世界著名权威艺术评论家理查·韦恩撰文盛赞黄建南

       近日，美国加州大学洛杉矶分校艺术学院终身教授、世界著名重量级权威艺术评论家、美术家理查·韦恩（Richard Wearn)撰写了一篇题为《黄建南—视觉语言艺术与表现艺术大师》的评论文章，在剖析黄建南这位享誉世界的中国书画艺术家的创作手法、艺术风格的同时，还对其书画作品、艺术成就等大加赞赏，随后在美国比佛利艺术新闻网（如下截图）发表，引发了强烈的反响。

      理查·韦恩是比佛利艺术高级顾问兼艺术执行董事，同时担任洛杉矶国际艺术节艺术市场指导、共同主席兼艺委会评委。美国加州大学洛杉矶分校艺术学院位列世界三甲。美国加州大学洛杉矶分校是一所公立大学，是美国商业金融、高科技产业、电影艺术等专业人才的摇篮，是美国最顶尖的综合大学之一，提供337个不同学科的学位，是全美培养尖端人才领域最广的大学。

    以下为《黄建南—视觉语言艺术与表现艺术大师》全文（中英文对照）：

Jiannan Huang

October 19th, 2020

Richard Wearn

Jiannan Huang’s latest series of paintings are a culmination of facts and experiences drawn from a life time pursuing a vision that at its most imminent may be described as existential. His persistence as a painter has created a visual language where by acontinuum of focus and experience has determined a form of expression resonant with an Aristotelian schema where by techne creates its own episteme. The confluence of multiple interests and approaches derived from the traditions of Chinese Ink painting and a reading of the capacities of western modernism has created within Mr. Huang’s practice a unique metaphysics - the act of painting itself has determined its own episteme, or system of understanding.   

    黄建南最新出版的绘画作品集是他一生艺术追求的结晶，他试图展现艺术方面新的视觉。 作为画家的他执着地摸索出了一种视觉语言，通过不断的追求和探索，他探寻出了一种与亚里斯多德式图式产生共鸣的表达形式，而泰恩则通过这种方式与之产生共鸣。 在黄先生的实践中，源于中国水墨传统的多种兴趣和方法的融合以及对西方现代主义能力的理解，创造了一种独特的形而上学的属于自我的艺术体系。

This analysis of Jiannan Huang’s work is best understood through the active critical history that propels China’s rich and immense cultural life. An ongoing questioning of the primacy of the "Ink Art" tradition has dominated the artistic discourse in China throughout the twentieth century. Chinese Ink Art is the oldest co-herent tradition of image making on the planet, having maintained an active, self-referencing epistemology initiated around 400AD. The strictures and conditions of this traditionhave been increasingly challenged by the appearance of new media and artistic practices introduced from the West. The inevitability of Western influence lead to, on the one hand, a cultural protectionism, and on the other a more formal and regulated acceptance of the western modernist tradition.Reflected in the curricula of the Chinese Art Academies, whereGuohua (Chinese-style painting), and Xihua (Western- style painting) form, to this day, segregated and distinctive approaches to the instruction of visual art. Chinese Art Academies have placed Guohua and Xihua into separate departments with distinctive curricula. These separate streams of artistic context also dominate the professional field. Noteworthy, yet not directly applicable to Jiannan Huang’s practice, is the rise of a third “Globalized” or “Post Modern” Art, that emerged in the 1980s that can no longer be categorized by either of these two terms. At times Chinese artists have identified this as "experimental ink painting” or Shiyan Shuimo a modernizationof Chinese Art through the appropriation of western models whilst employing the use of traditional painting instruments and materials such as brush, ink, and paper. Others, still identifying themselves as Shiyan Shuimo utilize new media, and strategiessuch as appropriation and institutional critique within their specific forms of practice.

