[2024-10-23 18:13:56]

【上苑展讯】摄心

Take The Heart

段维国当代艺术展

Duan Weiguo Contemporary Art Exhibition

参展艺术家：段维国

Exhibiting artist: Duan Weiguo

展览作品形式：雕塑，水墨

Exhibition forms: Sculpture, Ink Painting

艺术顾问：盛杨

Art Consultant: Yang Sheng

学术主持：朱尚熹

Academic host: Zhu Shangxi

策展人：汤军，王晓燕，李念奴

Curators: Tang Jun,Wang Xiaoyan,Li Niannu

主办单位Organizer：

上苑艺术馆Shangyuan Art Museum

协办单位Co organizer：

北京油画雕塑促进会，雕塑头条，绿皮车沙龙，云上川（唐山）文化传媒有限公司，云上川唐山影视基地，Front前研，非艺术，超结构主义艺术工场

Beijing Oil Painting and Sculpture Promotion Association, Sculpture Headlines, Green Car Salon, Yunshangchuan(Tangshan) Cultural Media Co., Ltd, Yunshangchuan Tangshan Film and Television Base,Front, Non-Art, Surstructuralism Art Workshop

海报设计：王晓燕

Poster design: Xiaoyan Wang

开幕时间：2024年10月25日下午3点半

Opening time: 3:30 pm on Oct. 25th, 2024

展览时间：2024年10月25日-28日

Exhibition time: October 25-28, 2024

展览地点：上苑艺术馆图书馆一层（北京怀柔区沙峪口村委会东150米，沙峪口艺术广场对面）

Exhibition location:First floor of libraryat Shangyuan Art Museum (150m east of Shayukou Village Committee in Huairou District, Beijing, opposite Shayukou Art Square)

前言 Preface：

摄心之段The segment that takes theheart

儒乐：隐现段线 Confucian music: Segment-Line appear indistinctly

《文王操》，铝合金铸造，120x126x68cm，2012-2013

"King WenPlay", aluminum alloy casting

段维国为自己的上苑艺术展带来了雕塑、水墨等作品十多件。此次展览既是一次摄心之旅，又是对其艺术语言的观摩。摄心意为：控制心志，收敛心神。观其雕塑《文王操》以空灵的文王形象配以实在的古琴，从虚实角度对“文王操”这一儒家音乐主题做了解读。看到雕塑《文王操》，就仿佛听到一段段琴声从远古飘来。空间虚与实、时间远与近、历史真与假，都在雕塑上凝结着，分析着。

Duan Weiguo brought more than ten sculptures, ink paintings and other works to his Shangyuan Art Exhibition. This exhibition is both atake-heart journey and an observation of its artistic language.Take-heart means controling the heart and restrain it. The sculpture "King WenPlay" interprets the Confucian music theme of "King WenPlay" from the perspective of reality and virtuality, with the ethereal image of King Wen paired with a realinstrument. Seeing the sculpture ’King Wen Cao’ is like hearing the sound of ainstrument drifting from ancient times. The emptiness and reality of space, the distance and proximity of time, and the truth and falsehood of history are all condensed and analyzed in sculpture.

《文王操》局部

Part of"King WenPlay"

若仔细观察此作，在雕塑空间内壁上可见一段段手痕形成的线，即“段线”。段线在此出现，似是无意之举，实为艺术家潜意识的展现。此处本在雕塑之内，却因作品本身的开敞姿态而变得显见。于是，段线隐现了。它不仅是塑造“文王”内在性格的有力支撑，还是艺术家的独特语言。段线还将在其它作品中不断涌现，渐成大观。

If you observe this work carefully, you can see lines formed by hand marks on the inner wall of the sculpture space, which are called "segment-lines". The appearance of the line here seems to be an unintentional act, but it is actually a manifestation of the artist’s subconscious. This place was originally within the sculpture, but became apparent due to the open posture of the work itself. So, the segment-lines appeared. It is not only a powerful support for shaping the inner character of the "KingWen", but also a unique language for artists. Segments-line will continue to emerge in other works, gradually becoming a grand spectacle.

