傅榆翔 1963 生于重庆
重庆美术家协会会员
个展：
2008 “天空没有回音” 重庆川美坦克库感觉艺术空间
群展：
2008 中国2007当代艺术文献展 北京墙美术馆 雍和美术馆
2007 巴黎首都艺术沙龙年展 法国巴黎大皇宫
     第33届日本AJAC艺术年展 日本东京都美术馆
     501艺术基地开幕展 重庆501当代美术馆
     上海春季艺术沙龙展 上海世贸商城
     上海五角场画廊开幕展 名流收藏俱乐部
2006 北京第十三届艺术博览会 北京国展中心
     美国纽约国际艺术授权博览会 美国纽约
2005 北京国际艺术博览会 北京会展中心
2004 北京国际艺术博览会 北京世纪坛
     上海春季艺术沙龙 上海世贸商城
2003 上海艺术博览会 上海世贸商城
1889 首届中国优秀油画作品展 北京日本


Fu Yuxiang 1963 Born in Chongqing
Member of the Chongqing Artists’ Association

Solo Exhibition
2008 [No answer from the sky] Sensation Art Space?Tank Loft Chongqing      Contemporary Art Center

Group Exhibition
2008 Exhibition of Research Literature and Works of China contemporary art 2007      Wall Art Museum, Yonghe Museum ,Beijing
2007 The Annual Exhibition of Paris Capital Art Salon Big Imperial Palace, Paris
     French
The 33rd session of Annual Exhibition of Japan AJAC Art Du Art Museum, Tokyo      Japan
      Openning Exhibition of 501 Art base 501Contemporery Art Museum, Chongqing
      Exhibition of Shanghai Spring Art Salon Shanghai World Trade Centre
      Openning Exhibition of Wu Jiao Chang Art Space, Shanghai Celebrity
      Collection Club, Shanghai
2006 The 13th session of Beijing International Art Exposition China World Trade      Center, Beijing
     New York International Art Authorization Exposition, America New York,      America
2005 Beijing International Art Exposition Beijing International Convention &      Exhibition Center
2004 Beijing International Art Exposition China Millennium Monument, Beijing
     Exhibition of Shanghai Spring Art Salon Shanghai World Trade Centre
2003 Shanghai International Art Exposition Shanghai World Trade Centre
1889 The 1st session of China Excellence Oil Painting Exhibition Beijing and      Japan

作品评论
Praise for Fu Yuxiang’s Paintings

王林
作为一位执着的艺术家，傅榆翔喜欢带有梦魇感觉的图象，我比较喜欢的作品是他的《树妖》系列。在这些作品中，他找到了一种有意味的形式，把树枝、树根的造型和人体特别是女人体结合起来，让人觉得新鲜而富有诗意。这些图象的来源和重庆的黄桷树多少有些关系。黄桷树作为重庆的市树，在岩壁暴露根系、盘根错节、枝繁叶茂，有非同寻常形态特征。傅榆翔利用有机体的相似性，创造出自己的绘画形式，可见画家平时用心良苦。
前言·于川美桃花山2004年5月15日

As a dedicated artist, Fu Yuxiang tends to produce those images that arouse a nightmare-like sensation, among which I personally like his Wood Sprite series. He has been able to find a form of meaning among his works by refreshingly and poetically combining the shapes of tree branches and roots with the form of female bodies. The source of these images more or less has a bearing with Ficus virens in Chongqing, which as the city tree of the municipality usually exposes its complicatedly twisted roots with intercrossing branches on the verge of cliffs, thus creating unusual morphological features. Having perceived the similarity of organisms, Fu Yuxiang successfully originated his own form of painting, which also reveals the artist’s commitment to his artistic creation.
From Wang Lin’s Preface,
written at Taohua Hill, Sichuan Academy of Fine Arts,
on May 15th, 2004

叶永青

With a vast expanse of boundless infinity, Fu Yuxiang’s paintings reveal a quiet stillness of the creatures in their own proper place, reflecting an aspiration and pursuit of ultimate freedom. The artist with his works of art shows his “pity” on the world of mortals and places the value of life above that of the art. In another word, the artistic value is embodied by the delivery of artist’s attitude towards life and his expectation on the world of mortals, namely, the concept that humans are elegantly free and life is untrammeled. But in between there is still presence of palpable feelings of resignation and sorrow resulted from anxieties and worries. However, such contradictory factors have now melted into “poetic melancholy” hidden an artistic style of lyric romance.
From Ye Yongqing’s Poetic Melancholy,
written on Peach Blossom Mountain,