    对于黄建南作品的理解，可以通过对中国丰富文化历史的了解得到最好的印证。在整个二十世纪，对“水墨艺术”传统的至高无上的探寻一直主导着中国的艺术话语。中国水墨艺术是地球上最古老的文化传统，在公元400年左右就一直保持着活跃的，自我参照的认识论。从西方引进的新媒体和艺术实践的出现，使这一传统的局限性和条件日益受到挑战。受西方影响，一方面导致了文化保护主义，另一方面又导致了对西方现代主义传统的更加正式和规范的接受。迄今为止，在中国美术学院的课程中都体现了国画和西画的相互融合，它们在视觉艺术教学中采用了截然不同的方法。中国美术学院将国画和西画分为不同的课程，各有特色。这些独立的艺术语境也影响着专业领域。值得注意的是，第三种“全球化”或“后现代”艺术的兴起，从某种层面影响着黄建南艺术的创作。有时，中国艺术家将其称为“实验水墨画”，这是受西方绘画的影响，同时使用传统绘画工具和材料（例如画笔，墨水和纸张）来实现的中国艺术的现代化。 

Sound scholarship responsive to art considers the ongoingcultural and historic processes that determine our subjectivities, particularly as cultural dialogues embrace post-colonial narratives. As Jacques Derrida emphasized, there is ‘no greater indignity than the reading of one culture by another.’   

    学术研究是一个非常持续的过程，尤其是当东西文化产生碰撞的时候。 正如雅克·德里达（Jacques Derrida）所强调的那样，“文化之间相互的碰撞是一个延续的过程。”

What compels me to respond to Mr. Huang’s painting practice is the expansion of preoccupations of both Guohua and Xihuasimultaneously, that has given rise to a new visual language that may be read as both intrinsic to the craft of painting in both instances, and also extrinsic to those definitions by way of its allusionistic and semiotic conditions. My address is pertinent to Mr. Huang’s iterations of pictorial space, that are both western modernist in intent, traditional in terms of Guohua, and indeed allusionistic and literal in reference.  

Mr. Jiannan Huang has arrived at the confluence of these approaches, processing them into his distinctive painting practice which is removed from the institutional orthodoxies of studio arts education. He is a self-taught artist, his paintings are grounded in a vision that was informed equally by his personal and self- guided scholarship, and his witnessing of the seismic historic, social and political alterations that China has undergone in his life time.

    我对黄先生绘画语言的理解，他使用了一种新的视觉语言。在东西文化的辉映中，这种视觉语言有其独物的艺术探索思维。我的讲话与黄先生的绘画思路的方向有关，既有西方绘画的感觉，又继承了传统国画的精髓。

    黄建南先生已经达到了这些方法的融合，并将它们处理成他独特的绘画实践。他是一位自学成才的艺术家，他的绘画基于他的个人不懈的努力，他见证和经历了中国很多时期的发展，这在他的艺术上有所体现。 

Western artists who did not undergo a formal training are designated as “outsider”. I have often thought this term to be oppressive and designed to re-enforce a cultural and economic hierarchy that has evolved from the exclusionary processes of Modernism. In my view this terminology becomes accurate when it is inverted. An “Insider” Artist is one that is motivated by the seeking of a deeper authenticity of experience and its rendering into form. A rejection of institutionalized orthodoxies, replaced by the embrace of the sensory pleasure of existence. The existential phenomenology that underwrites Mr. Huang’s practice is easily traceable - he walked. He spent a large part of his life trekking across China, his journey through out its vastness was the creation of a life narrative grounded in the sensory. A daily practice of living enlivened his senses, and his meditative bandwidth.

    有一种说法是西方艺术家是游离于艺术之外，我认为是牵强附会的。我认为，成熟的有鲜明风格的艺术家寻求更深的体验真实性并将其转化为形式。从传统中来，又不拘泥于传统，取而代之的是对艺术形式的不断创新。黄建南一路走来，他一生的大部分时间都在中国各地跋涉，游历，他在整个中国的旅程是走一路画一路。每天的生活实践开阔了他的视野。

Jiannan Huang’s paintings arise from the practice of life. When we survey them, a notion such as “expression” confuses the capacity of the work to induce empathy. Often we think of expression as an end game, a definitive and readable statement of inner feeling. Through paint Mr. Huang, relaxes this preponderance and offers an insight of what it is to bring the ineffable to expression, as opposed to expressing a particular something.