道门：段面铺陈 Door ofTaoism: arranging Segment-Surface

《神人畅》，玻璃钢铸造，120x126x68cm，2012-2013

"Happy Immortal",fiberglass casting

道家主张自然而为，无为而无不为。与“逍遥游”的鲲鹏相比，雕塑《神人畅》里的神人更接近普通人，也意味着普通人的逍遥。在这里，段线再次出现。那些流畅的段线与造型，正表达出逍遥快乐与精神自由。并且，段线还组成了“段面”，即神人身上如横断山脉般的衣褶，从而服务于人物塑造。其实，段面本身可独立形成语言，即段线的构成。

Taoism advocates for doing things naturally and doing nothingwith doing anything. Compared tomythicalanimals named"Kunpeng" in "The Untrammeled Traveling", theimmortal in the sculpture "Happy Immortal" is closer to an ordinary person and implies the carefree nature of ordinary people. Here, thesegment-line appears again. Those smoothsegment-lines and shapes express carefree happiness and spiritual freedom. Moreover, thesegment-lines also form the "segment-surface", which refers to the folds of clothing on theimmortal thatlike the mountain range, thus serving the character shaping. In fact, segment-lines themselves can independently form language, that is, the composition of segment-lines.

《钟馗》，玻璃钢铸造，2023

"Zhongkui",fiberglass casting

雕塑《钟馗》是另一件段面之作。在钟馗的躯体上，可见简洁的段线勾勒出大块段面，使得钟馗呈现出雄拙之气。他手持的利剑上也是分出了段面，有些类似“神人”的衣褶。而从钟馗头部可看到，段线与段面变得复杂起来。这使得其头部与身躯之间形成繁简对比、平凸互文，从而凸显出“段语言”（段线与段面）的个性特征。

The sculpture ’Zhongkui’ is another piece of composition. On Zhongkui’s body, simple segment-lines outline large sections, giving him a majestic and clumsy aura. The sharp sword he held also had segment-surfaces on it, what resemblingthe folds of clothing on the"immortal". From Zhongkui’s head, it can be seen that the segment-lines and segment-surfaces have become more complex. This creates a contrast of complexity and simplicity between the head and body, highlighting the individual characteristics of "segment-language" (segment-lines and segment-surfaces) through a flat and convex intertextuality.

《须陀洹-1》，纸本水墨，120x126x68cm，2024

"Sotapanna-1"，chinese ink on paper

《须陀洹-2》，纸本水墨，120x126x68cm，2024

"Sotapanna-2"，chinese ink on paper

《南风》，纸本水墨，2022-2023

"Southern Wind"，chinese ink on paper

在水墨作品《南风》中，艺术家对传统水墨及其皴法的突破，正在于段线与段面的充分运用。不规则的线条穿行在明暗块面间，正如艺术家对于摄心的探索。段线变得封闭，不再如“文王”体内那般张扬。

In the ink painting work "South Wind", the artist’s breakthrough in traditional ink painting and its texturing techniques lies in the full use of segment-lines and segment-surfaces. Irregular lines run between the light and dark blocks, just like an artist’s exploration of take-heart. The segment-line becomes closed, no longer as prominent as inside the "King Wen" ’s body.

段面基于段线的规范，却在墨色助力下变得极不规则。那些东骋西驰的段面排列组合，营造出随机的美感与张扬，水墨的质感也得以靠段面呈现。由于水墨终归只是二维，所以段面能够在墨分五色与线条的抑扬顿挫间持续生成、转化，造就出新的水墨抽象。

The segment-surface is based on the specification of segment-lines, but with the help of ink, it becomes extremely irregular. The arrangement and combination of those flowing segment-surfaces create a random beauty and grandeur, and the texture of ink can also be presented through the segment-surfaces. Since ink painting is ultimately only two-dimensional, segment-surfaces can continuously generate and transform between the five colors of ink and the ups and downs of lines, creating new ink abstractions.

