翕•肖像 | 童雁汝南——创造肖像艺术语言体系上的专利

童雁汝南肖像画

冷军（超写实油画领军人物）
41x33cm
布面油画
2019

栗宪庭 ●

童雁汝南看似带有表现意味的油画肖像，实际借用的是中国传统山水画的笔触意味，仔细看他画的每一幅肖像，你会发现它们都隐藏着一些中国山水画的图形因素，以及对传统与当代关系的关注，我想这大概是这个展览的一个主要看点。

——栗宪庭，誉为“中国当代艺术教父”。摘自《十年一剑》

Li Xianting●

Tong Yanrunan tends to create oil portraits that seem expressive. Actually he learns from the strokes of traditional Chinese landscape painting. When looking closely at every portrait he paints, you will find that there are some graphic elements hidden. And the concern for relationships between tradition and contemporary could be a major attraction of this exhibition.

——Li Xianting, known as "Godfather of Contemporary Chinese Art". Excerpt from “A Sword in Ten Years”

尹吉男（广州美术学院人文学院院长）
41x33cm
布面油画
2021

鲁虹（著名艺术评论家、合美术馆执行馆长）
41×33cm
布面油画
2021

高名潞 ●

这个想法就跟“意派”的“不是之是”有关，但“不是之是”不是“不似之似”。因为 “似”还是从再现和对应的二元角度出发，而“是”乃是言外和象外的东西，它是另类的东西，但这个另类又最能把握住整一性。这个是什么东西呢，就很难想象了。我为什么说整一性，所谓整一性不是一个干巴巴的概念，比如说，人的形状有几种，但是具体到这个人，我不强调他的个体的那种特别极端化的那种特点，因为每个人绝对都不一样的。

——高名潞，美国匹兹堡大学教授、策展人。摘自《与高名潞先生谈话》

Gao Minglu ●

This is just one of my thought, which is relating to the "seemingly wrong truth" in Yipai. But the "seemingly wrong truth” is not the "unlikely similarity". Because the "similarity" is still from the dual angle of reproduction and contrast, but the "truth" is something beyond the word and the image, it is something unique which can grasp the synthesis. So it is difficult to imagine what it is on earth. why do I say synthesis, synthesis is not something dull and dry, but something ,for example, there are several sizes of people, but when it comes to one person, I won't emphasize the individual and extreme character, because everyone is totally different.

——Gao Minglu, professor of the University of Pittsburgh, USA; Curator. Excerpt from “the Conversation with Gao Minglu”

皮道坚（中国美协策展委副主任、著名策展人）
41×33cm
布面油画
2021

冀少峰（湖北美术馆馆长）
41×33cm
布面油画
2019

范迪安 ●

肖像艺术在西方现代艺术中被研究得很透彻。从弗朗西斯·培根开始，肖像便成为一门系统、新颖，充满现代性的课题，后来到费欣，到格哈德·里希特等人的研究，包括一些中国的肖像画，德国的表现主义，意大利的“3C”（注：指桑德罗·齐亚、恩佐·库奇、弗朗西斯科•克莱门特）等，肖像艺术由此演变出诸多的语言表达类型，可贵的是，童雁汝南同前人相比，已构建出独有的语言表达方式，这将成为他在肖像艺术语言体系上的专利。

——范迪安，中央美术学院院长、中国美协主席。摘自《庖丁解牛》今日美术馆研讨会发言

Fan Di'an ●

The portrait has been deeply studied in the series of western modern arts. We witnessed that portrait had become a systemic, new and modern subject. There are many language expressions belonging to the system of portraits, due to the researches of Fitchin, Gerhard Richter, some Chinese portrait painters, German expressionism and Italian“three Cs” (refers to artists Sandro Chia, Enzo Cucchi, Francesco Clemente), etc.. What valuable is that Tong Yanrunan has constructed a different way of language expression from history, which will become a patent of his language system.

——Fan Di'an: the dean of the Central Academy of Fine Arts, the chairman of the Chinese Artists Association, the curator of the Chinese National Pavilion for the 50th & 51st Venice Biennale. Excerpt from the speech on the symposium of “Dismembering an Ox by A Skillful Butcher Pao Ding” at Today Art Museum

傅中望（湖北美术馆艺术总监、中国雕塑学会副会长）
41×33cm
布面油画
2019

郭润文（中国油画学会副主席）
41×33cm
布面油画
2019

迪特·戎特 ●

与此同时，这些深深植根于中国古老绘画传统的画像是当代和新艺术的见证。童先生将油画艺术手法和水墨画艺术手法转化为新的艺术共生体，其眼神的描绘是最重要的艺术表现。童先生的肖像画虽然都是以系列的方式进行创作，但每幅作品中人物神韵的差异仍是突出的。在不同神韵的人物外表下，又呈现了不谋而同的艺术家体验。虽然这些作品看上去温和细微却并非沉默无声，事实上所有的画作活力洋溢、激动人心，它们是运动着的绘画艺术。

——迪特·戎特，原维也纳现代美术馆、德国国立波恩美术馆馆长。摘自《童雁汝南：直面》

Dieter Ronte●

Meanwhile, these portrait paintings, deeply rooted in the ancient Chinese painting tradition are testimonies to contemporary and modern art styles.

