Shadows
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Artist: Xuhong Yu
Views: 32
捕风捉影
文/余旭鸿
影是光的缺失，影是暗，光是明，一欲遮蔽一切，一欲澄明一切。影，无处不在，我们被包围在各种影之中。洞穴人的“影”、现代人的令视觉纵欲与消费快感的图像之“影”。
中西绘“影”之事颇多。“佛陀画影”、宋迪“败壁张素”、华光“以影写梅”、夏圭“舍形悦影”、蜀人“月夜竹影墨戏”等等，皆勾连自然之象与精神之道。古人在光影虚实、明暗、黑白的晃动变迁之中，成山水之象，察意体道。
普林尼在《自然史》中称，西方绘画起源于先人描绘自身之影，使用线条描轮廓的单色画至今沿用。再者，雕塑亦为如此起源：陶工布塔德斯的女儿借灯光将爱人身影轮廓描于墙上，其父依影填土，烧制成第一个浮雕。
时至今日，我们回望初学书法之时，依影描红，捕影成形，倍感亲切，唯叹形神兼备之难。看当年，古人饱游袄看，戏情山水绘书画，写形得意望象，体察山水之道。而如今，我们亦穿梭于真假山水丛林形影之中，疲惫身躯又能找到心灵栖居之所？
闲时种木弄草，寒暑往复，生息轮回，形凋影落。枯藤老树，闪电残影，零零寂寂，景意相生。绘“影”之事始于此。追溯古昔，试图悬置先见，直接将画布置于庭院草木影中，以洞穴人描影方式依影描绘，让影子呈现画面。
辗转奔波，寄情草木山水，体察一方水土，寻其诗。
捕风捉影，复观光影黑白，运筹半丈画布，绘其意。
捕风捉影，感其见受，或描或绘。或意笔草草，得意忘形，意于其表；或繁人蛹居，形影如虫，迷离其中。
机械复制时代艺术作品丧失的“灵晕”，安能失而复得？
CATCHING WINDS & CAPTURING SHADOWS
- YU Xuhong
Shadows are the lack of lights. Shadows are dark and lights are bright. Shadows try to shade everything and the other want to clarify everything. Shadows exist everywhere and we are surrounded by all kinds of shadows: cave dweller,s shadows or modern,s shadows of images that indulge their eyes and consuming desires.
There,re lots of examples of shadow-painting both in eastern and western history of arts. The instances in the Chinese art history are: “drawing on the silk above the broken wall”---- Song Di, “painting plum blossoms in shadows, ----Hua Guang, “abandoning shapes and getting shadows”---- Xia Gui, etc. The ancient artists created landscapes and appreciated spirits and Dao through the void and solid, darkness and brightness, black and white of the shadows and lights.
Pliny alleges in his “Natural History” that the origin of western drawing is the description of human beings themselves. The monochromes of drawing contours exist till now. Furthermore, sculpture is of the same origin. Boutades, daughter drew her lover,s profile on the wall by the aid of lights and her father pasted clay onto the profile. Then the first relief came out.
Up to the present, we retrospect our beginning of learning calligraphy, when we imitated the characters on transparent paper above the copybook and get the shapes of characters. Besides familiar, we feel difficult to grasp both shape and spirit. Look back to the old times, the ancients traveled in nature and created calligraphs and drawings from which they got the spirits and Dao of the nature. Now, we shuttle through the images and shadows of the true or fictive world. However, how could our tired bodies seek the dwelling of the souls?
I love gardening and could observe the seasons changing, lives growing and withering. The lonely shadows of the dried bines and old trees in my garden attracted me and I started painting “shadows” from then on. I take the references of the ancients and set the canvas directly under the shadows of the plants in my garden. I record the shadows by the way of the cave dwellers.
Traveling around and experiencing through, offering emotions on nature, I observe the world and seek the poetries.
Catching winds and capturing shadows, watching lights and shadows, I paint on the limited canvas and grasp the spirits. Catching winds and capturing shadows, I express my feelings by drawing or painting. Sometimes, I scratch and deliver my emotions freely, sometimes I paint people crowded together like worms and lost themselves.
Could the nimbus lost in the artistic works of the machine-copying era be obtained by us once again?