《广陵散》，青铜铸造，68x26x28cm，2012-2013

"Guangling Play", bronze casting

更可关注的是，段线与段面在水墨和雕塑上呈现出同样的形态。这也就充分说明了段线与段面的合理价值。从青铜雕塑《广陵散》上可看到，“文王”体内那些段线化作了“嵇康”的犹如南风一样的段面，而将嵇康的醉狂之态表现得淋漓尽致，达到人琴合一。

What is more noteworthy is that the segment-lines and segment-surfaces present the same form in ink painting and sculpture. This fully demonstrates the reasonable value of segment-lines and segment-surfaces. From the bronze sculpture "Guangling Play", it can be seen that the segment-lines inside "King Wen" have transformed into the segment-surfaces of "Ji Kang" like "Southern Wind", fully expressing Ji Kang’s drunken madness and achieving the unity of man andinstrument.

佛空：段体的生成 Buddha’s Void: The Generation of Segment-Body

《欢喜-1》，玻璃钢铸造及丙烯，2018-2024

"Joy-1", fiberglass casting and acrylic

《欢喜-2》，玻璃钢铸造及丙烯，2018-2024

"Joy-2", fiberglass casting and acrylic

佛门尚空，认为色与空同，现实物质（色）世界处于永久变化而不定（空）。因此要想追求永恒，就得到现实世界之外去寻找。这与超结构主义对于超结构的追求异曲同工，即超结构体（超体）比起日常时空的事物更具永恒性。

Buddhism pursues emptiness and believes that matter and emptiness are the same. The material world of reality is constantly changing and uncertain. Therefore, in order to pursue eternity, one must seek beyond the real world. This is similar to the pursuit of Surstructuralism for surstructure, that is, surstructure entitys are more eternal than the things in normal time-space.

摄心本是佛语。北魏杨炫之在《洛阳伽蓝记》中说：“沙门之体，必须摄心守道，志在禅诵。”罗汉果位，是具备佛性者修行个业可达到的最高成果。段维国的《罗汉》系列即在于表达空观。罗汉在禅定时体味空，于默想中屏蔽色。因而“罗汉”的摄心之法体现于姿态，便是目空一切而内定见佛。

Take-heart is originally a Buddhist language. Xuanzhi Yang in the Northern Wei Dynasty said in the "Luoyang Qielan Record" that "the body ofsramana must focus on take-heart and keep the great truth, and aim at Zen chanting." The position of Arhat is the highest achievement that can be achieved by those who have Buddha nature in their personal practice. Duan Weiguo’s "Arhat" series is to express the concept of emptiness. Arhat experienced emptiness in meditation and shielded the material world in meditation. Therefore, "Arhat" ’s method of heart capturing is embodied in posture, that is, to be supercilious andsee Buddha bydetermineing in the heartfirmly.

于是，罗汉的段线不再如“神人”那般流畅，而是顿感十足。其段面也不似“嵇康”那样起伏多变，而是直接呈现出了“段体”。罗汉的段体于清晰与混沌间，显示着渐悟之机。段体呈现缓慢柔和的线条，以及朴素无华的段面，使雕塑浑然一体，充满东方神秘主义。

As a result, Arhat’s line is no longer as smooth as the "immortal", but full of the feeling ofsetback. Its segment-surfaces are not as undulating and varied as "Jikang", but directly present a "segment-body". Arhat’s segment-body is between clarity and chaos, showing the opportunity to gradually comprehend. The segment-body presents slow and gentle lines, as well as simple and unadorned segment-surfaces, making it seamlessly integrated and full of eastern mysticism.

