在水墨渲染中寻找内心的平静 | 黄威 「艺术访谈」
欢迎来到木牙Make Unique Young Arts，让我们来探索灵魂的深处～
1985,生于内蒙古包头市; 2011,毕业于天津美术学院国画系获学士学位; 2014,毕业于西藏大学艺术学院获硕士学位; 现生活工作于北京T3国际艺术区
1985,Born in Baotou, Inner Mongolia; 2011,Graduated from The Department of Chinese Painting of Tianjin Academy of Fine Arts with a bachelor's degree; 2014,I graduated from Art College of Xizang University with a master's degree; Now he lives and works in Beijing T3 International Art District.
After graduating from Tianjin Academy of Fine Arts, Huang Wei chose to study in Xizang because he was unsatisfied with the procedural education mode. As an ideal and sacred place for many people, Tibet has also provided artistic inspiration for many artists. Huang Wei is not concerned with Tibetan folk customs or landscapes, but with Tibetan unique, faith-based artistic expression.
The experience in Tibet was a rare retreat. He was willing to spend time in dialogue with nature as well as with his heart. Through painting, he established an inner field and objected to mountains, water and clouds with his mind.
Huang Wei's brushwork does not move restlessly. The rich texture on the picture comes from the countless dots dyeing of the brush tip and rice paper. This technique, which originated from the Traditional Tibetan painting "Thangka", requires a state of extreme silence and numerous repetitions, approaching a state of meditation. This is the classical spirit from Tibet, and in keeping with the spiritual pursuits of the great achievers of the Himalayan region. As his mentor Li Jin, one of China's leading contemporary ink painters, commented:
"Whatever he paints, even a glass of water, is associated with religion, as if a religious metaconess had entered his body."
Huang Wei does not draw by "smart", but by "believing". In doing so, he opens up a spiritual interior landscape. Between man and nature, there is a spirit of the road.
As an artist, what do you think of the current trend of art commercialization? How do you understand and digest the development of the art market?
As a painter, art commercialization is a very normal thing for me, which is an indispensable link in the art industry chain. You can take art as a career out of interest, which is already a life filled with happiness. The development of the art market requires long-term and reasonable planning by artists, but it is not something that can be controlled subjectively by artists themselves. Artists still need to put their mind to artistic creation.
Due to the rapid development, most people are now looking for "fast food static". use the external of objects (through the purchase of paintings and calligraphy works of art) to create the illusion of inner peace, rather than from the inner feelings of the mind to find inner peace. Huang wei purify your own through painting , for such a phenomenon how do you deal and understand with this?
I put more emphasis on the peace that the process of painting brings to me, and I believe that the reader can get this peace from my work, which is the greatest comfort for me. "Fast food static" is a very good word, the function of art is also very different, for the owner is also valuable, I can only control my artistic quality, through the works to calm myself and the reader's mind, watching the heart is the core value of my artistic creation, it must be started from the "heart".
➤ 木牙MUYA:“以静制动，以不变应万变。” 是古代诗歌的一种写作手法。而在这里用来比喻画作则是另一种观感。在您的画作中，又是怎样看待将云，水和时间这样流动的动态元素融入或者转化到您的静态水墨画作中的呢？
"With static control dynamics, Challenge instabilities with consistency" It is a writing method of ancient Chinese poetry. The metaphor used here is another way of looking at it. In your paintings, how do you integrate or translate dynamic elements such as clouds, water and time into your static Chinese ink paintings?
My paintings are an illustration and expression of time. The movement and stillness of an instant are expressed through artistic works, which is a kind of eternity. It is also a kind of care for "heart". In the current world of frequent changes, whether traditional aesthetics can be presented properly in the contemporary era is a question I have been asking.
How to combine traditional Thangka with contemporary Chinese ink painting with a sense of harmony? Could you tell us what they have in common and how they differ?
Huang Wei: 传统唐卡和水墨的结合在我身上是自然而然的发酵过程，在天津美院国画系跟老先生系统学习了传统绘画技法。毕业后，去西藏大学读研，攻读汉藏美术比较学同时又跟唐卡画师系统学习绘制唐卡的方法，从理论上和技法上做了很多研究。在我的作品中，两者的结合跟我的这段人生经历是分不开的。
The combination of traditional Thangka and ink painting is a natural fermentation process for me, and I systematically learned the traditional painting techniques from the professor in the Department of Traditional Chinese Painting of Tianjin Academy of Fine Arts. After graduation, I went to Xizang University to study the comparative study of Sino-Tibetan art and systematically learn the method of drawing Thangka from thangka painters. I have done a lot of research theoretically and technically. In my work, the combination of those two is inseparable from my life experience.
Tibetan Buddhism plays a very important role in the source of inspiration and the core culture of your creation. We are curious to know where you stand as a painter or cultural reproducer when you reproduce the image of this culture through the style of ink painting. Have you ever had trouble in shaping the image of Tibetan Buddhism because of your strong subjective consciousness?
At this stage, I may be more interested in Buddhism, and Tibetan Buddhism may be just a key for the beginning. Since ancient times, there have been many religious paintings handed down in the world, so here I am thinking about a possible expression of painting and image, through a combination of cloud, water, mountain and Buddha's shadow, between likeness and unlikeness. A philosophical realm in a dim vision.
The "seclusion" in Tibet has a great impact on you. What do you think is the most helpful for you to study for a master's degree in Xizang? What's the difference with your undergraduate years?
For each practitioner, "seclusion" is bound to occur at every stage of his or her life. It happened that I chose Tibet or Tibet chose me for the practice at that stage, both of which were arranged in an invisible way. The biggest help is to break out of some fixed thinking mode and think with different angles. Especially, the college consciousness in my undergraduate years has opened up a lot.
There are many ways of painting. Why do you choose Chinese ink painting for your artistic creation? Besides the influence of traditional Chinese culture and religion, is there any other special reason?
I think it may be a love of "paper" in my heart! The invention of papermaking was great, but it would be even greater if we could recreate valuable art on great things.
In addition to being an Chinese ink painter, what other types of work have you done? Has any of this work affected your work or your soul on different levels? How do you digest and understand? Could you share with us what are you working on recently?
In addition to painting, I also teach some painting lessons occasionally. Of course, there are some inspirations. Artists should learn more about life. Recently, affected by the epidemic, I was mainly engaged in creation and thinking in the room, and felt the pleasure of painting.
Which inspire your works most:
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