胡志穎　 　　Hu Zhiying 　　著名當(dāng)代藝術(shù)家 　　1959年生，教授，博士，中國(guó)美術(shù)家協(xié)會(huì)會(huì)員。 　　1977~1981年就讀江西師范學(xué)院藝術(shù)系美術(shù)專業(yè)，1987~1990年就讀廣州美術(shù)學(xué)院中國(guó)畫專業(yè)研究生，1999~2002年就讀暨南大學(xué)文藝學(xué)專業(yè)博士研究生�，F(xiàn)任教于華南師范大學(xué)美術(shù)學(xué)院。 　　紐約專業(yè)刊物《畫廊與工作室》（Gallery & Studio）報(bào)道展覽、刊登《重造培根——女子角斗》等作品，并發(fā)表美國(guó)著名批評(píng)家邁科馬克（Ed McCormack）文章《中國(guó)畫家胡志穎營(yíng)造他的培根架構(gòu)》；紐約專業(yè)刊物《畫廊指南》（Gallery Guide）刊登《天文Ⅰ》作品和發(fā)布展覽新聞；《美國(guó)藝術(shù)》（Art in America）發(fā)布在紐約舉辦展覽新聞�！都~約藝術(shù)雜志》》（NY Arts Magazine）刊登《內(nèi)典錄》等作品，并發(fā)表美國(guó)著名批評(píng)家亞當(dāng)·唐納德（Adam Donald）的評(píng)論�！秶�(guó)際藝術(shù)博覽會(huì)報(bào)》（Art Fairs International Newspaper）介紹其藝術(shù)。 　　作品由路德維希博物館收藏。 　　個(gè)人畫冊(cè)《在幻象鎖鏈的彼岸》（中國(guó)環(huán)球文化出版社出版，2010）。　 　　個(gè)人畫冊(cè)《胡志穎作品集》（海風(fēng)出版社出版，2011）。 　　除藝術(shù)創(chuàng)作外，尚有專著《西方當(dāng)代藝術(shù)狀態(tài)》（人民美術(shù)出版社出版，2003）、《文學(xué)彼岸性研究》（中國(guó)社會(huì)科學(xué)出版社出版，2003）。 　　

上個(gè)世紀(jì)九十年代參加以下重要當(dāng)代藝術(shù)展覽：

1996 德國(guó)藝術(shù)機(jī)構(gòu)組織的當(dāng)代藝術(shù)展“China-Aktuelles aus 15 Ateliers”（德國(guó)慕尼黑）； 　　

1996 China-Aktuelles aus 15 Ateliers, Munich, Germany 　　

1996 瑞士“李特曼文化計(jì)劃”之“CHINA NOW！”（瑞士巴塞爾）； 　　

1996 CHINA NOW! Basel, Switzerland 　　

1997 “PLAT FORM I”（荷蘭阿姆斯特丹）； 　　

1997 "PLAT FORM", Amsterdam 　　

1998 “CHINA NOW！”（日本東京、大坂等五個(gè)城市）； 　　

1998CHINA NOW! Tokyo, Osaka, etc., five cities, Japan 　　

1999 油畫《古董》和系列水墨畫《內(nèi)典錄》，在法國(guó)國(guó)家電視二臺(tái)專題節(jié)目“Transculturelles in Cantonu20191999” （“1999年廣州跨文化藝術(shù)節(jié)”，由法國(guó)駐廣州總領(lǐng)事館策劃，國(guó) 際知名制片人Robert Cahen制作）中介紹（巴黎）。 　　

1999 His oil painting Antique and ink and wash painting series Buddhist Scriptures were introduced by the world famous producer Robert Cahen in Paris on French National TV 2 in the special program “Transculturelles in Canton 1999”. 　　

      本世紀(jì)主要展覽及獲獎(jiǎng)： 　　

2001 胡志穎作品展，中央美術(shù)學(xué)院美術(shù)館； 　　

2001 Art Exhibition of Hu Zhiying, the ArtGallery of CentralAcademy of Fine Arts, Beijing 　　

2005 胡志穎繪畫作品展，上海大學(xué)美術(shù)學(xué)院； 　　

2005 Painting Exhibition of Hu Zhiying, College of Fine Arts of ShanghaiUniversity, Shanghai 　　

2008 胡志穎作品展，意大利Piziarte畫廊； 　　

2008 Art Exhibition of Hu Zhiying, Galleria Piziarte, Teramo, Italy 　　

2009 無常與放任——胡志穎 · 黃少垠繪畫展，789-K 藝術(shù)空間，北京； 　　

2009 Transiency and Indulge——Hu Zhiying o Huang Shaoyinu2019s Drawing, 798-K SPACE, Beijing 　　

2009 胡志穎藝術(shù)展，紐約國(guó)際美術(shù)館； 　　

2009 Art Exhibition of Hu Zhiying, WorldFineArtGallery, New York 　　

2010 季節(jié)與色彩，紐約寫實(shí)主義畫廊； 　　

2010 Season and Color, Realism Gallery, New York 　　

2010 大型回顧展 “在幻象鎖鏈的彼岸——胡志穎繪畫作品1989—2009”，墻美術(shù)館，北京； 　　

2010 Beyond the Chains of Illusion——Hu Zhiyingu2019s Paintings (1989-2009), the WallArt Museum, Beijing 　　

2010 獲德國(guó)萊比錫“2010國(guó)際棕櫚藝術(shù)獎(jiǎng)”之“成就獎(jiǎng)”。 　　

2010 Winner Palm Art Award2 0 1 0, Leipzig, Germany 　　

2011 透明的墻：中印藝術(shù)展，對(duì)比窗（上�！八囆g(shù)門集團(tuán)”）。 　　

2011 Window in the Wall：India and China u2013 Imaginary Conversations, Pearl Lam Fine Art, Shanghai

20世紀(jì)90年代(4張)

20世紀(jì)80年代(4張)　