    黄健南的绘画源于生活实践。当我们研究他的作品之时，我们惊异于他对于中西方文化的融汇贯通。通常，我们认为表达是一种终极手段，是对内在感觉的明确表述。通过绘画，黄先生轻松把所见所感诉诸于笔端，这丰富了他对艺术的表达，他对艺术不拘一格的理解。

Underwriting these attributes of Jiannan Huang’s work are a set of painterly innovations that coexist, vibrating on the same field. The picture plane to Huang is a vast expansion through which we pass. Our senses are reminded of the levity and possibility of zero gravity, as the image field floats and undulates. Thevibration in Mr. Huang’s work is connected to surface, the tactility of the paint and how its dynamic handling registers an authentic and spontaneous energy. It is the autographic directness, that coalesces to a form. Paradoxically, this non – objective process of painting also successfully delivers imagery. The accumulations of Jiannan Huang’s memories and his phenomena based knowledge is substantiated not in a directly referential co-ordination but are enmeshed in various processes of formal becoming. Cosmological in feel, Mr. Huang’s paintings evoke the universe and its multi-dimensional limitlessness. At all times the spatial relationship to the picture plane and its allusion is adjusted based on our acknowledgement of the painting’s surface qualities. Jiannan Huang brings to expression a sublime and shimmering edge of the infinite.

    黄建南作品的这些特征的承托力是在同一个领域中共存的一系列绘画创新。通往黄的作品，我们读到了一种巨大的艺术扩展能力。 黄先生油画作品中所体现出来的质感，似乎有一种自发的能量感人至深。黄建南的艺术感觉源于他丰富的知识积累，他的作品体现出多样化的艺术形式。黄先生的绘画具有宇宙学意义，唤起了宇宙及其多维无限性。在任何时候，我们都能从他的画作中体会出他对于独特空间关系的处理。黄建南将无限的很微妙的意境融于一炉，表达出很深的艺术境界。

艺术大师黄建南

     黄建南，号“妙建”，国家一级美术师，擅长油画、国画，“全球公益联盟金质勋章”获得者，荣获印度尼西亚皇室“伯爵”爵位。黄建南自2015年以来连续在胡润研究院《胡润艺术榜》排名前十位，并在《2019胡润艺术榜》取得第四位、《2020胡润中国艺术榜》第三位的好成绩，是中国目前唯一一个在油画和国画两个领域同时排名前十位的画家，在欧美艺术权威网站artprice的全球当代艺术家500强中排名第二十一位。

▲黄建南作品鉴赏

▲黄建南作品鉴赏

    黄建南先后荣获“2019年全国公益慈善十大影响力人物”“2020年全国学雷锋先进人物”，连续两期被聘为清华大学深圳研究生院兼职研究员，是 中国传统文化促进会理事、 “为奥运喝彩”组委会海外艺术总顾问、法国国立艺术家委员会会员、世界低碳城市联盟艺术顾问、法国吉尼市金质勋章荣誉市民。

▲黄建南作品鉴赏

▲黄建南作品鉴赏

    黄建南早期历时九年步行三万八千多公里，走遍大江南北、深入大漠乡村城镇体验生活、写生创作，积累了大量的素材及经验。2017年，黄建南与法国历史悠久的ROSSINI拍卖行签约，随着国画和油画作品的多次拍卖成功，标志着黄建南作品正式进入欧美主流拍卖市场，成为目前中国极少数能成功进入欧洲主流拍卖市场的艺术家之一。

▲黄建南作品鉴赏

▲黄建南作品鉴赏