王玉成的绘画诗学：“行动”即“行吟”

楚辞1号 2025 布面丙烯 235x720cm

在西方艺术史的叙述中，“行动绘画”几乎总是与美国抽象表现主义画家杰克逊·波洛克联系在一起。他那种滴洒、泼溅的方式，被批评家格林伯格与罗森伯格解释为绘画主体性的极致呈现：绘画即行动，画布成为行动的竞技场。此后，德库宁等艺术家延续了这一传统，以狂烈的笔触和反复的涂抹，将绘画理解为一种身体剧场。也因此西方现、当代艺术史往往用“行动绘画”来命名20世纪波洛克、德库宁等人的艺术实践，意在强调绘画乃身体动作的显现。然而，当这一概念移植到中国文化语境中时，便引发出复杂而多元的回声。王玉成的绘画，正是在这种跨文化的回声中展开。他的“行动”，不仅是手与笔、身体与颜料及画布之间的力量运动，更带有一种吟诵般的节奏——犹如中国古代诗人将呼吸、节奏与情感凝聚于字句之中的吟唱。

楚辞12号 2025 布面丙烯 120x235cm

In the narrative of Western art history, “Action Painting” is almost invariably associated with the American Abstract Expressionist Jackson Pollock. His method of dripping, splashing, and scattering paint was interpreted by critics such as Clement Greenberg and Harold Rosenberg as the ultimate manifestation of pictorial subjectivity: painting as action, and the canvas as an arena of action. Thereafter, artists such as Willem de Kooning extended this tradition, understanding painting as a kind of bodily theatre through intense brushwork and repeated smearing. For this reason, Western modern and contemporary art history often uses “Action Painting” to define the artistic practices of Pollock, de Kooning, and others in the twentieth century, emphasizing painting as the visible manifestation of bodily movement.Yet when this concept is transplanted into the Chinese cultural context, it gives rise to complex and multiple resonances. Wang Yucheng's painting unfolds precisely within this cross-cultural echo. His “action” is not merely the dynamic movement among hand and brush, body and pigment, canvas and force; it also carries a rhythm akin to chanting—as if the ancient Chinese poet condensed breath, cadence, and emotion into the act of poetic recitation.

楚辞17号 2025 布面丙烯 135x290cm

理解王玉成的绘画，“行吟”既是一个隐喻，更是一条路径。“行吟”意味着行动中的诗性，意味着情感思想的流动、生成与呼吸及身体性的融合。由此，他的绘画诗学得以凸显成型：既不同于西方波洛克、德库宁等人的戏剧化“行动”，也超越了中国传统笔墨的纯形式趣味，而是在“行动”与“行吟”之间找到了自己的平衡点。

楚辞21号 2025 布面丙烯 120x245cm

To understand Wang Yucheng's painting, “Wandering Chant” is both a metaphor and a path.“Wandering Chant” signifies the poetic quality within action; it suggests the flow and generation of emotion and thought, and the fusion of breathing with corporeality. In this way, the poetics of his painting becomes distinctly formed. It differs from the theatrical “Action” of Pollock, de Kooning, and other Western artists, while also moving beyond the purely formal interest of traditional Chinese ink and brush. Between “Action” and “Wandering Chant,” Wang Yucheng finds his own point of balance.

楚辞27号 2025 布面丙烯 120x245cm

楚辞28号 2025 布面丙烯 135x290cm

他在过往接受媒体采访时曾强调绘画的发生性，亦提到日常与行动的渗透。在王玉成的绘画中，行动不仅是工作室里的动作，也是生活本身的延续。这使得他的绘画具有一种“日常的诗性”：行动不再是艺术家的特权，而是人人皆有的生命姿态。在巺美术馆以《行动的意义》为主题的展览中更系统化地呈现出行动的节奏。这种行动不是戏剧化的爆发，而更像“吟唱”——带着节制、呼吸和节奏感的“吟唱”。王玉成的笔触往往是断裂的、重叠的、延宕的，如同诗句中的停顿、押韵与顿挫。观看他的画，画布即行旅，就像听一首长诗的吟诵，节奏先于意义显现。他的大幅画布并非为构建图像叙事而设，而更像是行旅的轨迹。每一笔、每一次挥洒，都是身体移动的记录，它们令绘画成为诗人行吟的现场。

