【展讯】“造化”翁道胜当代艺术作品展即将开幕

Exhibition Title 展览名称

“造化”翁道胜当代艺术作品展

Weng Daosheng Contemporary Art Exhibition

Organizer 主办单位

苏州湾艺术馆

Suzhou Bay Art Museum

Undertaker 承办单位

苏州金唯婷文化艺术发展有限公司

Suzhou Jinweiting Culture and Art Development Co., Ltd.

Duration 展期

2026.9.19-12.13

Address 地址

苏州湾艺术馆一楼展厅

Suzhou Bay Art Museum, First-Floor Exhibition Hall

Artists 艺术家

翁道胜Weng Daosheng

Curator 策展人

王金喜Wang Jinxi/ 黄一Huang Yi/Sissi

Academic Moderator 学术主持

郭 燕Guo Yan

目观造化

——翁道胜《造化》系列油画中的自然主题

天地有大美而不言，四时有明法而不议，万物有成理而不说。——《庄子·知北游》

天地无声却孕育世间所有生命，四季交替有其自身运转的规律，群山高耸亘古伫立，江海奔腾万古不息，草木岁岁枯荣，星河昼夜流转，大自然无声无息地守护包容着人类。画家会以视觉艺术的方式呼吁人们敬畏山川湖海，守护恢弘而温柔的天地。

造化世界1 ZaoHua World 1

翁道胜的油画创作巧妙地诠释了自然主题的中国视角，也就是中国人观看自然的方式。中国人观看并描摹自然世界的方式与西方不同，西方人强调对景写生，以焦点透视为依据，描绘自然的真实景象，追逐光景与色彩在特定瞬间的变化。而中国人描绘自然风景，是以心畅游，倾向于“卧游”。画家不只是画眼前的景物，而是画他人生几十年所经历的“心灵风景”。翁道胜的《造化》系列油画作品，并不是简单地描绘一个具体的山水景观，而是将自然景观提炼成极简的几何构成，那是多年生活经验所留存记忆中的自然，是无数次情感沉淀后的心象风景。翁道胜《造化》系列中的自然图像比真实的自然更真实。因为它去除了琐碎的装饰，只保留了画家心中大自然的精神内核。

视野 Vision

翁道胜油画作品没有宏大的历史叙事场景，却将自然主题聚焦于微小而静谧的局部空间。画家用极其精微的油彩层次去刻画自然中的微妙细节。此种处理手法让观者情不自禁地停下来驻足观看画中的细节。在那一刻，画面中的块面、线条、色彩全都显露出了无限丰富的宇宙大千世界。正是东方禅宗文化所崇尚的一花一世界、一叶一菩提的直观显现。

翁道胜《造化》系列油画作品包括《乘黄》和《纪元》两幅作品，两幅作品以意象性的艺术塑造手法展现出山川大地的壮美、四季更替的诗韵、自然万物的生机。其中作品《乘黄》是《山海经·海外西经》所记载的名为乘黄的神马为基础而命名。据说骑上神马乘黄便可长寿，但其行踪极为隐秘，只有出现祥瑞天象的时候才能出现。久而久之，在中国传统文化中，人们便赋予乘黄以吉祥美好的寓意。画面里写实具象的人眼与抽象的山川云海同时出现在金黄色画布之上，打破人与自然的视觉边界，以东方观物哲学糅合现代艺术语言，完成一场关于天地与自我的精神对话。画面中的乘黄若隐若现，是整幅画作意象落地的关键，暖金底色铺陈出大地苍茫的肌理，堆叠的云絮错落游走于黑色峻峭山岩之间，山石硬朗的几何块面与云朵松软的涂抹笔触形成刚柔对冲，既是自然地貌的凝练缩影，也是画家对天地气韵的符号化提炼。画面最摄人心魄的，是悬于山水间的人眼。写实细腻的瞳仁穿透层层流动的色块，像人类的视线破开混沌山河，把“天人合一”从古典哲思变为可视的画面。金黄主色调取自黄土大地的厚重，暖调氤氲出苍茫辽阔的东方土地气质，穿插的青、绿、黑三角色块脱胎于奇峰远岳，画家摒弃写实描摹，将山水拆解为几何碎片，揉碎在人物面部的变形轮廓里，人脸化作山野，眉眼化作峰峦，实现人即是自然、自然藏于人面的意象共生，完美践行了中国传统“观物取象，以象悟道”的创作内核。