　　中外批評(píng)家評(píng)胡志穎的藝術(shù) 　　Chinese and Foreign Critics on Hu Zhiyingu2019s Art 　　

個(gè)體的深度性和獨(dú)立性才能真正地表現(xiàn)自由，因?yàn)樽杂捎肋h(yuǎn)不是從外部來的，它是內(nèi)在的生成，它來自自由的品質(zhì)本身。所以，從這個(gè)意義上講，自由永遠(yuǎn)不屬于流行大眾，而只屬于孤獨(dú)的行者。不加入時(shí)尚，始終默默地在如何書寫和視覺化這個(gè)終極關(guān)懷方面雙向探索，胡志穎就是其中的一位。 　　——高名潞（《孤獨(dú)行者的自由》，海風(fēng)出版社，2011） 　　

It is an individualu2019s profoundness and independence of this kind that make it possible to truly express freedom, for freedom never comes from external things but instead it comes from within, and from free quality itself. In this sense, therefore, freedom never belongs to common people who follow the trend but only belongs to lonely passengers. They have the common characteristic of keeping away from fashion and making two way exploration in writing about and visualizing ultimate concern. Hu Zhiying is one of them. 　　——Gao Minglu (“Freedom of a Lonely Passenger”, Haifeng Publish House, 2011) 　　

胡志穎命題奇異，思路幽玄，很有一些特立獨(dú)行的游俠色彩。 　　——趙一凡（《文學(xué)彼岸性研究·序》，中國(guó)社會(huì)科學(xué)出版社，2003） 　　Hu Zhiying, with his unusual propositions and profound and abstruse trains of thought, is something of an independently minded roving brave. 　　——Zhao Yifan (“Preface to On the Paramitality in Literature”,China Social Sciences Press, 2003) 　　

胡志穎正是重視于意識(shí)的過程，以意識(shí)的過程來表述文化的狀態(tài)。于是，在他的畫面，意識(shí)一層層地展開，文化的影像層疊顯現(xiàn)出來，追問、懷疑、撞擊成了文化意識(shí)本身。 　　——王璜生（《江蘇畫刊》，1997，江蘇美術(shù)出版社） 　　Hu Zhiying thinks highly of the process of consciousness and represents the state of culture with it. So in his paintings, consciousness is unfolded layer by layer and cultural images emerged; questioning, suspecting and colliding become the cultural consciousness itself. 　　——Wang Huangsheng (Jiangsu Art Monthly, 1997, Jiangsu Fine Arts Publishing House) 　　

80年代中期之后的中國(guó)美術(shù)對(duì)歐美現(xiàn)代藝術(shù)的吸收與仿效并不是按歐美現(xiàn)代藝術(shù)發(fā)展軌跡而復(fù)述的，而是在“同時(shí)性”中效制“歷時(shí)性”的行動(dòng)，在這一行動(dòng)中所展示的樣式即是多元同發(fā)的……胡志穎的《偽望遠(yuǎn)鏡》分別在多元的探索中為今日中國(guó)畫壇所矚目與肯定。 　　——張晴（《新中國(guó)美術(shù)文獻(xiàn)博物館》，2001，黑龍江教育出版社） 　　

Chinese art after the mid-1980s does not repeat the course of development of European and American modern art when absorbing and imitating modern art of Europe and America. Instead, it takes an action of imitating “diachronic” things in a “synchronic” way, and diversified modes of art are manifested simultaneously in this action….Hu Zhiyingu2019s Pseudo-Telescope, for its manifold exploration, becomes the focus of public attention and is approved in the painting circles of China today. 　　——Zhang Qing (Museum of Art Documents in New China, 2001, Heilongjiang Education Press) 　　

閱讀胡志穎的作品給人一種東方虛化境界的感受，而他對(duì)整個(gè)畫面的光滑的處理又提醒我們面對(duì)一個(gè)物質(zhì)的實(shí)存空間。畫布、畫板以及材料的色彩、形態(tài)、質(zhì)感把我們所體驗(yàn)到的虛化境界懸隔在物質(zhì)空間之外。 　　——趙冰（《當(dāng)代藝術(shù)》，1993，湖南美術(shù)出版社） 　　When beholding Hu Zhiyingu2019s work, we are impressed by its etherealness peculiar to Oriental art, while we are reminded by the smooth effect of the whole painting that we are confronted with a substantial space. The canvas, the panel and the colors, forms and textures of materials exclude the etherealness we have sensed from the material space. 　　——Zhao Bing (Contemporary Art, 1993, Hunan Fine Arts Publishing House) 　　

胡志穎的作品形式新穎、含義多元而蘊(yùn)涵著永恒、莊嚴(yán)之美，從而構(gòu)筑了一種“高貴的世界”（馬爾庫塞語），十分難得。他的藝術(shù)就是他自己的性靈獨(dú)白。 　　胡志穎的作品的意義不僅僅是對(duì)中西方藝術(shù)的融合，他對(duì)經(jīng)典藝術(shù)的引用不是簡(jiǎn)單的引用，更重要的是對(duì)經(jīng)典的東西方藝術(shù)（包括傳統(tǒng)和現(xiàn)代）的重構(gòu)，即在東方和西方的偉大藝術(shù)成就基礎(chǔ)上重造藝術(shù)，創(chuàng)造出屬于他自己的藝術(shù)。 　　——青宇 　　With their novel style, diversified implications and eternal and imposing beauty, Hu Zhiyingu2019s works, very valuable, constitute a “noble world” (Herbert Marcuse). His art is a monologue of his own soul. 　　The significance of Hu Zhiyingu2019s art lies not only in his combination of Chinese and Western art. He does not make use of classical art in a simple way. What is more important is the reconstruction of classical Eastern and Western art (including traditional and modern),i.e., he reshapes art on the basis of the great artistic achievements of the East and the West and creates his own art. 　　——Qing Yu 　　