《玉树临风》，玻璃钢铸造及丙烯，2023

"Windward Tree of Jade", fiberglass casting and acrylic

段维国的摄心方式之一，便是艺术。于是他创作了很多有关儒释道的雕塑与水墨，如《文王操》、《神人畅》、《广陵散》、《罗汉》、《南风》等，可谓艺接三门。其“段语言”（段线、段面与段体）还处在探索期，即摄心阶段。但终将登堂入室，见心明性，立地成佛。

One of Duan Weiguo’s ways of take-heart is through art. So he created a lot of sculptures and ink paintings about Confucianism, Buddhism and Taoism, such as "King Wen Play", "Happy Immortal", "Guangling Play", "Arhat", and "Southern Wind". It can be said thathis art connects threedoors of religioustruth.His "segment language" (segment-line, segment-surface, and segment-body) is still in the exploratory stage, that is, the stage of take-heart. But in the end, he will enter the hall, see the heart and nature, and become a Buddha on the ground of thought.

段维国认为，所有艺术都是艺术家生命状态的展现，有什么状态就有什么艺术。艺术只要能恰当表现艺术家的精神状态、生命境界，并与艺术家气质相契合，就是好的艺术。

Mr. Duan believes that all art is a manifestation of the artist’s life state, and there is art in whatever state there is.It’s good art as long as it can appropriately express the artist’s spiritual state and life realm, and is in line with the artist’s temperament.

艺术并不怎么重要，它只是人生一段旋律，是生命主旋律的副歌，不可能代替或成为生命。所以，重要的是我们由始至终的整个生命过程，以及自己能把握的那一段生命过程。我们如何在这个过程中经营好生命，如何让这段生命旋律更优美，坦然欣喜，没有遗憾，这比什么都重要。

Art is not very important, it is just a melody of life, a chorus to the main melody of life, and cannot replace or become life. So, what is important is our entire life process from beginning to end, as well as the part of our life process that we can grasp. We manage life well in this process, making the melody of this life more beautiful, joyful, and without regrets, more important than anything else.

汤军

Tang Jun

于上苑艺术馆

At Shangyuan Art Museum

2024年10月15日

October 15, 2024

盛杨 Sheng Yang：

我所认识的段维国Duan Weiguo I know

段维国是一位很有才能而且非常勤奋的雕塑家。据我所知，他在疫情困难时期还做了很多雕塑，真是难能可贵。

Duan Weiguo is a talented and hardworking sculptor. As far as I know, he also made many sculptures during the difficult period of the epidemic, which is truly commendable.

遗憾的是这些作品我均未见到，很难评说。但在几年前我曾应邀参观过他的工作室，给我留下了很深印象。他做了许多佛像以及佛教题材作品。起初我以为他在研究我国古代佛教雕塑，探索模仿唐风宋韵之作。但待我注目细看之后，发现他所表现的佛像、观音、菩萨似隐似显，似有似无，既端庄又和蔼，既神圣又慈祥，隐隐约约散发一种虚幻的灵性，令我沉浸在禅悟的虔诚之中。

Unfortunately, I have not seen any of these works and it is difficult to comment on them. But a few years ago, I was invited to visit his studio, which left a deep impression on me. He has created many Buddha statues and Buddhist themed works. At first, I thought he was studying ancient Buddhist sculptures in China, exploring imitations of Tang style and Song rhyme works. But after I looked closely, I found that the Buddha statues, Guanyin, and Bodhisattvas he portrayed were both hidden and visible, both tangible and intangible, both dignified and kind, both sacred and benevolent, emitting a kind of illusory spirituality that immersed me in the devout meditation.

我看过很多佛像复制临摹作品，也看过一些新建或修复庙宇里的佛像。很多佛像做得相当到位，但总感觉缺点灵性和佛性。

I have seen many replicas of Buddha statues, as well as some Buddha statues in newly built or restored temples. Many Buddha statues are done quite well, but I always feel that they lack spirituality and Buddha nature.