Mr. Tong has transformed the art of oil painting and ink painting techniques into a new artistic symbiosis, of which the eyes depiction is the most important artistic expression. Although Tong's portraits are created in a series, the differences between the characters in each work are still outstanding; they represent the artist similar and coincidental experiences. At first sight, these works look gentle and subtle, but people can find that all the paintings are vibrant and exciting by moving the art of painting.

——Dieter Ronte, former art historian, original curator of the Vienna Museum of Modern Art and National Museum in Bonn, Germany. Excerpt from "Tong Yanrunan: Face to Face"

何祚欢（著名评书表演艺术家）
41×33cm
布面油画
2019

戚薇（演员、歌手）
41×33cm
布面油画
2007

贾方舟 ●

大家可能也会发现同一个形象，他会同时画两三张，他会在同一个对象中捕捉不同的东西。所以我觉得他的画更适合叫作“写意”，“写意油画”这个概念更适合童雁汝南。他跟西方的表现主义不一样，这是中国式的一种表现。他更注重表现性，一种有修养的表现，而非神经质的表现，这就是文人写意画的特点。

——贾方舟，著名策展人、中国美术批评家年会名誉主席。摘自《庖丁解牛》今日美术馆研讨会发言

Jia Fangzhou ●

Everybody may notice one image: he pains two or three pieces of works at the same time, as he is catching something different in one object, so I would rather call his painting as “freehand brushwork”, and the concept “freehand brushwork oil painting” is more suitable for Tong Yanrunan. Unlike the western expressionism, his painting is a kind of expression of Chinese style. He attaches more importance to representation: a kind of cultivated expression, but not neurotic expression, and this is right the feature of humane freehand brushwork.

——Jia Fangzhou, famous exhibition curator, honorary chairman of The China Annual Art Critics Assembly. Excerpt from the speech on the symposium of “Dismembering an Ox by A Skillful Butcher Pao Ding” at Today Art Museum

麻建雄（摄影家）
41×33cm
布面油画
2019

Marianne Pitzen（德国国立波恩女性美术馆馆长）
41×33cm
布面油画
2015

徐里 ●

作为一名青年艺术家，童雁汝南在自己的艺术实践中将中国传统绘画中的中国山水精神与西方油画创作相融合，进行有益探索。在创作出一批富有中国元素又具备西方绘画强烈表现力优秀作品的同时，形成了自己特有的绘画语言，可喜可贺！事实上，伴随着中国改革开放四十周年发展进程，当代中国艺术又面临着一个再出发的重要时间节点。我以为，童雁汝南在艺术创作中所表现的守正创新精神恰恰是与之相吻合的。

——徐里，中国美协分党组书记。摘自《中国美协的贺信》

Xu Li ●

As a young artist, Tong YanRunan integrates Chinese landscape spirits of traditional Chinese paintings with western oil paintings in his own artistic practice and makes a beneficial exploration. He creates a group of excellent works with affluent Chinese elements and strong expressive force of western painting, while forms his own unique painting language. Congratulations! In fact, with the development course of the 40th anniversary of China’s reform and opening up, contemporary Chinese art is facing an important stage to start again. In my opinion, Tong’s spirit of conservative innovation in artistic creation is exactly what that means.

——Xu Li, Secretary of Sub Party Group of China Artists Association. Excerpt from “Congratulations from China Artists Association”

Morkus Schuck（德国驻华大使）
41×33cm
布面油画
2015

郑胜天（温哥华美术馆亚洲总监）
41×33cm
布面油画
2015

陈丹青 ●

他画得非常好，很成熟，有自己的风格。我当时非常高兴的是，他可以到莫兰迪的家乡去看画，青年时期的我可没有这样的机遇与境遇。可是这位童雁汝南，他做到了，我很羡慕。而今天他带来一个更令我高兴的消息，他最近又在博洛尼亚待了一个月，为莫兰迪的研究者、研究馆的馆长画了像，还和莫兰迪的画作一道办了一个对比展，试图找到他和莫兰迪之间的联系。青年艺术家能走出国门，到世界上其他国家去和这些国家著名的艺术家一起办画展，这是中国艺术巨大的进步。