楚辞30号 2025 布面丙烯 135x290cm

楚辞32号 2025 布面丙烯 136x289cm

In past media interviews, Wang Yucheng has emphasized the generative nature of painting and has also spoken of the infiltration between daily life and action. In his painting, action is not only the movement that takes place inside the studio; it is also an extension of life itself. This gives his work a kind of “poetics of the everyday.” Action is no longer the privilege of the artist, but a life posture shared by all.The exhibition titled The Meaning of Action at Xun Museum presented this rhythm of action in a more systematic way. This action is not a theatrical outburst, but is more like “chanting”—a chanting marked by restraint, breath, and rhythm. Wang Yucheng's brushstrokes are often fractured, overlapping, and delayed, resembling pauses, rhymes, and tonal inflections within lines of poetry. To look at his paintings is to enter a journey across the canvas, as if listening to the recitation of a long poem, where rhythm appears before meaning. His large-scale canvases are not designed to construct pictorial narratives; rather, they resemble the traces of a journey. Every stroke and every sweep of paint records the movement of the body, turning painting into the site of a poet's wandering chant.

楚辞29号 2025 布面丙烯 120x160cm

王玉成在采访中曾多次提及饮食、社交与自然经验都能触发他的创作。这使得绘画中的行动并非抽象化的机械重复，而是带有生活质感的吟唱。诗人行吟于田野、山丘、湖畔，而王玉成则在日常与画布之间往返。“行动即意义”是他的核心立场。诗歌的意义往往不是先设的，而是在吟唱过程中生成；王玉成的绘画同样如此。行动不是手段，而是意义本身。有趣的是，巺美术馆的展览为王玉成的绘画提供了一个整体语境，作品如诗章：每一幅画布就是一首独立的诗，笔触、肌理、色彩是字、词、句；空间的节奏、作品的排列，使观众进入一首由行动串联的长诗。观看即行走，行走即吟唱。正如诗歌需要诵读才能完整，王玉成的绘画行为也需要观众的观看行动来完成。这是一种开放的诗学，不是单向的表达或阐释，而是双向的共鸣。

楚辞10号 2025 布面丙烯 150x150cm

Wang Yucheng has mentioned in interviews that food, social interaction, and experiences of nature may all trigger his creation. This means that action in his painting is not an abstract mechanical repetition, but a chant imbued with the texture of life. The poet wanders and chants through fields, hills, and lakesides; Wang Yucheng moves back and forth between daily life and the canvas.“Action is meaning” constitutes his core position. The meaning of poetry is often not predetermined, but generated in the process of chanting. Wang Yucheng's painting works in the same way. Action is not a means; action itself is meaning. Interestingly, the exhibition at Xun Museum provided an overall context for Wang Yucheng's painting. The works appeared like poetic chapters: each canvas was an independent poem, while brushstroke, texture, and color became words, phrases, and lines. The rhythm of the space and the arrangement of the works led viewers into a long poem connected by action. Viewing became walking; walking became chanting. Just as poetry requires recitation in order to become complete, Wang Yucheng's painting also requires the viewer’s act of looking to complete it. This is an open poetics—not a one-way expression or interpretation, but a two-way resonance.

抽象系列作品 2024 布面油画 118x218cm

在影像与装置流行的今日，王玉成让我们看到绘画依然可以通过行动保持生命力。他并非延续旧的样式，而是赋予绘画以诗学的当代性。他的“行动绘画重写”与波洛克的行动爆发不同，他的行动更接近“吟唱”。这是一种东方的行动主义，不是对抗性的，而是生成性的；无须解构意义，意义自然生成。王玉成的行动绘画是全球化背景下的一种本土回应。他既借鉴与吸收西方“行动绘画”的精神与语境，又深植于中国古典文化的“行吟传统”。通过融合西方“行动绘画”与中国“行吟传统”，王玉成为当代中国绘画提供了一种跨文化的自觉路径。这不仅是个体的探索，也是中国当代艺术在全球化语境中的自我建构。这种跨文化的折中，显示了当代中国艺术家的自觉：不再依附，而是主动建构。“行动”是身体的展开，“行吟”是诗意的流动。王玉成的绘画，将二者结合，使绘画成为一种诗学的行动。它既是身体的痕迹，也是心灵的吟诵；既是当下的行动，也是历史与传统的回声。在此意义上，他的绘画不仅仅属于某一艺术史流派，而是为我们提供了一种新的理解框架：绘画作为诗歌，行动作为行吟。这便是王玉成的绘画诗学，也是他在中国当代艺术语境中的贡献。