李小山
同时我觉得，傅榆翔在安排阶段性任务时体现出来的总体观显得相当成熟，这种成熟表现在脚踏实地的自我超越上，在这一过程中，没有所谓的进步和退步，它只是有意识并且有见识地推动每一次超越。或许，傅榆翔还有更大程度的空间，那样的话，他每一个阶段的成果都是有力的见证。
傅榆翔曾使了很大的劲研究造型、色彩、用笔、肌理，做的工作已足够了，从他的画作里我们清晰地发觉了他这方面的全部优点，丰富性和复杂性只在某种阶段具有魄力，而寻找纯粹的形式和表达，则是衡量傅榆翔下一步创作尺度，缺少这个，它的工作似乎才完成了一半，所以我说，他应该建一座自己的桥，渡过去，完成全部过程。
建一座自己的桥·2004年9月3日于南京

Meanwhile, as I see it, Fu Yuxiang has demonstrated a mature capability of making an overall planning for periodic tasks. This type of maturity is manifested in a down-to-earth self-transcendence, during which process there is no such thing as so-called progress or retrogression but only a transcendence motivated by a well-informed self-consciousness. Perhaps there’s even more space for Fu Yuxiang’s artistic creation and in that case it will be witnessed by success of each stage.
Fu Yuxiang once made enhanced efforts and contributed sufficient work to the study of modeling, coloring, brushing and texture. From his works we can find a clear clue to all his strong points in this field. As richness and complexity are expression of vigorousness only at certain stage, the search of pure form and expression shall be regarded as the measurement of Fu Yuxiang’s creation at next stage. With this being absent, his work only seems half-done. Therefore, my comment would be he builds a bridge of his own and then cross over to complete the whole process.

From Li Xiaoshan’s Building A Bridge of His Own,
written in Nanjing,
on September 3rd, 2004

丁方
傅榆翔的画带有一种鲜明的文化地理的烙印，显示了深阔的川蜀大地和苍茫的群山对他心灵的影响；那些具有自然旷野气息的元素弥漫在它的画中，并构成了傅榆翔的画面的基本调性。实际上，描绘表现自然大地的画家大有人在，但傅榆翔的画面仍然令我惊异；因为它对蕴藏树木自然中的原始生命力感受是如此强烈，对弥漫在大地山川中的诗意之体悟是如此浓郁，使我闻到了一种久违的气息。
甘愿沉潜·2005年5月于北京

With a strong, vivid stamp of cultural geogrophy, Fu Yuxiang’s paintings demonstrate an influence of the vast land and rolling mountains in Sichuan on his soul; those elements with a natural touch of open fields present all over his works have constituted the basic tone of Fu Yuxiang’s own style. In fact, there’s a wide variety of painters who focus on the depiction of the great nature but the images created by Fu Yuxiang still come as a surprise to me because his feeling about life in its most primitive vitality contained in those trees and the nature is so intense and his perception of the poetic essence permeating through the vast expense of land and mountains is so overwhelming that I can even smell a long-lost connection.
From Ding Fang’s Chosen Quietness,
written in Beijing,
in May, 2005

宋智林
《树妖》泛化地表现出人的一种生存状态，是实体生命与虚象运势的表述，但更准确地说，它是“喜纯、诚挚与自由”的传达。如若真实地达到这个状态，人就必须按照“生命的本来面目”去生活。在禅宗解释中“生命的本来面目”指一种不经意识浸染的，与无意识宇宙相通的状态。也许，这正是傅榆翔先生欲借《树妖》给人的一种深刻的思想启示。

人文之元，肇自太极·2003年于北京

Wood Sprite expresses in general a state of existence for human beings and represents a combination of physical life and a virtual luck tendency. But more precisely, it conveys the concept of “purity, sincerity and freedom”. To truthfully reach this status, mankind will have to live as “the way it is”. According to the interpretation of Zen Buddhism, “the way it is” refers to a state in connection with the cosmos of unconsciousness, which is not interfered by the consciousness. This is perhaps the profound enlightenment that Mr. Fu Yuxiang wants to pass on to the viewers by his works of Wood Sprite.
From Song Zhilin’s Humanity Begins with Taiji,
written in Beijing,
in 2003

玛格莉娜（意大利）
傅榆翔先生的杰作缘于观察、理解和融入自然和社会氛围，他见证了新艺术感性的发展。感谢人类的共同语言：艺术，傅榆翔先生，调和了不同文明的冲突，并成功的进行了不同文化价值的对话。
傅先生，一阵来自中国的艺术清风
依存身心的清风·2004年5月13日于云南