段维国做佛像并不停留在摹仿上。他对佛学很有研究，也是一个崇尚佛家思想的悟道者。所以他的作品有佛性，有灵性。可见但凡一个艺术家你想表现什么，你得下功夫去研究和理解，才会有感情，有激情，才能创造出好作品。

Duan Weiguo did not stop at imitating Buddha statues. He has a deep understanding of Buddhism and is also a practitioner of Buddhist philosophy. So his works have Buddha nature and spirituality. It can be seen that any artist who wants to express something needs to put in effort to study and understand it in order to have emotions, passion, and create good works.

在他的工作室另一角有件作品，我还没看清楚是什么内容，但它整体造型的悲壮气势强烈地吸引我。当我走近细看，原来是一位风卷残鬓、挥臂颤指地击打琴弦的老人，这更加扣住了我的心弦。作者说，这是表现竹林七贤……他的话未说完，我就想到，啊！这是嵇康，他在临刑前悲愤交加地索琴弹奏了千古绝唱《广陵散》。这件作品充分表现了嵇康的坚强孤傲，正直坦荡的文人志士风骨。看得出作者对嵇康是理解的，敬仰的，深有情感的，否则做不出这么动人的作品。在这件作品中，作者在艺术处理上首先抓住了主题所需的基本气势，在大形上造成悲壮的抽象性基调，给观众以强烈感染。又在细节中抓住重点，精心刻画，从而引人入胜，耐人寻味，发人深思。整体与细部有机组合得很完好。工作室还有很多作品都是佳作，如作品《瘦马》令人感到孤独与沉寂，联想到断肠人在天涯。

In another corner of his studio, there is a piece of work that I haven’t seen clearly, but its overall tragic and imposing design strongly attracts me. When I approached and looked closely, it turned out to be an old man with twisted temples and trembling fingers waving his arms to strike the strings, which further gripped my heartstrings. The author said that this is a portrayal of the Seven Sages of the Bamboo Grove... Before he could finish his words, I thought, Ah! This is Ji Kang, who played the timeless masterpiece"GuanglingPlay" on the qin with a mixture of grief and anger before his execution. This work fully demonstrates Ji Kang’s strong and proud character, as well as his upright and straightforward literati and ambitious spirit. It can be seen that the author understands, admires, and has deep emotions towards Ji Kang. Otherwise, such a moving work would not have been possible. In this work, the author first takes the basic momentum required by the theme in artistic processing, creating a tragic and abstract tone in the grand form, and strongly infecting the audience. Grasping the key points in the details and meticulously depicting them, thus captivating, and thought-provoking. The overall and detailed organic combination is very well done. There are many works in the studio that are excellent, such as the work ’Thin Horse’ which makes people feel lonely and silent, reminiscent of the heartbroken man at the ends of the earth.

段维国很勤奋，经常住在工作室。工作室放了很多雕塑台。他同时做几件作品，什么灵感来了就抓起泥巴做什么。有时半夜兴致大发，从床上爬起，披上衣服就工作，叮叮当当的，太阳当头了也不停歇。他的创作热情与勤奋精神十分可敬。

Duan Weiguo is very diligent and often lives in the studio. The studio has installed many sculpture platforms. He works on several projects at the same time, and whenever inspiration comes, he picks up mud to make something. Sometimes in the middle of the night, he get up from bed, put on my clothes, and work without stopping even when the sun is above his head. His creative passion and diligent spirit are highly admirable.