造化世界15 ZaoHua World15

画面中的云与地，是造化循环的具象落点。平整的暖黄底色暗含大地承载万物的包容，层叠的米白云块似流云栖于山谷，静态的山石托举飘忽云烟，一动一静暗合天地运化的规律。翁道胜以油画颜料的厚薄堆叠塑造肌理，厚涂的云朵带着浮雕般的质感，薄擦的土地晕染出渐变的土黄层次，西方表现性油画技法之下，根植的却是老庄“道法自然”的东方美学，跳出了传统山水的笔墨桎梏，也挣脱西方抽象画的形式束缚，走出一条中西交融的意象油画路径。命名为《纪元》的油画作品则是探讨大自然四季轮回，兴衰有定的规律，以此引发人们顺应自然天道，而不是粗暴地征服自然。《纪元》与《乘黄》在画面构图与块面造型方面有许多异曲同工之处，都是用中国意象审美的艺术表达方式诠释自然与人的关系。

《乘黄》和《纪元》作为《造化》系列作品最具代表性的作品，本质是画家借山水人面叩问生命本源。人眼望向山川，山河融于人面，一隅的天地小景，正是大千造化的微观缩影：世间万物相互交融，人本是自然的一隅，自然亦存于人的感知之中。在当代快节奏的环境里，作品以诡谲又厚重的画面，唤醒观者重新审视人与土地、天地的联结，从破碎重组的山水人像里，读懂造化运行、万物同源的东方智慧，这正是翁道胜《造化》系列超越画面形式的精神价值。

乘黄 Cheng Huang ( the Mythical Horse in Shanhaijing)

在翁道胜的笔下，《造化》系列油画作品是可游可居的理想空间，作品的母题是自然造化，是画家心中的“世外桃源”。画中的山川、河流被概括为抽象的几何块面和线条。画家以视觉上的娴熟技巧创造出牵引出观者的视线，去攀爬、去涉水、去栖息。这正是依靠巧妙的色块安排和疏密节奏的变化而实现的。《造化》系列作品借助于色块的组织安排，给观者设定了独特的视觉场域。在这个场域里，观者忘却了时间、精神畅游于自然造化之间，可以获得了短暂的休憩。

造化122 Transformation of Nature 122

翁道胜的油画《造化》系列作品关注自然主题，以简洁的几何块面构建出静穆的自然空间，唤起观者对自然的现世关怀和对当代生态危机的忧思。翁道胜的油画《造化》系列正是将自然主题再次拉入到观者的视线里，唤起人们对自然的忧思，重新找回那个与我们血脉相连的自然母体。

翁道胜的油画《造化》系列作品以山河万象铺展天地格局，在宏大景致与微小生灵的对照间，道尽自然包容万物、生生不息的磅礴伟力。观者驻足画前，心中生出对天地的敬畏，也读懂人与自然相依共生的真谛。画幅是有限的，而山川辽阔，自然永恒的主题是亘古永存的，这便是画家留给观者的思考所在。

——鲁迅美术学院副教授 郭燕

Observing the Transformation of Nature

— The Theme of Nature in Weng Daosheng’s “Zao Hua”Oil Painting Series

Great beauty resides in Heaven and Earth without utterance; the four seasons follow distinct laws without deliberation; all things hold their inherent principles without verbal explanation.—— Zhuangzi · Knowledge Travels North

Silent Heaven and Earth gestate all life on earth. The alternation of four seasons follows its own inherent operating laws. Lofty mountains stand tall through the ages, rivers and seas surge endlessly for millennia, plants and trees flourish and wither year after year, and the stars revolve day and night. Nature silently guards and embraces humanity. Painters will call on people to revere mountains, rivers, lakes and seas through the form of visual art, to protect this grand yet gentle world.