在胡志穎的作品中，我們似乎感到他個(gè)人文化影像的一層層剝離和呈現(xiàn)、一次次拆解和重組，而同時(shí)，這種文化影象卻又不僅僅是個(gè)人的意義，而是一次次地指向更廣闊的地域和文化空間，對(duì)重大的文化構(gòu)成提出既具有理性又充滿激情的質(zhì)疑。 　　——王璜生（《文化權(quán)力的無�！�—解讀胡志穎》，江蘇美術(shù)出版社） 　　

In Hu Zhiyingu2019s works, it seems that we could sense his uncovering and representing, dissembling and re-grouping of his personal cultural images again and again. While at the same time, these cultural images not only have personal significance, but also refer to wider regional and cultural spaces, proposed rational and willful questions of important cultural structures. 　　——Wang Huangsheng (The Transiency of Cultural Power u2013 Reading Hu Zhiying, JiangsuFine Arts Publishing House) 　　

胡志穎的作品均為綜合材料，材料的具象性正是在它自身與其所負(fù)載的藝術(shù)含義之間，脫離直接關(guān)聯(lián)的變異中失卻其具象性質(zhì)，而受限于藝術(shù)的自律性。媒介材料的具體物質(zhì)性與其在藝術(shù)作品中所呈現(xiàn)的抽象性之間又產(chǎn)生一種懸隔。是靠作為與現(xiàn)實(shí)世界等量齊觀的藝術(shù)現(xiàn)實(shí)本身還是靠對(duì)現(xiàn)實(shí)世界的詮釋，恐怕是難以解決的，也許這是不必糾纏的一個(gè)形而上問題，切入其語言言說的句詞之中進(jìn)行分辯也許是最終的目的。 　　——《中國(guó)當(dāng)代美術(shù)家圖鑒》（京華出版社，1995） 　　

Mixed media is used in Hu Zhiyingu2019s works without exception. The lack of direct link between the materials and the artistic meanings they carry deprives the materials of their figurative nature and subjects them to the autonomy of art. A gap arises between the concrete materiality of the materials and the abstractness they manifest in works of art. It is difficult, I am afraid, to decide whether we should base our understanding on the artistic reality itself on a par with the real world or on the explanation of the real world. Perhaps this is a metaphysical problem unnecessary for us to be involved in. Maybe our final aim is to analyse the context of the artistic language. 　　——PictorialHandbook of Contemporary Artists in China (Jinghua Publishing House, 1995) 　　

胡志穎運(yùn)用中國(guó)傳統(tǒng)題材，并以難以想象的特殊技巧將耀眼的紅色和黃色恰如其分地協(xié)調(diào)在巨幅畫面上。其藝術(shù)是通過多元美學(xué)觀念直率地闡說畫中的象征意義。 　　——[歐洲]巴巴拉·羅曼（Barbara Rollmann） 　　

Hu Zhiying uses traditional subject matters of China and harmonizes dazzling red and yellow appropriately on his huge paintings with an unimaginable special technique. His art lies in the straightforward expounding of the symbolic meanings in his paintings through diversified aesthetic concepts. 　　——Barbara Rollmann (Europe) 　　

胡志穎的畫面運(yùn)用金粉、銀粉和中國(guó)大漆形成閃光的效果，而這種效果在中國(guó)藝術(shù)中是最容易引起爭(zhēng)議的。但這正是他藝術(shù)之所在：利用外來文化同時(shí)又瓦解它使之滲透到自己的傳統(tǒng)之中。 　　——[德] 薩比內(nèi)·阿德勒（Sabine Adler） 　　

The use of gold powder, silver powder and Chinese lacquer in Hu Zhiyingu2019s paintings brings about a shining effect, an effect easiest to arouse controversy in Chinese art. However, this is exactly where his art lies: making use of foreign cultures but at the same time disintegrating them and incorporating them into his own tradition. 　　—— Sabine Adler (Switzerland) 　　

胡志穎的藝術(shù)蘊(yùn)藏著他對(duì)中國(guó)古典文化的深刻眷戀，他將這種眷戀融合西方當(dāng)代藝術(shù)的奇異方式體現(xiàn)其個(gè)人化的實(shí)驗(yàn)不為時(shí)尚所左右。 　　——[德] 克勞迪亞·泰布勒（Claudia Teibler） 　　

Hu Zhiyingu2019s deep affection for Chinese classical culture is contained in his art. The unusual ways in which he combines this affection with Western contemporary art indicate that his individualized experiment is not influenced by any fashion. 　　——Claudia Teibler (Austria) 　　

胡志穎的藝術(shù)把經(jīng)典的傳統(tǒng)西方藝術(shù)如塞尚和諸如安塞爾·亞當(dāng)斯這種西方現(xiàn)代攝影巧妙地交織于經(jīng)典的中國(guó)藝術(shù)形式之中。 　　

——[歐洲] 馮·彼得·米夏茨克（Von Peter Michalzik） 　　

Hu Zhiyingu2019s art skillfully interweaves classical and traditional Western art such as Cezanneu2019s and Western modern photography such as Ansel Adamsu2019s with classical Chinese art form. 　　——Von Peter Michalzik (Europe) 　　

胡志穎的繪畫方式是解構(gòu)中西方藝術(shù)的不同元素而后綜合之。胡志穎用西方的材料表現(xiàn)中國(guó)藝術(shù)的因素并體現(xiàn)饒有個(gè)性的平整的表面效果，從而使其藝術(shù)富于復(fù)合的現(xiàn)代意義。 　　——[德] 英格·林德曼（Inge Lindemann） 　　

Hu Zhiyingu2019s mode of painting lies in the disintegrating and subsequent integrating of different elements of Chinese and Western art. Hu Zhiying expresses elements of Chinese art with Western materials and enhances the distinct flat effect of the painting surface so that his art is full of multiple modern meanings. 　　——Inge Lindemann (Germany) 　　