天问2号 2025 布面丙烯、综合材料 120x160cm

In an age when video and installation have become increasingly prevalent, Wang Yucheng allows us to see that painting can still maintain its vitality through action. He does not merely continue an old style; rather, he endows painting with a poetic contemporaneity. His rewriting of Action Painting differs from Pollock's explosive action. His action is closer to chanting. It is a form of Eastern actionism: not confrontational, but generative; there is no need to deconstruct meaning, for meaning naturally comes into being.Wang Yucheng's Action Painting is a local response within the context of globalization. He both borrows from and absorbs the spirit and context of Western Action Painting, while remaining deeply rooted in the Chinese classical tradition of wandering chant. By integrating Western Action Painting with the Chinese tradition of wandering chant, Wang Yucheng offers a cross-cultural path of self-awareness for contemporary Chinese painting. This is not merely an individual exploration; it is also part of contemporary Chinese art's self-construction within a globalized context. Such a cross-cultural synthesis reveals the consciousness of contemporary Chinese artists: no longer dependent, but actively constructing their own frameworks. “Action” is the unfolding of the body; “wandering chant” is the flow of poetic feeling. Wang Yucheng's painting combines the two, turning painting into a poetic action. It is both the trace of the body and the chanting of the mind; both an action in the present and an echo of history and tradition. In this sense, his painting does not belong merely to a single art-historical school. Rather, it offers us a new framework of understanding: painting as poetry, and action as wandering chant. This is Wang Yucheng's poetics of painting, and it is also his contribution to the context of contemporary Chinese art.

王玉成

1963 出生于湖北省十堰市

1983 就读于湖北美术学院工业产品造型专业

现居珠海，职业艺术家

主要展览

2026 艺术赋能——中国当代艺术邀请展，燕美术馆，东莞，广东，中国

2026 当代性的地平线——被重写的现实展，星河美术馆，北京，中国

2026 中国当代艺术邀请展，现代国际展览中心，广东，中国

2025 “行动的意义”王玉成个展，顺德巽美术馆，广东，中国

2025 王玉成绘画作品展，珠海文联展览馆，广东，中国

2024 “凤凰时雨”当代艺术展，潮州美术馆，广东，中国

2021 “逸界·韵语”当代艺术名家邀请展，艺时代美术馆，广东，中国

2020 25届秋季广州国际艺术博览会，广东，中国

Wang Yucheng

1963 Born in Shiyan, Hubei Province, China

1983 Studied Industrial Product Design at Hubei Institute of Fine Arts

Currently lives and works in Zhuhai as a professional artist

Selected Exhibitions

2026 Art Empowerment — Chinese Contemporary Art Invitational Exhibition, Yan Art Museum, Dongguan, Guangdong, China

2026 The Horizon of Contemporaneity — Reality Rewritten, Xinghe Art Museum, Beijing, China

2026 Chinese Contemporary Art Invitational Exhibition, Modern International Exhibition Center, Guangdong, China

2025 The Meaning of Action: Wang Yucheng Solo Exhibition, Xun Art Museum, Shunde, Guangdong, China

2025 Wang Yucheng Painting Exhibition, Zhuhai Federation of Literary and Art Circles Exhibition Hall, Guangdong, China

2024 Phoenix Timely Rain: Contemporary Art Exhibition, Chaozhou Art Museum, Guangdong, China

2021 Realm Beyond · Poetic Resonance: Invitational Exhibition of Contemporary Art Masters, Art Era Museum, Guangdong, China

2020 The 25th Autumn Guangzhou International Art Fair, Guangdong, China