惠灵顿中国文化中心推出线上虚拟展《山海新经·鸿濛》：缘起古本神话 回溯生命初开

Wellington Chinese Culture Center launched an online virtual exhibition "Shanhai Xinjing · Hongmeng": the origin of ancient myths, the backtracking of life and the beginning of life

发布时间：2021-09-09 10:13 来源：中国文化网 编辑：国际交流与合作局

Release time: September 9, 2021 10:13 source: China culture network editor: Bureau of international exchange and cooperation

山海新经：中华神话元典当代艺术展

Shanhai Xinjing: Contemporary Art Exhibition of Chinese mythology Canon

在线观展链接

Online exhibition link

https://wx.zjam.org.cn/Interact/SHXJ/index.html

https://wx.zjam.org.cn/Interact/SHXJ/index.html

《山海经》，学术界公认的研究中国古代神话的第一手材料，可谓中华神话“元典”，于先秦时期成型，包含上古民众有关自然气象、文化发明、物种起源等多类认知。历史上，源于不同时代受众的差异化背景及观念，《山海经》或被解读为地理，或为宗教，或为小说，不一而足。

The book of mountains and seas, recognized by the academic community as the first-hand material for the study of ancient Chinese mythology, can be described as the "Yuandian" of Chinese mythology. It took shape in the pre-Qin period, including the ancient people's cognition of natural meteorology, cultural invention, species origin and so on. Historically, the book of mountains and seas has been interpreted as geography, religion or novel, which originated from the different backgrounds and concepts of audiences in different times.

今天，神话古本《山海经》被施以当代及当代艺术视角，试图描摹古代神话在中国知识体系中的演变轨迹，以激活观众们的审美共识，助力人们领略传统文化之浩瀚、激发出无边的想象力。

Today, Shanhaijing, an ancient mythological book, is applied from the perspective of contemporary and contemporary art, trying to describe the evolution track of ancient mythology in China's knowledge system, so as to activate the audience's aesthetic consensus, help people appreciate the vastness of traditional culture and stimulate boundless imagination.

“山海新经——中华神话元典当代艺术展”，是现今拥有14个展厅、近20000件美术藏品的浙江美术馆自主策展品牌“东方智慧”系列之一。依托《山海经》孕育的原始审美与上古神话体系，提取了全新的展览视角，传递着“东方式想象”：参照上古神话思维所蕴含的混沌性、意象性、崇德性等基本特征及宗教文化背景，从宇宙时空、神怪志异、诗性语境三个方面出发，分别解读《山海经》的生命意识，以此对应“鸿濛：天书遗篇”“饕餮：天下意象”“寤寐：天地新志”三大主题版块，集结了近50位国内外艺术家的124件作品，或以水墨、油彩、版画等表达宇宙初开的生命意识，或以雕塑、装置等重塑人类对未知物象的丰富想象，或以影像、新媒体等扩充人与自然和谐相处的生态图景……将生命初开的质朴天真，熔铸到古老深邃的“东方智慧”中。

"New classics of mountains and seas - Contemporary Art Exhibition of Chinese mythology" is one of the "Oriental wisdom" series independently curated by Zhejiang Art Museum, which now has 14 exhibition halls and nearly 20000 art collections. Relying on the original aesthetic and ancient mythological system bred in the book of mountains and seas, it extracts a new exhibition perspective and conveys the "Oriental Imagination": referring to the basic characteristics of chaos, imagery and virtue worship contained in the ancient mythological thinking and the religious and cultural background, it interprets the life consciousness of the book of mountains and seas from three aspects: cosmic time and space, supernatural and strange aspirations and poetic context, Corresponding to the three themes of "Hongmeng: the legacy of the book of heaven", "gluttonous: the image of the world" and "sleeping: the new chronicle of heaven and earth", 124 works of nearly 50 artists at home and abroad are gathered, either to express the life consciousness of the beginning of the universe with ink, oil painting and printmaking, or to reshape human's rich imagination of unknown objects with sculpture and installation, or with images New media, etc. expand the ecological picture of harmonious coexistence between man and nature... Melt the simplicity and innocence of life into the ancient and profound "Oriental wisdom".