胡志穎的畫面常常是多種物象的綜合，作為物象的背景與背景中的物象往往交替互換。胡志穎的作品真正例示了他所謂的“文化反差”具體而又抽象的感知范圍，當(dāng)人們意欲追溯這種感知范圍的歷史原型時(shí)，當(dāng)人們意欲追究其母題與主題的聯(lián)系時(shí)，卻又很容易陷入畫中不可名狀的虛化的夢(mèng)境之中。其作品中呈現(xiàn)的那些具體物質(zhì)材料把一種古典色調(diào)與多元并置的圖象所表現(xiàn)的文化反差置于精致的物質(zhì)性感受當(dāng)中，從而體驗(yàn)其多種懸隔感。復(fù)雜的材料、變幻的圖象、光潔如鏡的表面與我們身處其中瞬息萬變、充滿奇光異彩的世界正相暗合，而從浮光之下又透出與此相隔的幽冥神秘的境界。 　　——《十五位中國(guó)當(dāng)代藝術(shù)家工作室》 　　

Hu Zhiyingu2019s works illustrate “cultural contrast” as an abstract and concrete field of knowledge. When the viewer tries to discern the origin of this field and identify the relationship between the themes of art and their prototypes, they are likely to lose themselves in the dreamlike realm of the paintings. In my easel paintings on canvas or board, apart from conventional materials like ink, oil and acrylic colors, I apply gold and silver power, Chinese Varnish. These materials, expressing an archaic mood in a multitude of imagines, add substance to the “cultural contrast”. The various materials, the diversity of images and the glossy surface are easily identifiable with the bright yet unstable reality of the world in which we live, and at the same time, imply a dark, mysterious world lurking beneath the dazzling surface. 　　——《China-Aktuelles aus 15 Ateliers》 　　

因?yàn)楹�志穎對(duì)兩幅畫中的形象都進(jìn)行了比培根通常所做的更大的意象性解構(gòu)，結(jié)果形成了這樣一種構(gòu)圖，甚至盡管保留了培根的整體的構(gòu)圖沖擊力和基調(diào)，實(shí)際上卻似乎引用了朱利安·施納貝爾（Julian Schnabel）的抽象性的某些方面。……胡志穎對(duì)多元文化的潮流作出重要的說明，在這股潮流中，將往昔、現(xiàn)今和未來的畫家們聯(lián)系在一起的影響、靈感與創(chuàng)新相交融。 　　——[美] 麥科馬克（Ed McCormack，《中國(guó)畫家胡志穎以培根贏得聲望》，原載《畫廊與工作室》2008年11/12月號(hào)與2009年1月號(hào)合刊，紐約） 　　

For Hu Zhiying has subjected the figures in both canvases to considerably more imagistic deconstruction than Bacon usually did, creating a composition that, in fact, appears to reference certain aspects of Julian Schnabelu2019s abstractions even while retaining the overall compositional thrust and mood of Bacon…Hu Zhiying makes a major statement about the multicultural currents of cross-fertilization of influence, inspiration and innovation that unite painters of the past, present, and future. 　　

——Ed McCormack: Chinese Painter Hu Zhiying Makes His Bones with Bacon (Gallery & Studio, Nov/Dec 2008-Jan 2009, New York) 　　

從胡志穎1989年的早期紙上水墨作品到他最近的向培根表示敬意的作品，他一直不墨守陳規(guī)，而是不斷嘗試將西方與東方影響的精髓融合起來。他從未有過機(jī)械的做法，聯(lián)想有時(shí)是微妙的或者是明顯的，但總是充滿想象力。 　　

From Hu Zhiyingu2019s early inks on paper in 1989 to his recent homage to Bacon, he has always travelled off the beaten path, but in a continuous attempt to combine the essence of western and eastern influences. He never had a mechanistic approach, and the associations can be subtle or obvious, but always imaginative. 　　

在我看來，胡志穎是終極的真正的藝術(shù)家，具有強(qiáng)烈的個(gè)人特性和強(qiáng)悍的不妥協(xié)的個(gè)性。他具有強(qiáng)烈的深思熟慮的方向意識(shí)，不過他總會(huì)使觀者感到驚奇不已。 　　

To me, Hu Zhiying is the ultimate authentic artist, with a fierce individualism and a powerful no-compromise personality. He has a strong well thought-out sense of direction, although he will always surprise the viewers. 　　

胡志穎的風(fēng)格和藝術(shù)生涯顯然沒有大部分新潮流中的當(dāng)代藝術(shù)（包括中國(guó)與西方）的特征，而與那些最終留下巨大的歷史遺產(chǎn)的大師要接近得多。 　　

In all that, Hu Zhiyingu2019s style and career are clearly uncharacteristic of that of most of the new wave of contemporary art (both Chinese and Western) and much closer to those who have ended up leaving a huge historical legacy. 　　

——[法] 迪迪�！ず障＃―idier Hirsch，《一位非傳統(tǒng)的個(gè)人主義藝術(shù)家》） 　　

——Didier Hirsch: An Artist as Unconventional Personality: 　　On Hu Zhiying 　　

胡志穎與當(dāng)下流行的風(fēng)尚不一樣。這位藝術(shù)家是就自己所關(guān)心的某種問題，長(zhǎng)期用一種個(gè)人化的方式創(chuàng)作作品。他的作品可能關(guān)注的是更深層次的一些文化哲學(xué)問題。 　　——吳鴻（《胡志穎·黃少垠作品座談會(huì)紀(jì)要》） 　　

Hu Zhiying does not follow the currently prevailing practice. He has produced works for a long time in an individualized way with an eye to certain problems he concerns himself with. He may have paid close attention in his works to some cultural and philosophical problems at a deeper level. 　　——Wu Hong (A Summary of the Symposium on Works by Hu Zhiying and Huang Shaoyin) 　　

胡志穎個(gè)人按自己的需要，只按他自己某個(gè)階段的內(nèi)心需要，不管不顧，去做他的作品。從這個(gè)意義上，這倒符合藝術(shù)家的天性，也符合藝術(shù)的需要。 　　——賈方舟（《胡志穎·黃少垠作品座談會(huì)紀(jì)要》） 　　

Hu Zhiying has produced his works according to his personal need, or rather, according only to his internal need in a certain stage, regardless of other things. In this sense, this accords with the natural instinct of an artist, and also with the requirement of art. 　　