纳帕海的夜 The Night of Napahai

Weng Daosheng’s oil paintings skillfully interpret the theme of nature from a Chinese perspective—that is, the way the Chinese view nature. The Chinese way of seeing and depicting the natural world differs from the Western approach. Westerners emphasize painting from life, relying on focal-point perspective to portray realistic scenes, capturing the fleeting changes of light and color at specific moments. The Chinese, however, tend to depict natural scenery through ‌"mind-travel"‌. The painter does not merely paint what lies before his eyes; he paints the "inner landscape" accumulated over decades of life experience. Weng Daosheng’s “Zao Hua”series of oil paintings‌ is not a simple representation of ‌specific shanshui landscape scenes‌. Rather, it distills natural landscapes into minimalist geometric compositions—nature as remembered from years of living, as inner imagery shaped by countless layers of emotion. These images feel more real than reality itself, because they strip away trivial ornamentation and retain only the spiritual essence of nature as perceived by the artist.

Weng Daosheng’s oil paintings do not present grand historical narratives; instead, they focus the theme of nature on small, quiet, intimate spaces. With remarkably subtle layers of oilpaint, he renders delicate details of nature. This treatment compels viewers to pause and linger over the nuances within the frame. In that moment, the planes, lines, and colors in the picture reveal an infinitely rich universe—an embodiment of the Zen Buddhist reverence for "To see a world in a flower, a bodhi in a leaf."

静观 Watching Silently

The “Zao Hua” series includes two notable works,Cheng Huang‌ and‌Epoch.Both employ an imagistic artistic approach to convey the magnificence of mountains and rivers, the poetic rhythm of the seasons, and the vitality of all natural beings. “Cheng Huang‌‌” takes its name from a mythical divine horse recorded in the Classic of Mountains and River. It is said that riding this horse brings longevity, yet it appears only under auspicious celestial signs. Over time, in traditional Chinese culture, Cheng Huang came to symbolize good fortune and blessing.

In the painting, the realistic, figurative human eye and the abstract mountains, rivers, and sea of clouds appear simultaneously on the golden canvas, breaking down the visual boundary between humanity and nature. By blending the Eastern philosophy of observing things with the language of modern art, it completes a spiritual dialogue between heaven and earth and the self. TheCheng Huangin the painting is faintly visible, serving as the key that anchors the entire imagery of the work. The warm golden ground lays out the vast, weathered texture of the earth, while layered clouds drift in scattered disarray among the steep black mountain rocks. The hard geometric planes of the rocks and the soft, smeared brushstrokes of the clouds form a contrast of hardness and softness—at once a condensed microcosm of natural terrain and the painter's symbolic distillation of the spirit and rhythm of heaven and earth. What is most arresting in the picture is the human eye suspended amid the mountains and waters. Its realistically and delicately rendered pupil pierces through layer upon layer of flowing color blocks, like human vision breaking through the chaotic landscape, turning "‌the unity of man and nature (Tian Ren He Yi)‌ " from a classical philosophical idea into a visible image. The dominant golden hue is drawn from the weightiness of the loess earth, and the warm tones suffuse a vast, boundless aura characteristic of Eastern land. The interspersed triangular color blocks of cyan, green, and black are derived from towering peaks and distant mountains. The painter abandons realistic depiction, dismantling the landscape into geometric fragments and grinding them into the distorted contours of the human face.The human face transforms into mountains and wilderness, the brows and eyes become peaks and ridges, achieving a symbiotic imagery in which the human is nature and nature is concealed within the human face, perfectly embodying the creative core of the traditional Chinese principle of "observing things to extract images, and using images to comprehend the Way."

造化123 Transformation of Nature 123

The clouds and earth in the painting are the concrete embodiment of the cyclic operation of creation. The smooth warm yellow background implies the earth's inclusiveness in carrying all things, while the layered off-white cloud blocks resemble drifting clouds resting in mountain valleys. The static rocks support the ethereal mist and clouds; the interplay of movement and stillness subtly corresponds to the laws of heaven and earth's transformation. Weng Daosheng shapes texture through the thick and thin layering of oil paints: the thickly painted clouds carry a relief-like quality, while the thinly wiped land blends into gradually shifting layers of earthy yellow. Beneath the Western expressionist oil painting techniques lies the Eastern aesthetics rooted in the Daoist principle of Dao follows Nature (from Laozi and Zhuangzi’s classic texts).‌ It breaks free from the brush-and-ink constraints of traditional landscape painting and also escapes the formal shackles of Western abstract art, forging a path of imagery oil painting that blends Chinese and Western elements. The oil painting titled“Epoch”explores the laws of nature's four-season cycle and the certainty of rise and decline, thereby inspiring people to conform to the natural Way of heaven rather than crudely conquering nature.EpochandCheng Huangshare many similarities in pictorial composition and block-like modeling, both interpreting the relationship between nature and humanity through the artistic expression of Chinese imagery aesthetics.

