籁的作品很难归属西方风景油画的审美范畴，而更接近中国花鸟画。显然，王鑫生在这些花鸟作品里使用的是印象光色观照风景的呈现方法，而在审美内涵上营造的却是东方文化的哲诗与意境。
1949年出生的王鑫生，是典型的“生在新中国、长在红旗下”的共和国的同龄人。他的成长经历埋藏了太多与这个新生国家共同经历的政治与文化变迁。这种文化经历无疑铺垫了他关注社会底层、与普通民众休戚相关的现实主义艺术的精神底色。他出生于西安、成长在河南，这两个中国历史文化的古地都浇灌了他艺术的灵慧之根，这是他不论跨越何种文化都不会被消解的母体血液。作为时代的幸运儿，他在改革开放的90年代赴美旅居。在当代世界艺术中心，他潜心西方传统和现当代艺术的研习，在成为一个旅美画家的过程中，饱尝异域文化生存的艰辛并最终在文化跨越的探索中确立了东西方艺术间的临界点，由此而形成了自己独特的艺术个性与风貌。
当伴随着中国经济的腾飞和综合国力的提高而把中国文化作为一种价值观去影响世界的时候，那些旅居国外的华人艺术家其实早已通过他们每个个体的艺术创作进行了种种文化跨越。王鑫生的这些作品正是跨文化学艺术史的研究对象。
2011年8月18日于北京22院街艺术区
Cross-Cultural Impressionistic Realism of Xinsheng Wang
Doctor of Art History, Director of the Chinese Artists Association, Committee Member of Art Theory of Chinese Artists Association, Executive Editor-in-Chief of "Fine Art" Magazine / Shang Hui
The cross-cultural phenomenon is becoming a more and more universal issue brought about by today’s social development. The cross-cultural phenomena in art occurs more in the creative works of those artists who are living in or immigrate to foreign countries. On the one hand, these artists , living and working in an exotic culture, express the local human emotions consciously or unconsciously in order to adapt to the lives of foreign cultures. Their languages and practices of art mostly follow the popular forms of arts of those countries in which they live. On the other hand, these artists very naturally reveal the aesthetic emotion of their maternal cultures. Even the most basic artistic appreciation and judgment can’t escape the influence of their maternal cultures. As such, the cross-cultural identity is formed by the creative works from these artists.
Xinsheng Wang moved to Houston nearly twenty years ago. His creative art works clearly reflect the cross-cultural phenomenon. On the one hand, he depicted the daily lives of contemporary Americans in relatively realistic oil paintings. He also portrayed images of American public figures in his portraits. From his works, it is not difficult to see that the author, as an American citizen, is closely linked with the thoughts and feelings of Americans. On the other hand, Chinese local culture is deeply imprinted in his oil paintings. For example, although he portrayed mostly American people in his grass-root series, musician series and jazz series, but he focused most of his object of expression on those from the bottom of American society, especially the socially critical black beggars, the Vietnam War veteran and street artists. The realistic characteristics of XinshegnWang’s art works are undoubtedly closely related to the art education he received in China. As exemplified in his choice of realistic painting as the basic form of expression, his art works are not only adapted to the aesthetic taste of local American art collectors, but also advantageous for the expression of his thoughts in his realistic paintings. Interestingly, his realistic oil paintings are far different from those realist oil paintings by domestic artists who follow traditional European style. Rather, his realistic paintings have more or less the flavor of American expressionism. More importantly, the Impressionistic Realism, which identifies his individual style, actually stems from his maternal Chinese culture. It is especially true that his artistic revelation and talents are almost completed formed by the impressionistic Chinese ink painting characteristics. As another example, he has created Zen style paintings such as lotus series and the “crane in spring rain”. It is difficult to categorize these works depicting nature, which are full of Zen, as western style landscapes. These works resemble more Chinese style paintings of birds and flowers. Apparently, Xingsheng Wang’s works present the philosophy, poetry and artistic conception of oriental aesthetic connotation, although Xinsheng Wang used the light and color rendering of impressionism in landscape painting.
Born in 1949, Xinsheng Wang is typical of those contemporaries who “lived in new China and grew up under the red flag”. Too many political and cultural changes along with the growth of the newly born country are deeply imbedded in his experiences. These cultural experiences undoubtedly formed the spiritual foundation of realistic art works focusing on regular people and those live at the bottom of the society. He was born in the city of Xi-an and raised in Henan province. These two ancient capitals of historical Chinese culture have watered his root of talents. This is the maternal blood that will never dissipate when he steps across any cultures. Among one of the lucky ones of time, he immigrated to the United States in the 90’s during the reforming and opening-up period of China. In the United States, the center of contemporary art, he concentrated on the study of traditional western and contemporary art. In becoming an artist living in the US, he tasted the hardship of survival in a foreign culture. He finally found the critical point between oriental and western arts in his cross cultural pursuit, and established his unique artistic individuality and style.
When Chinese culture as a unique value is to influence the world along with the rapid development of China’s economy and overall national strength, those overseas Chinese artists living abroad have already stepped across various cultures through their own artistic creations. These works of Xinsheng Wang are exactly the objects of art history research on cross-cultural arts.
August 18, 2011 at Beijing 22 Court Street Art District
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