——Jia Fangzhou (“A Summary of the Symposium on Works by Hu Zhiying and Huang Shaoyin”) 　　

胡志穎是“無�！�，實(shí)際上是要追求一種自由，沒有常理，追求一種更高的境界“道”�！盁o�！备�多的是一種“道”的境界。比放任的世俗的自由還要高�！盁o�！笔且�超越“理”而達(dá)到“道”的境界。 　　胡志穎80年代的作品在美術(shù)史的互文關(guān)系中是很有意義的，是很有代表性的，很強(qiáng)的。 　　——鄒躍進(jìn)（《胡志穎·黃少垠作品座談會(huì)紀(jì)要》） 　　

For Hu Zhiying, “transiency” means a pursuit of freedom without any convention, a pursuit of a higher state, the state of Tao. To a great extent, “transiency” is a state of Tao, even higher than unrestrained worldly freedom. “Transiency” means surpassing “reason” and reaching the state of “Tao”. 　　Hu Zhiyingu2019s works of the 1980s are significant in the intertextual relations of art history. They are representative and powerful. 　　——Zou Yuejin (“A Summary of the Symposium on Works by Hu Zhiying and Huang Shaoyin”) 　　

胡志穎的作品，有很多空間的疊合，有中國(guó)的空間感，也有西畫的元素，畫面趣味很復(fù)雜、難以言表，在畫面營(yíng)造多重意思。 　　——高嶺（《胡志穎·黃少垠作品座談會(huì)紀(jì)要》） 　　

There are overlaps of space in Hu Zhiyingu2019s works. There is sense of space peculiar to Chinese art and also elements of Western painting. His paintings have indescribable and complex taste, and multiple meanings are created in them. 　　——Gao Ling (“A Summary of the Symposium on Works by Hu Zhiying and Huang Shaoyin”) 　　

西方的超現(xiàn)實(shí)主義傳統(tǒng)，把人的創(chuàng)造力放在一種沒有約束的境域，強(qiáng)調(diào)一種絕對(duì)的創(chuàng)造力，而不是一種相對(duì)的創(chuàng)造力，我在胡志穎的作品中看到了這樣一種東西。加上他畫面空間上的錯(cuò)置，它既非透視的也非故意反透視法的，實(shí)際上是沒有一個(gè)固定視點(diǎn)的，他不是為了刻畫什么、再現(xiàn)什么、或者主觀意義上表達(dá)什么，繪畫對(duì)他而言實(shí)際上是一種探尋的過程，在這種過程，才利用了一些符號(hào)。我特別感興趣是他運(yùn)用材料的講究，從材料上來看，他喜歡用大漆、硍朱，這讓我想起中國(guó)漢代的漆藝，具有一種歷史的深度，漆的多層效果給人一種肅穆、凝固的感覺。 　　——鮑棟（《胡志穎·黃少垠作品座談會(huì)紀(jì)要》） 　　

In Western surrealist tradition, the human creativity is free from any restraint, and absolute rather than relative creativity is emphasized. Such is the thing that I have sensed in Hu Zhiyingu2019s works. With dislocation of things in the space, his paintings are something that neither conforms to perspective nor goes against it intentionally. In fact, there is not a fixed point of view. He does not portray or represent anything, or express anything in subjective sense. For him, painting is in fact a process of exploration, and signs are made use of in this process. I am particularly interested in his exquisite use of materials. In terms of materials, he likes to use lacquer and vermilion which remind me of the lacquer art of the Han dynasty in China. They have a historical depth. The effect of multi-layered lacquer strikes one as solemn and solidified. 　　——Bao Dong (“A Summary of the Symposium on Works by Hu Zhiying and Huang Shaoyin”) 　　

胡志穎是一位以文化哲學(xué)思考及體驗(yàn)為創(chuàng)作動(dòng)力的藝術(shù)家。他既不關(guān)注社會(huì)現(xiàn)實(shí)的表層變化，也不關(guān)心個(gè)體心理及經(jīng)驗(yàn)的表達(dá)，在二十多年的創(chuàng)作中，他唯一強(qiáng)調(diào)的是對(duì)終極命題的探尋，以及對(duì)某種可能的超然精神的無限接近。在這樣的驅(qū)動(dòng)力下，他的創(chuàng)作在各個(gè)階段調(diào)節(jié)了水墨、大漆、油彩等各種媒介特性，也調(diào)動(dòng)了不同文化中的諸多符號(hào)、形象與象征，通過對(duì)不同文化系統(tǒng)中的表征片段的錯(cuò)置與再造，暗示著文化的無常屬性與幻象本質(zhì)，并在這表征的裂縫中閃現(xiàn)著對(duì)存在的詩性直觀。 　　

“在幻象鎖鏈的彼岸”是法蘭克福學(xué)派哲學(xué)家艾里克·弗洛姆的著作，在這本書中，他把弗洛伊德的無意識(shí)學(xué)說與馬克思的意識(shí)形態(tài)學(xué)說聯(lián)系起來，重新反思了人類自由的可能性。在這里，我們借用這本書的標(biāo)題來概括胡志穎的繪畫語言與藝術(shù)境界：通過一系列的視覺符號(hào)、形象及象征的可見的“鏈條”來抵達(dá)某種不可見的實(shí)體，一種無法被文化所定義，無法由經(jīng)驗(yàn)所感知，亦不可被語言所觸及的存在本真。 　　——鮑棟（《在幻象鎖鏈的彼岸》） 　　

Hu Zhiying is an artist with cultural philosophical meditation and experiences as his motivation for creation. He does not concern the changes on the surface of social reality, and also not the expression of individual psychology and experience. During his 20 years creation, the only thing he emphasized is the exploration of ultimate theme and the infinite approach to some possible transcendent spirit. Under such a driving force, he adjusted the characteristics of various mediums like ink and wash, lacquer, oil and others in his different phases of creation, and he also adopted many symbols, images and indications from various cultures, to imply the transient nature and illusory essence of culture through dislocation and re-creation of representation fragments in different culture systems, his poetic intuition is also reflected out in the crack of these representations. 　　

