灵动的笔触，诠释着生命的本真气息——走进王海燕心中的生命之地

一朵花的绿，是充满能量的生命，

一朵花的红，是勇敢绽放的决定。

——花的故事

展览名称| Exhibition Name：

彩韵——一束鲜红一束淡绿

展览时间 | Date：

2025.01.18—2025.03.02

周二至周日11:00-19:00

展览地点 | Venue：

采艺术中心 UArt Center

地址｜Address：

上海市静安区浙江北路上海苏河湾万象天地慎余里2幢

Building 2，Shenyuli，Shanghai Suhewan MIXC WORLD，Zhejiang North Road，Jing AnDistrict，Shanghai.

春光作序，万物和鸣。由UArt Center采艺术中心、中国实学研究会社会美育专业委员会主办，中央美术学院教授马菁汝女士策展的《彩韵 ——一束鲜红一束淡绿》王海燕艺术个展正热烈开展中。

本次展览主要展出了艺术家王海燕自2014年以来创作的艺术作品，多聚焦于花卉与蝴蝶题材，并凭借灵动的笔触与独特的色彩运用，生动地捕捉并传递出自然生命的本真气息，为观者带来了一场兼具视觉震撼与心灵触动的艺术盛宴。

王海燕女士作为当代知名画家，自1994年参展开始，至今所参加的展览和举办的个展已达108次，采艺术中心也很荣幸成为王海燕女士2025年首次个展举办地。

仔细观察她的作品，可以发现蕴藏着细腻入微的变化与层次、持续演进与完善的艺术张力和充满艺术想象力的精神世界，不少艺术界的名家都对其欣赏有加。

接下来，就让我们来看看这些名家是如何评论的吧：

四季平安No.12 160x160cm 布面油彩 2023

淡如菊No.9 50x50cm布面油彩2019

铃兰花No.1 布面油彩 60x50cm 2024

花是一个非常诗意的题材，古往今来，许多画家都乐此不疲，希望借花来抒情达意，释放自己独到的性情。海燕也不例外。与以往不同的是，海燕生活在一个真实的现代社会里，除了对传统文化的崇拜以外，现实周遭也给了她许多刺激和心灵感应。绽放的牡丹、饱满的石榴，匆匆飞过的蜻蜓和蝴蝶，以及充满诱惑的色彩，构成了她持续的经验与记忆。

Flower is a poetic subject matter that is cherished by numerous artists from ancient to modern times. Artists use flowers to express their feelings and original temperament, so it is with Haiyan. Different from ancient artists, Haiyan, who admires traditional culture, lives in a vivid modern world which provides a lot of inspiration and telepathy. Blooming peony, pomegranate in fullness, dragonflies and butterflies flying by as well as tempting colors all constitute her continuous experience and memory.

文/张晓凌，中国国家画院原副院长，华东师范大学美术学院院长）

Zhang Xiaoling, former vice president of the China National Academy of Painting and dean of the Academy of Fine Arts of East China Normal University

绽放的花No.14 29.7x42.2cm纸本色粉2023

绽放的花No.15 42.2x29.7cm 纸本色粉 2023

海燕这些年特别关注中国传统艺术，特别注重对其母体艺术、本原艺术――民间艺术的的理解与思考。我一直认为中国民间文化的特质在于“吉祥”，中国的民间艺术也成为一种追求喜瑞祥和的艺术，它利用象征、寓意、谐音等手法串连出无限的意义，渗透在生活的方方面面，每一个细节，默默地发挥着自己的影响，因而这个民族才历经艰辛依然坚韧不屈，乐观向上。

In recent years, she had a particular eye for the Chinese traditional arts, especially appreciating and understanding the folk arts, the paternal forms of Chinese arts. I always believe that folk arts are rooted in the essence of “auspiciousness”. Folk art is also an art to pursuit good luck and happiness, using techniques such as allegory, symbolization, and homophony to create infinite meanings. This can be seen in every detail and every aspect of our lives, playing a part to exert influence on us all. It contributes to optimistic quality and resistance of the Chinese people through hardships.

所以每一个民间艺术形象既是具象的，又是抽象的，更是意象的。它超越了个体，也超越了形象与形式本身，传达出浓缩的中国文化语汇，构成典型符号。中国民间艺术的这种特点看来深深地吸引了海燕，从汉画像石、敦煌壁画、瓷器纹样、民间剪纸、刺绣、年画中她多有涉猎。

So every folk art image is both concrete and abstract, and even imagery. It is more than an individual image, but something beyond form and image itself, a symbolic existence as a condensed expression in the Chinese art and cultural languages. This particularly attracts Haiyan. Her footsteps p from Han portraits, Dunhuang frescoes, porcelain patters, folk paper-cutting, embroidery, to New Year paintings.