在中国文化和旅游部国际交流与合作局、中外文化交流中心、浙江省文化和旅游厅支持下，惠灵顿中国文化中心携手浙江美术馆，共同推出“山海新经——中华神话元典当代艺术展”在线观展活动，通过中国文化中心自媒体社交平台，向新西兰网友分享这一虚拟展的链接地址、导览视频、展品图片等，借力数字化手段，最大限度“还原”这场以中国神话古本为核心的艺术创作实践，与网友们一道感受策展人、艺术家们如何致力于延展中国神话记忆空间的各种可能性，并藉此获得有关中国传统神话意识与图像的崭新定义。

With the support of the international exchange and Cooperation Bureau of the Ministry of culture and tourism of China, the China foreign cultural exchange center and the Department of culture and tourism of Zhejiang Province, Wellington China Cultural Center joined hands with Zhejiang Art Museum to jointly launch the online exhibition activity of "new classics of mountains and seas - Contemporary art exhibition of Chinese mythology canon". Through the self media social platform of China Cultural Center, Share the link address, guide video, exhibit pictures, etc. of this virtual exhibition with New Zealand netizens, make use of digital means to "restore" this artistic creation practice with ancient Chinese mythology as the core, and feel with netizens the possibilities of how curators and artists strive to extend the memory space of Chinese mythology, It also obtains a new definition of Chinese traditional mythological consciousness and image.

相比西方神话独立的人神谱系，中国神话散落于浩瀚的经、史、子集中。该展览的一大现实意义在于，以神话叙事与当代艺术展开“互文性”对话，探寻人类幼年时期的文化记忆，解构中华文明起源与中华文化特质的“精神基因”。正是通过对中华神话的精神溯源，以精神的“乡愁”重唤智慧的“能量”，着重梳理着“中国文化基因的理念体系”，彰显着中华文化持续发展的生命力与自信。

Compared with the independent human divination system of Western mythology, Chinese mythology is scattered in the vast collection of classics, history and sub collections. One of the practical significance of the exhibition is to carry out "intertextual" dialogue between mythological narration and contemporary art, explore the cultural memory of human childhood, and deconstruct the "spiritual gene" of the origin of Chinese civilization and the characteristics of Chinese culture. It is through tracing the spiritual origin of Chinese mythology, calling the "energy" of wisdom with the "nostalgia" of spirit, focusing on combing the "conceptual system of Chinese cultural gene", highlighting the vitality and self-confidence of the sustainable development of Chinese culture.

——应金飞（浙江美术馆馆长）

——Ying Jinfei (curator of Zhejiang Art Museum)

鸿濛：天书遗篇

Hongmeng: the legacy of Tianshu

混沌初开，是谓鸿濛。

The beginning of chaos is called Hongmeng.

“鸿濛”所感所记乎览古迹、游名园、摩挲宫阙，顺势而行，温绎远古烟尘起伏湮灭，亦浮现沧海云田刻录之下天人安谐共绘的澹然愿景，游息于祗慎天道、皈依自然的原始人文姿态。本版块共展出43件作品。

What "Hongmeng" feels and remembers is to visit historic sites, visit famous gardens and touch palace pavilions, follow the trend, warm the ancient smoke and dust, rise and fall and annihilate, and also emerge the calm vision of harmony between heaven and man under the burning of the sea and cloud fields, and rest in the primitive humanistic attitude of only being cautious about the way of heaven and converting to nature. A total of 43 works are displayed in this section.

鸿濛，天书遗篇，在远古之外且听风吟，见证传奇。

Hongmeng, a relic of the book of heaven, is listening to the wind and witnessing legends outside ancient times.

龙师火帝，鸟官人皇，招摇之山临于西海，大荒之域有山不周；

The Dragon teacher, the fire emperor, the bird officer and the emperor, the flamboyant mountain is near the West Sea, and there are mountains in the wilderness;

金生丽水，玉出昆冈，西王母承彼天命司掌人间不死灵药，九垓长周旋；

Jinsheng Lishui, jade out of Kungang, Xiwang's mother took over the heaven's order to take charge of the elixir of immortality in the world, and Jiulong revolved around;

夸父逐日，九州禹迹，黄帝战蚩尤，刑天舞干戚，天地俱生而灵化无穷；

Kuafu day by day, Kyushu Yu trace, the Yellow Emperor fighting Chiyou, Xingtian dancing and Qi, heaven and earth are born and infinite in spirit;

女娲补天，精卫填海，青埂峰下的顽石与九重圜则共生同源……

Nuwa mends the sky, Jingwei fills the sea, and the hard stones under the Qinggeng peak and jiuzhong circle are symbiotic and homologous

作者：梁绍基

Author: Liang Shaoji

作品：《醉日》（综合装置，视声嗅合一）

Work: "drunken day" (integrated installation, integration of vision, sound and smell)

