人物介绍
蓝剑，南京艺术学院油画系副教授、副主任，江苏油画学会理事。
Artist Profile:
Lan Jian, Associate Professor and Deputy Director of Oil Painting Department, Nanjing University of the Arts, and member of Jiangsu Oil Painting Society.
蓝剑部分艺术观点陈述/
欧洲古代画家已经利用光学器材辅助写生和绘画创作了，但真正意义的影像出现后彻底冲击了绘画等传统艺术，而人类高科技构筑了新的变化还在不断展开。虽然照相技术早已成熟，但短短十几年间影像成像质量和效果变化有明显的差异，人类的视觉探索从没有停止过。今天我们生活在一个图像世界里，这是建立在一个极为发达的消费社会基础上的，传统绘画面对这些何去何从？当然，这也不是新问题了，甚至近年来摄影界也有摄影艺术已经终结的观点和争议。摄影和绘画其实面临着类似的问题，艺术创作一方面需要精神和心灵的支撑，一方面需要智慧和技术的升级。
Ancient European painters have already adopted optical equipment to assist sketching and painting, but the emergence of true images completely impacted the traditional arts such as painting, while the new changes constructed by mankind technology are still unfolding. Although photographic technology is already mature and the difference in imaging quality and the effect change of images in a short span of ten years is significant differences, the visual exploration of mankind has never stopped. Nowadays we are living in an image world based on a highly developed consumer society, facing with these situations, what traditional paintings should do? This is certainly not a new problem, and there even have been views and controversies about whether the photography industry has seen the end in recent years in photography world. Photography and painting are faced with similar problems. Artistic creation requires both spiritual and mental support on the one hand, and the upgrading of wisdom and technology on the other hand.
作品赏析
《沧浪》Surging Waves
（150cm x 195cm ），布面油彩，蓝剑，2014
《荷风四面》 Lotus Pond
（180cm x 128cm ）布面油彩，蓝剑，2009
《长虹卧波》 The Water Gallery
（160cm x 115cm），布面油彩，蓝剑，2012
《桃园》The Peach Garden
（155cm x 210cm），布面油彩，蓝剑，2012
《春水》 Lake in Spring
（155cm x 83cm），布面油彩，蓝剑，2015
《湖山含翠》 Lake and Hills
（155cm x 83cm），布面油彩，蓝剑，2015
《夏日》 Summer
（155cm x83cm ），布面油彩，蓝剑，2015
《四月花》 April
（155cm x 83cm ），布面油彩，蓝剑，2015
学者评价：
Scholars' evaluation:
▼沈行工
中国油画学会常务理事 南京艺术学院教授
就绘画作品题材选择的角度而言，蓝剑的作品似乎多少带有某种时尚性的因素。他画过一些表现当代年青人日常生活场景的作品，有时甚至还会掺进一点超现实的意味。即便是近期所画的风景静物等，由于选材与构图的新颖别致，也十分引人注目。与不少同类题材作品激越跳跃的表现形式相反，蓝剑的作品是沉静内敛的，柔和的色调与严谨的造型、轻盈的笔致配合得非常和谐，细腻微妙的层次变化使画面缓缓透出一种温暖。
In terms of the selection of subject matter of painting, the works of Lan Jian seems to possess certain fashionable elements. He has drawn some works that express the daily life scenes of young people, and sometimes even a little surreal implication is added. Even the recently painted landscapes and still objects are very striking because of the novelty of the material selection and composition. A lot works of similar subjects adopt intense and bouncing patterns of manifestation, by contrast, works of Lan Jian are calm and restrained with harmonious combination of soft light, rigorous modeling and light strokes, and there is a kind of warmth slowly exuded from the painting by exquisite and delicate layer changes. –Shen Xinggong (executive director of China Oil Painting Society, professor of Nanjing University of the Arts)
▼刘伟冬
南京艺术学院院长 国务院学位委员会美术学科评议组召集人
蓝剑试图寻找照相和绘画之间的一种可能性，赋予现实的风景以主观的色彩，对图像进行了另类的解读，他选择了江南园林作为跨界实验的对象与他的审美追求有着密切的关系。他的江南园林与其说是写实的，倒不如说是超现实的，而超现实性似乎更加接近他的艺术伊甸园。
Lan Jian attempts to find a possibility between photography and painting to make an alternative interpretation of images by endowing the realistic scenery with subjective color, and he chose south Chinese gardens as the objects of crossover experiment, which is closely related to his aesthetic pursuit. His works of south Chinese gardens are rather surreal instead of realistic, and super-reality seems to be more close to his Eden of art. –Liu Weidong (Dean of Nanjing University of the Arts, convener of the art appraisal group of Academic Degrees Committee of the State Council)
▼尚辉