段维国简历 Resume of Duan Weiguo

中国美术家协会会员，中国雕塑学会会员，中国民族建筑研究会学术委员

河北美术家协会雕塑艺委会副主任，河北画院雕塑院研究员

中高级环境艺术师，获城市雕塑设计资格证书

1984年毕业于河北工艺美术学校雕塑专业

Member of China Artists Association, Member of China Sculpture Society, Academic Committee Member of China National Architecture Research Association

Deputy Director of the Sculpture Art Committee of Hebei Artists Association, Researcher at the Sculpture Institute of Hebei Academy of Painting

Senior environmental artist, awarded the qualification certificate for urban sculpture design

Graduated from Hebei Arts and Crafts School with a major in Sculpture in 1984

2004年，在北京创建雕塑工作室

2021年，《聚能》入选中国第四届抽象雕塑展及第十二届中国宋庄艺术节雕塑邀请展

2019年，《黄河水》入选中国万荣黄河文化国际雕塑大展

2018年，《追梦》入选中国民勤沙漠雕塑国际创作营

2017年，《等爸爸回家》入选参加建军90周年全国美展 暨十三届全军美术作品展，《出塞赋》入选参加2017丝绸之路艺术节雕塑作品邀请展，《墨香》入选参加设计中国第三届中国当代陶瓷设计大赛获入围奖

2016年，《心相》入选参加2016云冈国际佛教雕塑艺术大展，《紫竹调》入选参加青岛国际雕塑艺术节被即墨市政府收藏并永久陈列，《书香墨韵》入选参加第二届中国当代陶瓷艺术大展

2015年，《初心》参加第二届中国当代佛教艺术展

2014年，《突击》 参加第十二届全国美展雕塑展

2011年，《柔术系列》参加上上美术馆新历史新宋庄美术大展，《共鸣》入选参加“凝固的旋律”国家大剧院雕塑作品邀请展

2004年，《滋润》入选参加第四届蓝色空间国际雕塑邀请展

2003年，《滋润》《太阳伞》入选参加雕塑生命共享空间环保展作品，《看自己》参加第三届蓝色空间国际雕塑展获最佳提名奖

1999年，雕塑方案《探索未来》参加北京城市雕塑方案展

In 2004, established a sculpture studio in Beijing

In 2021, "Energy Gathering" was selected for the 4th China Abstract Sculpture Exhibition and the 12th China Songzhuang Art Festival Sculpture Invitation Exhibition

In 2019, "Yellow River Water" was selected for the China Wanrong Yellow River Culture International Sculpture Exhibition

In 2018, "Chasing Dreams" was selected for the China Minqin Desert Sculpture International Creation Camp

In 2017, "Waiting for Dad to Come Home" was selected to participate in the National Art Exhibition for the 90th Anniversary of the Founding of the Army and the 13th Military Art Exhibition. "The Verses of Leaving the Frontier" was selected to participate in the Sculpture Invitation Exhibition of the 2017 Silk Road Art Festival. "Ink Fragrance" was selected to participate in the 3rd China Contemporary Ceramic Design Competition and won a nomination award

In 2016, "Heart Appearance" was selected to participate in the 2016 Yungang International Buddhist Sculpture Art Exhibition, "Purple Bamboo Tune" was selected to participate in the Qingdao International Sculpture Art Festival and was collected and permanently displayed by the Jimo Municipal Government, and "Book Fragrance and Ink Charm" was selected to participate in the 2nd China Contemporary Ceramic Art Exhibition

In 2015, "The Initial Thought" participated in the 2nd China Contemporary Buddhist Art Exhibition

In 2014, "Assault" participated in the 12th National Art Exhibition Sculpture Exhibition

In 2011, "Jujutsu Series" participated in the New History and New Songzhuang Art Exhibition at the Shangshang Art Museum, and "Resonance" was selected to participate in the "Solidified Melody" National Grand Theatre Sculpture Invitation Exhibition

In 2004, "Nourishing" was selected to participate in the 4th Blue Space International Sculpture Invitation Exhibition

In 2003, "Nourishing" and "Parasol" were selected to participate in the Sculpture Life Sharing Space Environmental Protection Exhibition, and "Looking at Myself" was nominated for the Best Award at the 3rd Blue Space International Sculpture Exhibition

In 1999, the sculpture project "Exploring the Future" participated in the Beijing Urban Sculpture Exhibition

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