简介：这是一件汇聚视觉、听觉、嗅觉的多媒体装置作品。艺术家通过诗意的冥想，重构了浑浊初开时期远古神话中的故事，演绎了一部时空错乱、充满矛盾的现代荒诞剧。在幽幽的埙乐蚕声及酒气冲天的场景里，人们似乎可以隐约发现三足鸟、贫奇、夸父或后羿、阿波罗、狄俄尼索斯等线索，发现令人震惊的当下地球生态危机中的残像……

Introduction: This is a multimedia installation integrating vision, hearing and smell. Through poetic meditation, the artist reconstructs the stories in the ancient myths of the turbid early days, and deduces a modern absurd play with disordered time and space and full of contradictions. In the secluded scene of the sound of music and silkworms and the smell of wine, it seems that people can vaguely find clues such as three legged birds, poor Qi, Kuafu or Hou Yi, Apollo and Dionysus, and find shocking remnants in the current earth's ecological crisis

作者：许江

Author: Xu Jiang

作品：《葵阵》（布面油画）

Work: "Kui array" (oil on canvas)

简介：艺术家的葵重新点燃了“诗言志”的传统，其中蕴含着一种情志。此情不是抒情之情，而是“类万物之情”；此志，也不是单纯的理想主义，而是心中意气，胸中块垒。此情此志，并非流于隐喻或象征性的表达，而是在画家和葵彼此观照的复杂关系中得以实现。许江把葵植入浑茫天地，以“俯瞰”的姿态成就一种历史的“远望”；渐渐地，葵脱离了土地，放弃了原野上的诗意，而被置放于剧场/祭坛之上，成为被祭献、被瞻仰的“无地花”。

Introduction: the artist's work rekindles the tradition of "poetry expressing ambition", which contains a kind of emotion. This feeling is not lyrical, but "like the feeling of all things"; This ambition is not pure idealism, but the spirit in the heart and the base in the chest. This feeling and ambition is not a mere metaphor or symbolic expression, but can be realized in the complex relationship between the painter and Kui. Xu Jiang implanted sunflower into the boundless world and achieved a historical "distant vision" with the attitude of "overlooking"; Gradually, Kui broke away from the land, gave up the poetry of the field, and was placed on the theater / altar, becoming a "groundless flower" sacrificed and respected.

作者：邵译农

Author: Shao Yinong

作品：《天上人间》（油画、水彩）

Works: "heaven and earth" (oil painting, watercolor)

简介：彩云绘制在裱糊中国特色的工笔画用绢上，形成一个巨大而虚幻的空间，使每一个进入者似腾云驾雾、似九天揽月、似嫦娥奔月，也似武侠高人行走在云间，似真似幻，仿佛进入了一个东方理想化的上天、神话般的世界。彩云，祥云，乌云的发现和提取源自中国传统，在各种各样云图上重新阐释东方感觉下对上天和人间的理想以及天气，地气，人气的气思想和气哲学。

Introduction: colorful clouds are painted on the fine brushwork silk pasted with Chinese characteristics to form a huge and illusory space, so that each entrant looks like flying clouds and fog, nine days and the moon, Chang'e running to the moon, and martial arts experts walking in the clouds, which looks like reality and illusion, as if they have entered an idealized heaven and mythical world in the East. The discovery and extraction of colorful clouds, auspicious clouds and dark clouds originated from Chinese tradition. On various cloud maps, we reinterpret the ideal of heaven and earth under the Oriental feeling, as well as the Qi thought and Qi philosophy of weather, earth atmosphere and popularity.

作者：应金飞

Author: Ying Jinfei

作品：《呼吸》《越过悲伤的彼岸》（水彩）

Works: breathing, crossing the other shore of sadness (watercolor)

简介：古人赞羡莽眇之鸟，出六极之外。画面借此隐喻，以巨鸟之忽隐忽现，直指维系生命之本源。画中雾气氤氲，象征特殊语境之际令人惊悚的呼吸状态与心理表征，整体图像寓意指向“白昼/黑夜”“呼吸/吐纳”“阴阳/生死”，遥想远古苍茫混沌之自然境界，并以红绿色系交织凸显二元对立的视觉张力。

Introduction: the ancients admired the birds of Mang, out of the six poles. The picture uses this metaphor to point to the origin of maintaining life with the flicker of giant birds. The dense fog in the painting symbolizes the breathtaking state and psychological representation at the time of special context. The overall image implies "day / night", "breathing / breathing" and "Yin and Yang / life and death". It is reminiscent of the vast and chaotic natural realm in ancient times, and highlights the visual tension of binary opposition with the interweaving of red and green systems.