著名美术评论家、策展人 、《美术》杂志主编
在表现诗性江南的风景上，和南艺的多位艺术家一样蓝剑也多受沈行工影响而追求淡雅平和的风景图式，但也因各自不同的文化背景与个性气质而显示出图式的差异化。蓝剑则似乎是江南自然时空的布景大师，阴晴雨雾、风花雪月，随手拈来，画面的变调显得更加主观也更加超验，尤其是一些青莲色的运用更使画面弥散出一种幻境。画家对于江南风景的描绘摆脱了自然主义的实写，而追求心智对于江南风景的意写，虚幻或许也是映射自然的一种态度，这为他们平和的风景里注入了神秘而幽邃的精神性。
In terms of the poetic presentation of southern scenery, like many other artists in Nanjing University of the Arts, Lan Jian is greatly influenced by Shen Xinggong and pursues elegant and peaceful scenery scheme, and they demonstrate scheme differentiation because of their different cultural backgrounds and personalities. Lan Jian is more like a setting master of southern natural space, spontaneous scenes of the changing weather, romantic themes make the modification of image more subjective and transcendent, particularly the use of brick red makes the image disperse an unreal state. His portrait of southern scenery gets rid of the naturalistic realism and pursues the abstract expression of the scene by noema. Illusion may be also an attitude to reflect the nature, which revitalizes the peaceful view with mysterious and deep spirituality. —Shang Hui (famous art critic, curator, editor-in-chief of Arts Magazine)
▼商勇
著名美术评论家、策展人
在今日社会到处举办显性与隐性商业展览的情境里，纯学术的展览显得奢侈，且只有在艺术院校的暖棚里方得到万般呵护。蓝剑具有非常扎实的写实绘画功底，这次却拿出一批使人耳目一新的作品，赞誉之声有，批评之声也有，而这种争议性也正是性格温吞的蓝剑带给众人的一份惊喜。在架上绘画面临危机，江苏油画期待振兴的当口，这种试验和尝试应当得到更多宽容和鼓励，而不是打压和漠视。当然这类探询绘画新可能的尝试也许在现代艺术的视野里并不新鲜，可对于体制内画家，特别是强调传承的院校体制内的画家，寻求突破除了需要能力与信心之外，还需一份“不破不立”的胆量。
In the context of explicit and implicit commercial exhibitions at all places in the current society, purely academic exhibitions appears to be a luxury and can only be protected in the greenhouse of art colleges. Lan Jian has a solid foundation of realistic painting, but this time he presents a series of refreshing products receiving both praises and critiques, and this controversy is exactly the surprise this moderate artist brought to the public. At the moment of easel painting facing with crisis and oil painting industry in Jiangsu expecting revitalization, this test and trial is supposed to earn more tolerance and encouragement instead of suppression and disregard. Although this attempt of exploring the new possibilities of painting is not unusual in modern art field, for in-system painters, especially painters in colleges emphasizing inheritance, seeking a breakthrough requires innovative courage besides abilities and confidence. –Shang Yong (famous art critic, curator)
▼赵笺
青年学者
蓝剑的作品在展览中引起了观众的极大兴趣。尽管艺术家本人强调文化穿越意义上的“油画画园林”, 但观众在乍一面对这样的作品时, 往往会感到有些手足无措——照相写实、数码处理、油画笔触甚至是某种糖水片式的甜腻效果集于一身之后, 意义反而被一定程度的消解了。这不禁令人联想起德国艺术史家汉斯·贝尔廷的观点, 他认为媒介上的开放是当代艺术的特点之一但又不仅仅限于此, 当代艺术尽管使用日常生活中的媒介, 但它之所以仍然属于艺术, 正是因为它具有跟大众媒介中的图像相对抗的性质——在蓝剑的作品里, 多种大众媒介的性质综合呈现后, 反而拉开了其与大众媒介间的距离, 而这种张力本身 (从当代艺术理论的角度来看) 就是富有意义的。
The works of Lan Jian have drawn much attention from the audience. Although Lan Jian himself emphasizes “portraying gardens with paintings”, audience will feel confused when facing with the works for the first time—with the combination of realistic photos, digital processing, oil painting touches and even the sweet and cloying effects, the meaning is resolved to some extent. This involuntarily reminds us of the ideas of the German art historian Hans Belting, who thinks that medium openness is more than one of the characteristics of modern arts. Although modern arts will adopt real-life media, which is still an art form because it contrasts to the images in mass media—the properties of multiple public media in the works of Lan Jian are comprehensively represented, which instead enlarges the distance between the works and mass media, and this tension itself (in terms of modern artistic theories) is meaningful. –Zhao Jian (young scholar)
联系客服