“Beyond the Chains of Illusion” is a work of Erich Fromm, a philosopher of FrankfurtSchool. In this book, the author connected the theory of Unconsciousness by Freud and the ideological theory of Marx, re-reflected the possibility of human freedom. Here, we conclude Hu Zhiyingu2019s painting language and art realm with the title of this book: to reach some invisible substance through the visible “chains” of a series of visual symbols, images and indications, which is the authenticity of existence that cannot be defined by culture, perceived by experience or touched by language. 　　——Bao Dong (“Beyond the Chains of Illusion”) 　　

就胡志穎把形式主義問題追溯到康德哲學(xué)的思路而言，無疑是深刻的，他抓住了形式主義的要害。并且，這也避免了那種把“水墨”放到文化身份問題中去討論的文化保守主義思路，提供了一個(gè)開放地面對(duì)“水墨”問題的普遍性視角。 　　——鮑棟《胡志穎的崇高美學(xué)》 　　Concerning Hu Zhiyingu2019s idea of tracing issues of formalism back to philosophy of Kant, we should say that he is profound and he had taken up the vital point of formalism. Moreover, it also avoided the cultural conservative ideas that discuss “water and ink” in the question of cultural identity, he provided a universal perspective to face “water and ink” problem openly. 　　——Bao Dong (“The Sublime Aesthetics of Hu Zhiying”) 　　

胡志穎這些山水，很奇異，很怪誕，很斑斕，而且很神秘，氣象很大。跟東方的語境和我們傳統(tǒng)的文脈有關(guān)系，而且，在里面又強(qiáng)化了它的形而上。 　　——楊衛(wèi)（《胡志穎·黃少垠作品座談會(huì)紀(jì)要》） 　　

These landscapes under Hu Zhiyingu2019s brush are very unusual, weird, gorgeous, mysterious and magnificent. They have something to do with the Eastern context and our tradition, and metaphysical elements are enhanced in them. 　　——Yang Wei (“A Summary of the Symposium on Works by Hu Zhiying and Huang Shaoyin”) 　　

胡志穎的藝術(shù)與中國(guó)當(dāng)下風(fēng)格化、樣式化的藝術(shù)不同。他對(duì)東西方藝術(shù)的領(lǐng)悟都非常深，因此他自如駕馭東西繪畫技巧表達(dá)特有的縱橫古今的思維和情緒，讓我們感受到特殊的心理欲求與體驗(yàn)，其繪畫呈現(xiàn)的視覺感受新異而刺激，富于張力，先打眼，后撞心，動(dòng)人心旌。 　　看胡志穎的繪畫，你可以感覺到他的思路、他的理念、他所表現(xiàn)的風(fēng)格非常獨(dú)特、非常自我。他的心理世界可能不是一般人所能進(jìn)入和理解的。這使得他的藝術(shù)很另類、很特殊。他是一個(gè)特別變化型的人，你很難把握他，他不是那種恒定不變的藝術(shù)家。他的思維是很藝術(shù)的，氣質(zhì)也是很藝術(shù)的。 　　胡志穎是一位特立獨(dú)行并富于思想的當(dāng)代藝術(shù)家。 　　——梅墨生（《我所認(rèn)識(shí)的胡志穎》）

Hu Zhiyingu2019s art is different from the stylized and patternized art in present China. His profound comprehension of both Eastern and Western art enables Hu Zhiying to operate with Eastern and Western techniques of painting with ease in expressing specific ideas and feelings relating to ancient and modern times. In his works we can sense a special psychological desire and experience. His paintings are novel, stimulating and full of tension. They first catch the eye and then touch the heart of the viewer. 　　

Beholding Hu Zhiyingu2019s paintings, you may feel that his train of thought, his ideas and his style are all very distinctive and individualized. His psychological world may be not accessible or comprehensible by ordinary people. This makes his art alternative and special. He is a man in such constant change that you cannot comprehend him easily. He is not an artist adhering to a constant type. He is artistic both in thinking and in temperament. 　　Hu Zhiying is an independently minded and thoughtful contemporary artist. 　　——Mei Mosheng (“Hu Zhiying As I Know Him”) 　　

胡志穎匯集了中國(guó)傳統(tǒng)藝術(shù)與西方的折衷主義風(fēng)格，以表現(xiàn)他所稱的“文化反差”。他將中國(guó)的傳統(tǒng)象征手段和風(fēng)景與西方藝術(shù)不同風(fēng)格的元素相結(jié)合，創(chuàng)造出不僅僅是藝術(shù)的事物——相當(dāng)于現(xiàn)實(shí)世界的事物。胡志穎使用了中國(guó)大漆、銀粉、金粉與傳統(tǒng)材料水墨、油彩和丙烯，因此能夠創(chuàng)造一種深入心靈的獨(dú)特風(fēng)格。 　　在他的《內(nèi)典錄之一》中，胡志穎用絹上丙烯、墨和木炭，創(chuàng)建了一個(gè)不祥、恐怖和美的深邃世界�！秲�(nèi)典錄之一》令人聯(lián)想起他的帶有攀援的“藤蔓”和風(fēng)景風(fēng)格的《天文之一》和《天文之三》，看上去像我們?nèi)粘Ｋ�見事物的神秘的底�?cè)。在這幅畫中，胡志穎向我們表明了他的文化反差——光明的世界與既可與生活并立同樣也可與藝術(shù)并立的神秘的彼岸世界。 　　——[美]亞當(dāng)·唐納德（Adam Donald，《紐約藝術(shù)雜志》） 　　