The master pieces of Mr. Fu Yuxiang, a witness of the perceptible development of new art, are based on a shrewd observation, profound perception and a natural incorporation into the nature and social atmosphere. Thanks to art, the common language of mankind, Mr. Fu Yuxiang has brought different cultural conflicts into harmony and successfully conducted dialogues between different cultural values.
Mr. Fu, a breath of fresh air from Chinese art.
From Margarita(Italy)’s A Breath of Fresh Air from Mind and Soul
written in Yunnan

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把地上的问题写在天上
——傅榆翔作品展序
王 林

中国人承天人合一的传统，从古至今，就有世事不平、仰天长啸的习惯。屈原《天问》中的许多问题，其实都是人间而不是天庭的事儿。傅榆翔姓名中带个“翔”字，大约也是父母让他向往天空的意思。
读了老傅近期的一批作品，感到我们的确生活在既定知识型构和文化心理之中，艺术意义的发生恐怕也只能浸渍其内并超乎其外，而内外连接的焦点，我以为，乃是当代艺术中的问题意识。
傅榆翔有感于人对自然的侵犯、人对动物的伤害和天人关系中人的问题，画了一大批主要是动物形象的作品。除个别作品中我们可以见到剥光、剖开的禽鸟外，他并不刻意去渲染虐杀动物的血腥。相反，笔下的动物和人物往往有着同样的地位：长着天使的翅膀，穿著宇航服踩着跟斗云等等。无论是惊悚、扭曲的动态，还是安详、愉快的表情，傅榆翔几乎都在细节上作了特殊处理，或者是人禽之间的想像组合，或者是不同动物的异常交配，或者是飞行器、潜水器和对象的冲突对立。看得出来，画家想增加画面内容的可读性，为观者提供一个入口，由此进入对画面本身的体会。
傅榆翔以单色的黑白渐变作为主要绘画语言，较之过去的作品更纯粹也更到位。其晕染皴擦的模糊感，为画面带来了协调、统一而又与众不同的韵味，可以说是水墨浸润效果的异质运用。这种材料转换给观者带来“出位之思”的视觉感受，是令人陌生而惊奇的。在浓淡深浅、斑驳含混的变化之中，傅榆翔取得了绘制过程的某种自由，画面的形成因自然而流畅，因自如而生动，不再仅仅是题材联想与意构组合的结果。或者说，傅榆翔在经历多年探索、磨砺之后，已育成个人绘画语言的生长性。这对于任何一个画家来说，都是困难重重而又难以捉摸的。
在今天，人和自然的关系的确令人疑虑。宇宙探索也好，基因转移也好，我们都不知道会造成怎样的后果。也许我们可以象绿党那样付诸行动，外肆于社会，但也可能象老傅这样充满感伤，萦绕于心灵。这种情感倾向通过绘制的言说弥漫整个画面，既是观念也是形式，既是当下的也是异在的。在当代绘画中，现实主义描绘之所以难有作为，原因是从题材到意义的通道，已被过去时的惯性意识形态所填塞。艺术必须以异质、异样和对异化再异化的方式才能除蒙去蔽，真正在场，才能进入现在时态的文化语境。所以绘画依然不仅是画什么而且是怎么画的问题。对老傅而言，把地上的问题写在天上，是一个很好的开端。不管天空有无回声，人在大地上肯定会有所反应。这种反应异在于既定知识型构和文化心理，启发人的主动性精神，使之在艺术对现实的挑衅、挑逗和挑战中有所省悟、有所推进、有所更新。
有感于老傅之新作，写了如上的话。
是为序。

2008年2月24日
四川美院桃花山侧

Write the issue on ground in the sky
——Preface for exhibition by Fu Yuxiang
Wang Lin

The Chinese receives the tradition of harmony between man and nature; throughout history they have the habit of “the world is uneven and howl to heaven”. “Ask the heaven”—a literature by Qu Yuan, many questions in it are actually human thing rather than Heaven. There is a character “Xiang” which means “fly” in his name Fu Yuxiang, probably is also the meaning that his parents let him yearn for the sky.

After reading a recent batch of Lao Fu’s works, I feel we are indeed living in an established knowledge construction and the cultural psychology, the significance of art can only occur within and beyond it, and the focus of internal and external connections, I think, is the question awareness of contemporary art.

Responding to the infringe that man to nature, the harm that man to the animals and the man problem in the relation between man and heaven, Fu Yuxiang has drawn a large number of works that of the main image are animals. Besides the individual work in which we can see stripped, ripped birds, he did not deliberately exaggerate to the bloody animal mutilations. On the contrary, the writing animals and people often have the same status: with wings of angel, wearing spacesuits walking on tumble cloud and so on. Regardless horror twisted dynamic, or quiet pleasant expression, Fu Yu Xiang made special treatment in almost all the details, imagine combination between people and birds, or abnormal mating between different animals, or confrontation and conflict between aircraft diving instrument and objects. It could be seen that the artist wants to increase the readability of the picture contents, provide an entrance for audience, which entered the experience of the picture its own.