——陈丹青，著名画家、作家。摘自讲座《陈丹青谈基里科与莫兰迪》

Chen Danqing ●

He paints very well, mature, and has his own style. I was very happy at the time that he could go to Morandi’s hometown to see his paintings which I could not have such opportunities and circumstances to see in my youth. But this young boy Tong Yanrunan, he did, I am very envious. Today, he brings a message that makes me even happier. He recently went to Bologna for a month and drew some portraits for Morandi’s researchers and curators. And he held a contrast exhibition with Morandi’s works after that, trying to find the connection between him and Morandi. Young artists can go abroad and go to other countries in the world to organize exhibitions with other famous artists. This is a huge advancement in Chinese art.

——Chen Danqing, famous artist, literary critic, writer. Excerpt from speech "Chen Danqing Talk About Giorgio de Chirico and Giorgio Morandi"

Flaminio Gualdoni（意大利著名艺术史学家、艺术评论家）
41×33cm
布面油画
2017

Franco Calarota（意大利Galleriad'Arte Maggiore G.A.M画廊创始人)
41×33cm
布面油画
2017

皮道坚 ●

童雁汝南的创作是行为的意义。因为他用25年做一件事情，这一件事我们在当代引进来说，从当代艺术来说我们就考虑有意义没有意义，还有对一般的公众来说，你的肖像是我能够接受的，汝南和我讲过，他把女孩儿画哭了，类似于他这样的行为，实际上是一种挑战，是一种消解，挑战世俗的东西挑战对意义和无意义的认知，挑战有用和无用的认知，同时也挑战公众对美与丑的认知，从这样一种是他修行式、苦僧式的，他的规模、体量、时间跨度都有行为的意义，它是跨国界、跨种族、跨文化的多重身份的年龄性别这样来做这个事情，我觉得有意义。

——皮道坚 Pi Daojian，中国美术家协会策展委员会副主任、著名批评家。摘自《“象可像，非常象”——童雁汝南“肖像系列”背后的方法论研讨会》广东美术馆研讨会发言

Luigi Snozzi（瑞士著名建筑师）
41×33cm
布面油画
2017

Patrizia De Colle
（威尼斯Fondazione Querini Stampalia博物馆赞助人，收藏家）
41×33cm
布面油画
2018

弗拉米尼奥·瓜尔多尼 ●

童雁汝南选择了一个稳定的结构，置身于画外，基于所有相同的非宏大的尺寸，基于人像姿势的正面性，基于平衡人物形象与背景之间的关系。总而言之，他选择的是彻底的去语境化。基于肖像创作的基本规则，他试图通过一系列的肖像画捕捉一种全世界通用的语言，理论上是无穷无限的，因为出于某些原因一个人的肖像是值得被纪念的。但如果我们深入研究会发现，艺术家自身的情绪状态甚至是紧张感才是肖像画本身，培根把它定义为“气场”，他认为这是肖像画唯一被信赖的表达方式。

——弗拉明奥·古尔多尼，意大利艺术史学家、评论家。摘自《时间的形状—莫兰迪和童雁汝南作品展》

Flaminio Gualdoni ●

Tong Yanrunan choose a stable structure, where he is a beholder, on the basis of all the same non-major size, the frontal pose of the character and the relationship between the character and the background. All in all, his paintings are featured by being completely de-contextualized. In accordance with the basic rules of creation, he attempts to capture a universal language through a series of portraits, theoretically infinite, because a person's portrait is worthy of being commemorated to some degree. But with development of the study, we will find that the emotional state and the tension of the artist create the portrait. Bacon defines it as the "aura", which he considers to be the only trusted way in portraits.

——Flaminio Gourdoni, Italian art historian and critic. Excerpt from "the Shape of Time-Exhibition of Works of Morandi and Tong Yanrunan "

——弗拉米尼奥·瓜尔多尼 ●

艺术家的主要作品在于阐明行为的先决条件，在于解释对肖像本身认知过程中的误会和对话，同时，消解偏见和模棱两可的印象。在画布上，童雁汝南是无可争议的大师，他富有表达性的张力，他的艺术抱负，是致力于一生去凝练出他的绘画，不是‘一张脸’,而是‘脸’的概念。