冥思 Meditation

Cheng Huang‌ and‌Epoch‌, as the two most representative works of the “Zao Hua” series‌, essentially embody the painter's inquiry into the origin of life through ‌the integrated imagery of landscapes and human figures‌. The human gaze rests upon mountains and rivers, while the mountains and rivers merge into the human face. A small, enclosed scene of heaven and earth is precisely ‌a microcosm of the boundless workings of nature‌: all things in the world are intertwined, humanity itself is an integral part of nature, and nature likewise resides within human perception. In today's fast-paced contemporary context, the works, with their ‌surreal yet weighty visual language‌, awaken viewers to re-examine the deep bond between humanity and the land, and between humanity and the universe. From ‌the fragmented and reconfigured blended landscape-portrait imagery‌, one can grasp ‌the Eastern philosophical wisdom of the cyclic operation of nature and the shared origin of all beings‌. This is precisely the spiritual value of Weng Daosheng's“Zao Hua” series that transcends the formal boundaries of the paintings themselves.

In Weng Daosheng's brushwork, the “Zao Hua”series‌ of oil paintings are ideal spaces that can be wandered through and dwelt in. The motif of these works is natural creation — the ‌"Peach Blossom Spring (the Chinese Arcadia)"‌ in the painter's heart. The mountains and rivers in the paintings are generalized into abstract geometric blocks and lines. ‌With consummate visual mastery‌, the painter creates compositions that guide the viewer's gaze to traverse the scene: to climb the mountains, wade the rivers, and find a place to rest. This is achieved precisely through ingenious arrangement of color blocks and variations in density and rhythm. Through ‌the deliberate arrangement of color blocks‌, the “Zao Hua” series establishes a unique visual field for the viewer. Within this field, the viewer forgets time, letting their spirits roam freely ‌within the realm of natural creation‌, and can attain a brief moment of repose.

她山之上 Above Her Mountain

Weng Daosheng's “Zao Hua” oil painting series‌ focuses on the theme of nature, constructing serene natural spaces with concise geometric blocks, awakening viewers' contemporary concern for nature and their ‌profound reflection‌ on the current ecological crisis. This series precisely draws the theme of nature back into the viewer's field of vision, evoking people's deep contemplation on nature and helping them rediscover ‌the natural matrix‌ that shares an inseparable blood bond with humanity.

Weng Daosheng's “Zao Hua” oil painting series‌ unfolds the ‌grand cosmic vision of Heaven and Earth‌ through mountains, rivers and all natural phenomena. In the contrast between vast landscapes and tiny living beings, it fully conveys nature's magnificent power of embracing all things and generating life endlessly. Standing before the paintings, viewers are filled with awe for Heaven and Earth, and grasp ‌the profound truth of humanity and nature interdependently coexisting‌. The canvas is limited, yet the mountains and rivers are vast, and the eternal theme of nature is everlasting — this is precisely the contemplation the painter leaves to the audience.