Fu Yuxiang takes the major drawing language by the gradual change of monochrome black-and-white; these works are more pure and in place compared with his past works. Its fuzzy sense of wiping smudging or bleeding brought the coordination harmonization and distinctive flavor for the picture, it can be said that it is the heterogeneity use for the effect of ink infiltration. This material conversion brought audience a visual experience of "out-of thinking", it is strange and surprising. During in the shade depth mottled ambiguous changes, Fu Yuxiang obtained a certain freedom during the process of drawing, the picture is smooth and vivid because it is natural and free, it is no longer merely the results of subject association and impression combination. Or, after many years of research and experience, Fu Yu Xiang has bred his personal growth of painting language. To any one of artists this is difficult and elusive.

Today, the relationship between human and nature is indeed our doubts. Explore the universe or gene transfer, we do not know what the consequences will result. Maybe we can put into action as the Green Party did, outside society, but we may also be such as Lao Fu be sentimental, lingering in mind. Such emotional tendencies, through the rendering of drawing, diffuse the whole picture, it is not only the concept but also the form, not only present but also different. In contemporary painting area, the reason that realist art is difficult to have the achievement is that, the access from subject to the significance has been walled up by the past inertia ideologies. Art must be different, strange and further alienation to alienation, only in this way can it be kept apart from the dark, really be at presence, and enter the cultural context of present tense. So painting is not only the problem what to paint in picture but how to paint it. To Lao Fu, write the issue on ground in the sky, is a good start. No matter whether there is answer from the sky or not, people on earth would certainly have the response. This response is different from the established knowledge construction and the cultural psychology, and enlightens the initiative spirit; in the provocation, provocative and challenges between art and reality, it makes them be aware, in advance and to update.

Responding to recent works of Lao Fu, I wrote the words above as the preface.

February 24, 2008
Sichuan Fine Arts Institute Peach blossom hillside

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自述

重新激活天地之灵

多年前的一个傍晚,我经过朝天门码头，一家餐馆门前拴着一只待杀的羊,当我经过它的面前的时候,便发出格外凄惨,哀绝的叫声,似乎是叫我救它,当时我动了买下它放生的念头,但现实是：在这水泥森林的都市里又能将它放去那里?走过那家餐馆一百米外仍能听见声声哀鸣,那是震颤我心灵很猛的偶遇。至今仍索绕于心不能忘怀。
时常有白日梦的幻觉，看到动物是人，人又成了动物，天空变成土地，水又成了蘑菇云,一切物象与时空终究成了梦幻泡影。弗洛伊德说：“梦，不仅仅是对现实生命的折射，同时也是对未来生活的精准预言。”近来英国科学家协会联名上书英国议会，提请为二0五0年人类与机器人通婚立法。DNA生命破译，老鼠，猴子等动物的基因与人类相差不过百分之零点几，我们可以克隆一只羊，一头猪，在实验室解剖、化验所有的有机生命，但我们却不能创造生命，或许人类能从遥远而偶然的一缕毛发中再生绝灭的恐龙，其实恐龙并没有灭绝，物竞天择早已将它进化成为带翅膀的鸟，并一直伴随生活在我们身旁。
其实，生命总是在失根中飘移，全球性移动和人类与动物的游居已是现实的必然。虽然我们永远不能把观念和设想预植于艺术创作中，但不由自主地在创作中激活了诸多那些沉淀和过滤的感慨，《天空没有回音》，《游山玩水》，《回声》等系列创作以马、鸭子、羊、猪、船、潜水者、宇航服、云、水、雾、不确定的土地等视觉元素来塑造、呈现,在画面的架构中更多倾向黑白写实性语言方式的再展开。在营造相对真实的感觉中,有些琐碎局部细节的刻画是想让观者有所触动,甚至惊悚,在视觉上造成突兀,诧异的张力,以此引起内心的颤栗,平和或紧张的情绪。
天空是所有生命的布景，大地是所有生命回归的终点。因此在这系列作品中一方面呈现出象征与隐喻性，另一方面也试图消解油画与水墨的油水不相溶。当完成这组超现实的系列作品时，其实人与作品亦被现代叙事精神所激活。艺术家精神在场的根本处境，绝不是简单地复制世界的外在面貌，而是有效地参与到精神世界的建构之中，并发现它的内在秘密。
正是这一刻,我骤然看到,在已经被发现的秘密之中,人类精神面孔上焦虑的皱纹正在疯狂蔓延。

傅榆翔
2008．2．28

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