——弗拉明奥·古尔多尼，意大利艺术史学家、评论家。摘自《时间的形状—莫兰迪和童雁汝南作品展》

Marco Nicolè （威尼斯音乐学院院长）
41×33cm
布面油画
2018

Bob Krieger（意大利时尚摄影之父）
41×33cm
布面油画
2019

Carlo Colombo（意大利著名建筑设计师）
41×33cm
布面油画
2019

Donato Colombo（奔驰汽车AMG系列创始人）
41×33cm
布面油画
2019

Ludovico Gippetto（意大利巴勒莫现代美术馆馆长）
41×33cm
布面油画
2019

鲁虹 ●

就像美国包装艺术家克里斯托克做作品《包裹德国国会大厦》一样，童雁汝南的人物系列其实是一个系统工程，也由于在他的每一个系列中都有特定的文化含义，故我们决不能从纯风格的意义上理解他的相关作品！

——鲁虹，合美术馆执行馆长。摘自《传统与当代——童雁汝南绘画观念的启示》武汉美术馆研讨会发言

Lu Hong ●

Just like “Wrapped Reichstag”, an artistic work from Crystalker, American artist, the character series of Tong Yanrunan is actually a systematic project. Because there are specific cultural meanings in each series of his works, we can never understand his works only in the sense of pure style.

——Lu Hong, executive crator of United Art Museum. Excerpt from “Speech of Symposium at Wuhan Art Museum - Tradition and Modernity, Enlightenment of Painting Concepts of Tong Yanrunan”

Paul Wassaba（科特迪瓦著名音乐家）
41×33cm
布面油画
2019

Josué Guébo（诗人，科特迪瓦作家协会主席）
41×33cm
布面油画
2019

陆蓉之 ●

我觉得他画肖像有更大于肖像的意义，其实他是一种对时代的观看与记录的方法，在他的肖像里面他不在乎是不是很精确的去记录了这个人存在的面貌，更多的是反映这个时代在互联网到物联网迅速变化和信息传播，造成人与人之间很多观看已经超越了我们眼睛的观看

——陆蓉之，誉为中国策展人之母。摘自《传统与当代——童雁汝南绘画观念的启示》武汉美术馆研讨会发言

Victoria Yung-Chih Lu ●

I think portraits made by him have more significance than portraits themselves. In fact, he represents a way of viewing and recording the times. He doesn’t care whether he records the appearance of this person accurately or not. More importantly, he reflects the rapid changes and information dissemination from the Internet to the internet of things in this era. Thus, many ways of viewing among people have surpassed our visual appreciating.

——Victoria Yung-Chih Lu, Known as the mother of Chinese curators. Excerpt from “Speech of Symposium at Wuhan Art Museum - Tradition and Modernity, Enlightenment of Painting Concepts of Tong Yanrunan”

童雁汝南简介

童雁汝南，意大利威尼斯美术学院、复旦大学特聘教授

20余年如一日修行式、面对面的肖像艺术创作，来阐述中国山水精神，是对虚拟时代人类整体反思，在世界艺术领域独树一帜。数位国家元首、近百位美术馆馆长等世界名人为其做模特

参加威尼斯、库里蒂巴双年展，在意大利威尼斯奎里尼斯坦帕利亚基金会博物馆、德国哈根国立欧斯特豪斯美术馆等举办十多次个展，及法国大皇宫国家博物馆、东京都美术馆百次学术展；作品被莫斯科现代艺术博物馆、古根海姆基金、中国美术馆收藏；获国家贡献奖、国家艺术基金。

主要个展：

2022年 FACE TO FACE（圣马力诺国立现代艺术博物馆）

2021年 FACE TO FACE|直面（广东美术馆）

2020年 FACE TO FACE（德国哈根国立欧斯特豪斯美术馆）

2019年 FACE TO FACE（武汉美术馆）

时间的形状—莫兰迪和童雁汝南（米兰G.A.M.）

2018年 FACE TO FACE（威尼斯奎里斯坦帕利亚基金会博物馆）

2017年 时间的形状—莫兰迪和童雁汝南（博洛尼亚G.A.M.）

FACE TO FACE（瑞士洛迦诺达芬奇艺术中心）

2015年 FACE TO FACE（德国波恩当代艺术馆）

FACE TO FACE（米兰艺术与科技博物馆）

2013年 庖丁解牛（北京今日美术馆）

2008年 about face（新加坡Osage美术馆）

2006年 像中之像（香港奥沙当代空间）

主要收藏：

莫斯科现代艺术博物馆，古根海姆基金，中国美术馆，上海美术馆，中国国家会展中心，浙江美术馆，中国美院美术馆，湖北美术馆、武汉美术馆，北京今日美术馆，上海喜马拉雅美术馆，上海昊美术馆，英国王室，丹麦王室，沙特阿拉伯王室。