Guo Yan, Associate Professor of Lu Xun Academy of Fine Arts‌

幻象 Illusion

敦煌故事 (出征) Dunhuang Tale: Go on an Expedition‌

纪元 Epoch

山海造化 Nature's Craftsmanship in Mountains and Seas‌

Artist Introduction艺术家介绍

翁道胜

中国当代艺术家

生于浙江温州，现居上海、大连

辽宁省大连画院油画院副秘书长，大连浙江省商会艺术顾问，辽宁省师范大学特聘教授

曾就读于中央美术学院，研修于首都师范大学表现性油画工作室

作品出版

2017《元象：翁道胜油画集》安徽美术出版社

2013《大气象：翁道胜油画集》吉林美术出版社

个展经历

2026 “造化” 翁道胜当代艺术作品展江苏苏州湾艺术馆

2026 “云上”翁道胜油画作品展-上海 7 SPACE

2026 “迹象”翁道胜沙龙作品展-上海雅翫域所

2025 “行上”翁道胜作品展-杭州ANEW ART LOUNGE艺术空间

2025 “造化”翁道胜作品展-上海雅翫域所艺术空间

2023 “化行”翁道胜作品展-大连美术馆

2023 “和合”翁道胜作品展-上海南希画廊

2020 “山相山”翁道胜作品展-辽宁省大连山相山艺术空间

2020 “云图”翁道胜作品展-辽宁省大连 X-gallery 未知空间

2019 “大气象”翁道胜艺术作品展-四川省广汉市美术馆

2019 “新象”翁道胜油画作品个展-浙江省杭州江南学社艺术空间

2019 “元象”个人作品全国巡展第四站-浙江省杭州单复艺术空间

2018 “万象”主题跨界作品个展-北京 798 东时实验室

2018 “象外”翁道胜荷兰个展-荷兰恩斯赫德 xpo 美术馆

2018 “元象”个人作品全国巡展第三站-河南省美术馆

2017 “元象”个人作品全国巡展第二站-浙江台州美术馆

2017 “元象”个人作品全国巡展首展-辽宁省大连中山美术馆

2015 “古韵”主题个展-北京草场地国际艺术区 Zoomart 美术馆

2009 “根”主题个人画展-辽宁省大连

Weng Daosheng

A Chinese contemporary artist

Born in Wenzhou, Zhejiang; currently lives in Shanghai and Dalian.

Deputy Secretary-General of the Oil Painting Institute, Dalian Painting Academy, Liaoning Province.

Art Advisor to the Zhejiang Chamber of Commerce in Dalian.

Formerly studied at the Central Academy of Fine Arts and pursued advanced studies at the Expressive Oil Painting Studio of Capital Normal University.

Publications

· 2017 Primordial Images: Oil Paintings by Weng Daosheng – Anhui Fine Arts Publishing House

· 2013 Grand Vision: Oil Paintings by Weng Daosheng – Jilin Fine Arts Publishing House

Solo Exhibitions

· 2026 Transformation of nature-Weng Daosheng Contemporary Art Exhibition at Suzhou Bay Art Museum, Jiangsu

· 2026 Above the Clouds – Weng Daosheng Oil Painting Exhibition, Shanghai 7 SPACE

· 2026 Traces – Weng Daosheng Salon Exhibition, Shanghai Yawan Yusuo

· 2025 On the Way – Weng Daosheng Exhibition, Hangzhou, ANEW ART LOUNGE

· 2025 Creation – Weng Daosheng Exhibition, Shanghai Yawan Yusuo Art Space

· 2023 Transformation – Weng Daosheng Exhibition, Dalian Art Museum

· 2023 Harmony – Weng Daosheng Exhibition, Shanghai Nancy’s Gallery

· 2020 Mountain Meets Mountain – Weng Daosheng Exhibition, Shanxiangshan Art Space, Dalian, Liaoning

· 2020 Cloud Atlas – Weng Daosheng Exhibition, X-gallery (Unknown Space), Dalian, Liaoning

· 2019 Grand Vision – Weng Daosheng Art Exhibition, Guanghan Art Museum, Sichuan

· 2019 New Images – Weng Daosheng Solo Oil Painting Exhibition, Jiangnan Academy Art Space, Hangzhou, Zhejiang

· 2019 Primordial Images – National Tour Exhibition (4th Stop), Danfu Art Space, Hangzhou, Zhejiang

· 2018 Myriad Images – Thematic Crossover Solo Exhibition, 798East Time Lab, Beijing

· 2018 Beyond Images – Weng Daosheng Solo Exhibition, XPO Museum, Enschede, Netherlands

· 2018 Primordial Images – National Tour Exhibition (3rd Stop), Henan Art Museum

· 2017 Primordial Images – National Tour Exhibition (2nd Stop), Taizhou Art Museum, Zhejiang

· 2017 Primordial Images – National Tour Exhibition (Premiere), Zhongshan Art Museum, Dalian, Liaoning

· 2015 Ancient Rhyme – Thematic Solo Exhibition, Zoomart Art Museum, Caochangdi International Art District, Beijing

· 2009 Roots – Thematic Solo Exhibition, Dalian, Liaoning