作者：周勇团队

Author: Zhou Yong team

作品：《新山海大观图》（水性综合材料）

Work: Grand View of new mountains and seas (water-based comprehensive materials)

简介：作品以《山海经》为蓝本，借鉴了敦煌唐代壁画的艺术语言与表现形式，描绘世界各文明互联互通、人与自然和谐发展的壮阔画卷。以视觉方式构建了这个时代的山海新经。

Introduction: Based on the book of mountains and seas, the work draws lessons from the artistic language and expression forms of Dunhuang murals in the Tang Dynasty, and depicts a magnificent picture of the interconnection of various civilizations in the world and the harmonious development of man and nature. The new Sutra of mountain and sea in this era is constructed visually.

作者：贺亮

Author: He Liang

作品：《祀神奇象图志》（泥板、综合材料）

Works: the atlas of worshiping magical images (mud board, comprehensive materials)

简介：《山海经》作为文化之瑰宝、当下之热点，在艺术创作上的新意层出不穷，作者在面对这个主题时，选择了绘制相对较少的祭祀诸神为原型。《山海经》中所塑造的神仙形象大多凶猛、令人心生畏惧，尤其与后世所描绘的神仙相比，更显原始、粗犷，其神秘、怪诞且类似天方夜谭般独特的气质。虽引人生畏却不免好奇，对未知的恐惧和敬畏是人类亘古不变的性格特质，因此在材料上，作者使用传统的泥板绘制，试图呈现原始、粗犷、残损的古风。

Introduction: as a treasure of culture and a hot spot at present, the book of mountains and seas has endless new ideas in artistic creation. When facing this theme, the author chose to draw relatively few sacrificial gods as the prototype. Most of the images of immortals portrayed in the book of mountains and seas are fierce and frightening. Especially compared with the immortals portrayed by later generations, they are more primitive and rough. They are mysterious, grotesque and similar to the unique temperament of Arabian Nights. Although it is frightening, it is inevitable to be curious. Fear and awe of the unknown are the eternal personality traits of human beings. Therefore, in terms of materials, the author uses traditional mud board painting to try to present the primitive, rough and damaged ancient style.

作者：魏佳琳

Author: Wei Jialin

作品：《历史 创造》（水墨）

Work: historical creation (ink painting)

简介：作品旨在以中国传统绘画的表现手法，描绘一幅融合古今中外文化内容的图景。从中国传统的《山海经》、敦煌壁画中汲取养分，与彼得·勃鲁盖尔名作《通天塔》相联结，在山海经奇异荒诞的故事中注入时代发展的新兴元素，将传统的神话、异兽再创造，展现一个奇幻、快乐的未来世界，让历史与未来有机交融。

Introduction: the work aims to depict a picture integrating ancient and modern Chinese and foreign cultural content with the expression of traditional Chinese painting. Draw nutrients from the traditional Chinese classics of mountains and seas and Dunhuang murals, connect them with Peter bruguer's masterpiece tower to heaven, inject new elements of the development of the times into the strange and absurd stories of the classics of mountains and seas, recreate the traditional myths and animals, show a fantastic and happy future world, and organically blend history and the future.

策展人语

Curator language

梁绍基《醉日》举酒问天，细述山海浮沉，瑶池青莲与埙乐蚕声交织诗意冥想，谂念墨悲丝染；许江《葵阵》承战国古朴之风，观照苍茫大地，以诗言志、类万物之情；应金飞《穿越忧伤的彼岸》邀请风的君王驾驭阴阳之晷，悬浮六极之外；石博文《不周》《归云》腾云驾雾，仙楹架雨，若披云翳之宮，与大疆图景相互印诠。

Liang Shaoji's "drunken day" raises wine to ask the sky, detailing the ups and downs of mountains and seas, the interweaving of yaochi green lotus and Cuan music and silkworm sound, poetic meditation, thinking of ink and sorrow and silk dyeing; Xu Jiang's Kui array inherits the ancient and simple style of the Warring States period, looks at the vast land, expresses his ambition in poetry and resembles the feelings of all things; At the invitation of Jin Fei's across the sad shore, the king of the wind controls the sundial of yin and Yang and floats beyond the six poles; Shi Bowen's "Zhou bu" and "returning to the clouds" soar through the clouds, and the fairy couplets frame the rain, like a palace covered with clouds, which are printed and interpreted with the picture of Xinjiang.

——“山海新经”策展人 张旭敏（浙江美术馆副研究馆员）

——Zhang xumin, curator of "Shanhai Xinjing" (deputy research librarian of Zhejiang Art Museum)

责任编辑：胡梦音

Responsible editor: Hu Mengyin