Illustrating what he calls the “cultural contrast,” Hu Zhiying brings together traditional Chinese art with the eclectic styles of the West. He combines traditional Chinese symbolism and landscape with the elements of the various styles of Western art all coming together to create something more than art—something equal to the real world. Using Chinese varnish, silver, and gold powder with traditional ink, oils and acrylics, Zhiying is able to create a unique style that pierces into the soul. 　　In his Buddhist Scriptures I Zhiying, using acrylic, ink and charcoal on silk, creates a depth that is ominous, forbidding, and beautiful. Reminiscent of his Astronomy Iand III with the climbing “vines” and landscape style, Buddhist Scriptures Ⅰlooks like the mysterious underside of what we see everyday. In this painting Zhiying shows us his cultural contrast—the bright world with the mysterious other side that can stand along side life and art equally. 　　——Adam Donald: On Hu Zhiying (NY Arts magazine, 2009) 　　

正是因?yàn)楹�志穎的這種不懈探索精神，驅(qū)使他一次次地超越自我，將自己的繪畫藝術(shù)不斷引向歷史的縱深，到后來與更大的文化背景聯(lián)系在了一起。這可以理解為胡志穎對(duì)現(xiàn)實(shí)世界的超越，已經(jīng)不再是簡(jiǎn)單地關(guān)心現(xiàn)實(shí)問題，而是遨游于浩瀚汪洋的歷史大海，將自我的現(xiàn)實(shí)納入到了文化傳統(tǒng)的悠悠長(zhǎng)河之中。 　　——楊衛(wèi)（《一個(gè)人的海市蜃樓——關(guān)于胡志穎和他的藝術(shù)》） 　　

It is his continuous curiosity that drives him to surpass himself again and again, to lead his own painting into the depth of history to connect with a larger cultural background subsequently. It can be read that when he tried to surpass the real world, Hu didnu2019t simply care for practical problems any more, but swam in the boundless sea, and brought his own personal reality into the long cultural tradition. 　　——Yang Wei: The Mirage for a Single Personu2013 About Hu Zhiying and His Art 　　

中國(guó)傳統(tǒng)藝術(shù)的童子功和刻骨銘心的文化眷戀，時(shí)代際遇和藝術(shù)探索為之打開的西方藝術(shù)視界，讓志穎或許不像許多為風(fēng)潮所動(dòng)的前衛(wèi)藝術(shù)家那樣，深切地感受到一種影響其內(nèi)心世界和藝術(shù)觀的文化張力。構(gòu)成這種張力的兩個(gè)文化感受源，對(duì)他來說都是那般的博大雄厚。他無法在自己的內(nèi)心處調(diào)解所感受到的彼此的差異性沖突，似乎也難以把自己的靈魂單純地寄托于任何一方。 　　我更愿意將志穎的藝術(shù)追求和價(jià)值實(shí)現(xiàn)置于這樣一個(gè)時(shí)代場(chǎng)域和這樣一種人文訴求來解讀，以至于將其畫上那些難以按常規(guī)來解讀來連貫的形式元素，理解為突破單一文明價(jià)值觀和單一文化認(rèn)知圖式的新世界的拼圖。 　　志穎的畫上，“文化多樣性”呈現(xiàn)為解構(gòu)的繽紛的“文化影像”，它折射著藝術(shù)主體不以某種文化認(rèn)同為歸宿的“自我的解構(gòu)”。集合于畫面的一切，僅僅是“文化影像”的形式重組而非“文化認(rèn)同”的意義建構(gòu)。因此，他的繪畫藝術(shù)讓我們持續(xù)地感受到一種張力凸顯的緊張感，也讓我們持續(xù)地直面著一種畫家所傾心的“文化反差”。要知道，表現(xiàn)“解構(gòu)的自我”，結(jié)果只會(huì)是“涵義復(fù)雜而不確定”；而對(duì)于“自我的解構(gòu)”的表現(xiàn)，任何的心理反應(yīng)或閱讀理解都是確當(dāng)?shù)慕K極解讀。 　　——呂品田（《志穎和他的畫》） 　　

His solid basis of traditional Chinese art, together with the views of western art opened up by the opportunities of the time and his own art exploration, makes him unlike the avant-garde artists susceptible to the trends, who feel deeply a cultural tensility over their inner lives and art views. To him, both cultural sources of such tensility are extensive and profound equally. He canu2019t mediate the differential conflict between them deep in his heart, and it seems hard for him to find refuge of soul simply in either side. 　　I would rather read Zhiyingu2019s pursuit of art and realization of value in such field of the times and such humanistic appeal, so that I can understand the separate formal elements in his paintings that canu2019t be read and linked up as usual as a collage of the new world breaking though a single civilized view of value and a single cultural cognitive schemata. 　　In the painting of Zhiying, “cultural diversity” appears as deconstructive profuse “cultural image”, and reflects a “self-deconstruction” of the subject of art without taking a certain cultural identity as a destination. Everything integrated in the painting is just the formal reconstruction of “cultural image” rather than the meaning construction of “cultural identity”. Therefore, his paintings make us continuously feel a tension of obvious tensility, and continuously face the “cultural contrast” of which he is enamored. You should know that, the expression of “deconstructed self” will end up with nothing but “the meaning being complicated and uncertain”; as for the expression of “self-deconstruction”, any psychological reaction or reading comprehension is proper ultimate interpretation. 　　——Lv Pintian: Zhiying and His Paintings 　　