文/余旭鸿
影是光的缺失，影是暗，光是明，一欲遮蔽一切，一欲澄明一切。影，无处不在，我们被包围在各种影之中。洞穴人的“影”、现代人的令视觉纵欲与消费快感的图像之“影”。
中西绘“影”之事颇多。“佛陀画影”、宋迪“败壁张素”、华光“以影写梅”、夏圭“舍形悦影”、蜀人“月夜竹影墨戏”等等，皆勾连自然之象与精神之道。古人在光影虚实、明暗、黑白的晃动变迁之中，成山水之象，察意体道。
普林尼在《自然史》中称，西方绘画起源于先人描绘自身之影，使用线条描轮廓的单色画至今沿用。再者，雕塑亦为如此起源：陶工布塔德斯的女儿借灯光将爱人身影轮廓描于墙上，其父依影填土，烧制成第一个浮雕。
时至今日，我们回望初学书法之时，依影描红，捕影成形，倍感亲切，唯叹形神兼备之难。看当年，古人饱游袄看，戏情山水绘书画，写形得意望象，体察山水之道。而如今，我们亦穿梭于真假山水丛林形影之中，疲惫身躯又能找到心灵栖居之所？
闲时种木弄草，寒暑往复，生息轮回，形凋影落。枯藤老树，闪电残影，零零寂寂，景意相生。绘“影”之事始于此。追溯古昔，试图悬置先见，直接将画布置于庭院草木影中，以洞穴人描影方式依影描绘，让影子呈现画面。
辗转奔波，寄情草木山水，体察一方水土，寻其诗。
捕风捉影，复观光影黑白，运筹半丈画布，绘其意。
捕风捉影，感其见受，或描或绘。或意笔草草，得意忘形，意于其表；或繁人蛹居，形影如虫，迷离其中。
机械复制时代艺术作品丧失的“灵晕”，安能失而复得？
CATCHING WINDS & CAPTURING SHADOWS
- YU Xuhong
Shadows are the lack of lights. Shadows are dark and lights are bright. Shadows try to shade everything and the other want to clarify everything. Shadows exist everywhere and we are surrounded by all kinds of shadows: cave dweller,s shadows or modern,s shadows of images that indulge their eyes and consuming desires.
There,re lots of examples of shadow-painting both in eastern and western history of arts. The instances in the Chinese art history are: “drawing on the silk above the broken wall”---- Song Di, “painting plum blossoms in shadows, ----Hua Guang, “abandoning shapes and getting shadows”---- Xia Gui, etc. The ancient artists created landscapes and appreciated spirits and Dao through the void and solid, darkness and brightness, black and white of the shadows and lights.
Pliny alleges in his “Natural History” that the origin of western drawing is the description of human beings themselves. The monochromes of drawing contours exist till now. Furthermore, sculpture is of the same origin. Boutades, daughter drew her lover,s profile on the wall by the aid of lights and her father pasted clay onto the profile. Then the first relief came out.
Up to the present, we retrospect our beginning of learning calligraphy, when we imitated the characters on transparent paper above the copybook and get the shapes of characters. Besides familiar, we feel difficult to grasp both shape and spirit. Look back to the old times, the ancients traveled in nature and created calligraphs and drawings from which they got the spirits and Dao of the nature. Now, we shuttle through the images and shadows of the true or fictive world. However, how could our tired bodies seek the dwelling of the souls?
I love gardening and could observe the seasons changing, lives growing and withering. The lonely shadows of the dried bines and old trees in my garden attracted me and I started painting “shadows” from then on. I take the references of the ancients and set the canvas directly under the shadows of the plants in my garden. I record the shadows by the way of the cave dwellers.
Traveling around and experiencing through, offering emotions on nature, I observe the world and seek the poetries.
Catching winds and capturing shadows, watching lights and shadows, I paint on the limited canvas and grasp the spirits. Catching winds and capturing shadows, I express my feelings by drawing or painting. Sometimes, I scratch and deliver my emotions freely, sometimes I paint people crowded together like worms and lost themselves.
Could the nimbus lost in the artistic works of the machine-copying era be obtained by us once again?