文/潘鲁生，中国文学艺术界联合会副主席，山东工艺美术学院原院长）

Pan Lusheng, Deputy Chairman of China Federation of Literary and Art Circles, President of Shangdong University of Art and Design

绽放的花No.20 41x32cm 纸本色粉 2024

绽放的花No.21 41x32cm 纸本色粉 2024

邓以蛰特别重视《周礼》中记载的画与绘的区别，认为画是勾线，绘是着色。邓以蛰根据国画后来的发展趋向，重视画而贬低绘，认为画体现的是文人的书卷气，绘只是工匠的手工活。邓以蛰承认，在后来的发展中，画与绘的区别就不明显了。在人文画中，画压倒了绘；在画工画中，绘压倒了画。

Deng Yizhe places high priority on differentiating painting from depicting as explained in Rites of Zhou, that painting is about lining, and depicting is about coloring. To Deng, he thinks that in the later trends of Chinese traditional paintings, painting is prioritized while depicting is under-valued. It is believed that painting is the work of the literati, and depicting is just a skill of craftsmen. He also acknowledged that in the later developments, the difference between painting and depicting is less prominent. In the literati paintings, painting plays a bigger role than depicting, while in the realistic paintings, depicting is the main focus.

但是，在海燕的画中，我们看到了画与绘之间的游戏。一方面，我们看到了自由的线条，这些线条没有像素描那样被色彩覆盖；另一方面我们看到了丰富的色彩，这些色彩没有被线条束缚住。为了将线条与色彩分离开来，我们看到海燕经常有意识地让它们错位。线条与色彩之间的对立与和解，构成海燕作品的一大特色。

In Haiyan’s works, we can observe a game between painting and depicting. On one side, there are free lines that are not covered by colors as in sketching; on the other side, we can also observe abundant colors that are free from any lines. In order to tell apart the lines and colors, it is her practice to consciously have particular placement or positioning of these elements. The contrast and reconciliation of lines and colors in her works contributes to her uniqueness.

文/彭锋，北京大学艺术学院院长美术评论家）

Peng Feng, Dean of the School of Art, Peking University, art critic

绽放的花No.24 32x46cm 纸本色粉 2024

绽放的花 No.25 41x37.5cm 纸本色粉 2024

海燕的作品有着简洁、清晰、精炼的优点，并通过清晰的视觉形象创造出自己的绘画方式，她这样做一定是想获得这些优点、理性、冷静、智慧、激情，使感性摆脱自身，进入有序的状态，而发展成完美的原则。

Haiyan's works have the advantages of simplicity, clarity, and refinement, and create their own painting style through clear visual images. She must want to achieve these advantages, rationality, calmness, wisdom, and passion, so that the sensibility can get rid of itself and enter an orderly state, and develop into a perfect principle.

文/闫平，中国人民大学教授）

Yan Ping, Professor at Renmin University of China.

蝴蝶兰 No.2 27x39cm纸本水彩2024

蝴蝶兰 No.3 39x27cm 纸本水彩 2024

显然，海燕画花有自己的观念，一是她不只表现生命的快感，二是她不赋予象征性，她借用一个寓意将纯视觉的经验审美转化成人与自然之间的因缘。我们勿把她的作品只当作视觉的本体审美，倘若懂花的人会在她的作品里发现不同季节不同时令的花卉集于一个空间中，这也契合了中国民俗艺术的纹样寓意。传统中国的民俗艺术一直将不同时空、季节的花果、昆虫或不同季节的人、事抑或物随意愿拼合在一起，以生活习俗经验给予美好的寓意，这种借喻式的暗指充满在海燕的花境里，让她的奔放的表现情感归属到一种社会文化的关注上，并将现代人的激情巧妙地糅合在文化的境遇中。

It is apparent that Haiyan has her own unique concepts attached to flowers, for first she does not only express the liveliness to the flowers, and second, she does not adopt symbolic meanings to flowers. She utilizes the folk art metaphors to construct connections between human and reality via converting pure visual sensation of aesthetics. We should not see her works just for the visual aesthetics of the paintings, but also the Chinese folk art connotations as we can see that she includes flowers from different seasons in one painting. It is a common technique adopted by Chinese folk artists by randomly modularizing flowers, fruits, and insects from different times, or people, subjects, scenarios from different seasons in one picture. Fine wishes are vested in the life experiences and customs. The metaphors are seen everywhere in the floral realm created by Haiyan in her works, diverting her strong feelings to a focus on interest on society and culture, and mashing tactfully the passions of modern people into the cultural realm.

文/顾黎明，清华大学美术学院教授）

Gu Liming, Artist professor supervisor, Academy of Arts & Design, Tsinghua University