中國(guó)的胡志穎也展示了一件題為《內(nèi)典錄之一》的強(qiáng)烈而富有氣勢(shì)的作品。其中的絹本水墨媒材和線條的流動(dòng)性的古代語匯，以及亞洲傳統(tǒng)的風(fēng)景，形成錯(cuò)綜復(fù)雜的場(chǎng)景，將其置于營(yíng)造一種徹底的當(dāng)代性。高度富有想象力的藝術(shù)感覺，創(chuàng)造出混茫原始的自然奇觀，充滿著令人震撼的意象。 　　——莫里斯·塔普林格（《畫廊和工作室》，2010年，紐約） 　　

Chinau2019s Hu Zhiying also makes a strong showing with a work entitled “Buddhist Scriptures #1,” in which the ancient medium of ink on silk and the linear fluidity and intricacy of traditional Asian landscape scrolls are put to the service of a thoroughly contemporary, highly imaginative artistic sensibility to create starling primordial nature fantasies filled with electrifying imagery. 　　——Maurice Taplinger (Gallery & Studio, Vol. 12 No.3, 2010, New York) 　　

我極為欣賞胡志穎的《內(nèi)典錄》。它們呈現(xiàn)了藝術(shù)家的智慧并且展示了他自己個(gè)性化的視覺想象力和語言表現(xiàn)力。他的表達(dá)極其富有力量并傲然獨(dú)立。 　　——威廉·希（紐約藝術(shù)經(jīng)紀(jì)人） 　　

I enjoy Hu Zhiyingu2019s Buddhist Scriptures the most. They showcase his facility and also show off his own personal vision and voice. His voice is very powerful and can stand alone. 　　——William Sheehy 　　

水墨因其媒材性質(zhì)而注定非常人所能駕馭。水至明，墨至暗，水墨無形而各居陰陽之極，調(diào)合二者必可造出萬千之勢(shì)象。然水墨無常，乃天地間至靈之物，運(yùn)此二者若駕風(fēng)馭雨，非天分過人者不能為之。胡志穎運(yùn)此至靈之物于一人之管，一發(fā)而揮就《天風(fēng)海雨》，以至柔之物為至剛之象。 　　

胡志穎是當(dāng)代藝術(shù)家中卓然不群的一個(gè)，他和他的作品只屬于藝術(shù)，但不屬于任何一個(gè)藝術(shù)群體。 　　

——張文海（《找回歷史的高度》） 　　

The character of the mediums used in the art of ink and wash prevents ordinary people from mastering this art. Water is extremely clear and ink extremely dark. They are shapeless and are extremes of clear and dark things. When blended, they will necessarily produce countless effects. But water and ink are capricious and extremely flexible. To manipulate them is as difficult as to command the wind and rain and only people with extraordinary talent can do it. It is a good fortune of the times that Hu Zhiying, using these extremely flexible things, produced Natureu2019s Mystery. In this painting, he created most powerful images using most soft materials. 　　Hu Zhiying is an outstanding contemporary artist. He and his works belong to art only, but not to any art group. 　　

——Zhang Wenhai: Resuming the Proper Height of History 　　

胡志穎作品所蘊(yùn)含的背景知識(shí)對(duì)于有歷史眼光的觀察者來說充滿魅力。 　　—— [美] 羅賓·佩卡姆 　　The contextual interest in Hu Zhiyingu2019s works is fascinating for the historically-minded observer. 　　——Robin Peckham 　　

胡志穎運(yùn)用西方創(chuàng)作方法融入中國(guó)水墨畫元素結(jié)合想象意象，抽象敘事同時(shí)不乏具象描繪，感性渲染的同時(shí)不乏理性的敘述，畫面大氣磅礴，極具視覺沖擊力。 　　——韓鳳石（《感性近于本真》） 　　

Hu Zhiying uses Western mode of artistic creation with elements of Chinese ink and wash painting and imaginations incorporated in it. In his paintings, there are realistic depictions as well as abstract narratives, and rational accounts as well as sensory portrayals. His paintings are impressive for their powerful sweep and have strong visual impact. 　　

——Han Fengshi (“Perceptiveness Bordering on True Colors”) 　　

胡志穎的《內(nèi)典錄》有東方與自己的精神分析在里面，既是突破水墨的窠臼，也是當(dāng)代中的一種冒險(xiǎn)。 　　——王春辰 　　

Hu Zhiyingu2019s Buddhist Scriptures, with Oriental elements and Huu2019s own psychoanalysis in it, has broken with old patterns of ink and wash and is at the same time an adventure in the contemporary era. 　　——Wang Chunchen 　　

在九十年代，胡志穎在中國(guó)畫壇上，以古典山水符號(hào)與西方視覺圖像交織，形成特有的風(fēng)格，呈現(xiàn)了一種與自然世界異乎尋常的關(guān)系，是東西方藝術(shù)的奇特地溝通，天然成趣，與眾不同。近年來，其作品則游弋于美與丑、生與死、此岸世界與彼岸世界之間，有時(shí)令人有種驚悚感。我被他作品強(qiáng)烈的視覺沖擊力與震撼力所打動(dòng)。 　　——李正天 　　

In the painting circles of China in the 1990s, Hu Zhiying developed a distinctive style characterized by the interweaving of Chinese classic signs of mountains and waters with Western visual images. Presenting an extraordinary relationship with the natural world, this style, full of natural charm, embodied an unusual combination of Eastern art and Western art. In recent years, his works have wandered between beauty and ugliness, between life and death, and between this world and Faramita, sometimes making the beholder alarmed and frightened. I am touched by the strong visual impact and artistic charm of his works. 　　——Li Zhengtian 　　

 “胡志穎”相關(guān)詞條：

塞尚 培根  達(dá)利  拉斐爾  畢加索  魯本斯  委拉斯貴支  沙利  范寬  馬遠(yuǎn)  李成  郭熙   梁楷  黃公望  馬薩喬  曾梵志   方力鈞 張曉剛 岳敏君 王廣義 谷文達(dá)