骑士行吟-邱光平的画

安雅兰

邱光平艺术生涯与许多同代中国艺术家不同，他以自己独特的方式切入了当代艺术的进程，走出了他自己的道路，并以十分具有个性的作品蜚声当代中国艺坛。

邱光平在他的画布上构建了一个看似离奇荒诞的幻想场域，他的天堂亦或炼狱。如果是天堂，这里的天堂似乎并不美好，更不是一个极乐世界，因为它们被欲望、贪婪、暴虐所主宰；如果是炼狱，荒凉凄寂或熊熊狱火中却还有着试图求生挣脱的生命。邱光平以其独特的方式表达了他对现实社会种种现象的困惑、焦虑和愤懑，以及对人类文明状态的终极命运的思考。邱光平似乎有意地避免对人物的直接描述，各种动物，例如、豺豹、秃鹫以及最近出现的熊猫等，可能是邱光平绘画中最为晦涩而有最具魅力的形象。有时我们也可以在邱光平的作品中找到某些古代中国艺术的元素，如鱼龙神兽等，在炼狱般的烈焰迸发中构成十分诡异的幻象。这些看似荒诞、拟人化的形象符号所表现的画面是他对极致的精神追求的描述。他的画色彩强烈而浓，擅用纯色的柠檬黄来增强画面的视觉效果。大胆突兀的构图也往往产生出令人惊异的视觉冲击力。

马，是邱光平绘画中的主要形象。据说邱光平在现实生活中就酷爱马，酷爱马的豪迈气度。这与他自身不拘小节，豪放洒脱的性格和气质十分契合。

无疑，马在邱光平的绘画中是一种象征。这些马承载着他对历史、文化、现实的反思与考量。众所周知，当今的世界很多地区的人们依然忍受着战争和贫困的折磨，即使在相对平和的环境中生活的人们，也时时面对着种种的贪污腐败与社会不公。邱光平通过马这一视觉表象来观察、体验并思考这个时代社会中的种种问题。所以，邱光平的马已经被艺术家塑造成一种人文精神的指代，具有强列的社会批判性。

自2006年他的“马的寓言”系列作品诞生以来，我们在邱光平的画中看到的马，不管是在不同的战场冲锋陷阵驰骋飞奔，还是四面楚歌中惊恐万状嘶鸣长啸，都是狂野不羁的。 他还常常特别使用强烈的近景透视，夸张地凸显马的面部表情。他笔下那些呲牙咧嘴，昂首发出振聋发聩的嘶鸣的马犹似在绝望的困境中挣扎。通过拟人化的马的形象，邱光平向我们揭示了生存之苦痛、毁灭之必然的生命悲剧真相。画面的基调常常凄美而悲壮，充斥着浓郁的悲剧色彩。这可能就是他自己对生活中的个人所要遭遇的现实的体识。面对现实， 每匹作为个体的马(或人)，无不被无情的历史进程所挟持或席卷，却又在奋力地嘶喊和挣扎，实现着个人英雄主义。在他悲壮的画面中，那些马似乎并不愿意成为其命运的被动的承受者，而试图以它们最后的嘶喊和挣扎来成为摆脱或改变命运的主动参与者。这可能就是邱光平自己对待命运的态度：在现世的汹涌尘嚣中，我们不能因为声音微小而不呐喊，不能因为现实环境的困苦艰险而放弃奋争，我们要具有摆脱生活中各种羁绊、争取自由解放，驾驭自己命运的信念和力量。作为视觉的表象，这些马在这里成为当代骑士的象征。

近年他的画面中奔入了一批晶莹透亮的白马。它们似乎冲出狱火，争得了自由。悲壮嘶啸的烈马被在阳光下自在地奔驰的神马所取代。奋勇的骏马，驮着高举火炬的熊猫而不是之前的稻草人，冲破炼狱和世俗物欲的火焰奔向彼岸。这里对马-当代骑士——的讴歌反映了邱光平近年心态的变化。他似乎在精神世界找到了更为接近天堂的自由空间。

沈揆一

邱光平是一位极具表现力的画家，并以他的心灵与历史和现实对话。第一次看到邱光平的画，就被他那些奔腾群马所震憾。在那些狂野不羁、血肉喷张的马的形象上看到的似乎就是充满活力和热情的邱光平。他找到了一个最好的表现他的理念和想法的象征——马。他在画面上驾驭着这些马，奔腾、嘶喊、挣扎，与周遭现实冲撞和抗争。他在这些马的形象上寄托了他对人生、社会和人类生命意义的关注，赋予作品极强的现实批判性。

Ode of the Knights-Paintings of Qiu Guangping

Julia Andrews

Qiu Guangping's artistic career differs from that of many of his contemporaries in China. He enters the discourse of contemporary art in a unique way and found his own path. His work is known in the contemporary Chinese art world for its original characteristics.

In his work Qiu Guangping creates a surreal imaginary space, his heaven or his hell. If it is heaven, this heaven is not perfectly beautiful and certainly not a paradise, because it is full of desire, greed, and violence. If it is hell, in the desolation and flames are those who still seek life and survival. With his unique approach Qiu Guangping expresses his bewilderment, anxiety, and anger as well as his deep concern for the fate of civilization and mankind. He seems to intentionally avoid the direct representation of human beings. Various animal images in his painting, such as horses, leopards, vultures and, more recently, pandas, are very striking but their meanings initially seem obscure. In his painting we can sometimes also find elements from ancient Chinese art, such as images found on tomb artifacts of mythological creatures that emerge from the flames of hell and create a ghostly scene. Such depictions of surreal and personified images are the representations of his spiritual pursuits. His painting is always executed with very strong color, and his use of pure yellow pigment especially strengthens the visual effect. The bold and dramatic compositions often possess a striking visual power.

The horse is the major motif in Qiu Guangping's painting. It is said that Qiu Guangping loves horses in real life, and is especially fond of their courageous and generous nature. This attraction well matches his own bold and unconstrained character.

No doubt, the horse is a symbol in Qiu Guangping's painting. Horses manifest his reflections on history, culture, and reality. As we know, in the current world, people in many places still suffer from war and poverty. Even people who live in relatively peaceful environments also have to face various kinds of social inequality and corruption. Through the visual image of the horse, Qiu Guangping observes, experiences, and critiques the various problems of society. Therefore, Qiu Guangping's horses have been constructed as a symbol of the human spirit, formed with strong social criticism.

Since his series "The Allegory of the Horse" appeared in 2006, we see that the horses in his painting, no matter whether heroically flying on the battlefield or braying with frightened eyes in terror or defeat, are all brutal and wild. Qiu Guangping often uses a dramatic close-up perspective to exaggerate the facial expressions of the animal. The grimacing and neighing horses seem to be struggling in a desperate predicament. Through these personified images of horses, Qiu Guangping reveals the tragedy, pain, and destiny of life. His main tone in such paintings is sadly beautiful, full of a strong, tragic color, which possibly conveys his own understanding of the reality people have to face. Facing reality, none of the horses (or human beings), as individuals, could escape the sweeping forces of history, but they still fight on and cry out, showing their heroism. In his tragic compositions, the horses seem unwilling to passively endure their fates, but are actively trying to use their final cries and struggles to escape or change their destiny. This is possibly the attitude of Qiu Guangping himself, in dealing with life and fate: in the uproar of reality we cannot be silent because our voice is small, cannot give up the struggle because the situation is difficult, we should have confidence to break through the various barriers in our lives to seek freedom and liberation, and power to control our own fate. As personified subject matter, horses here become visual symbols of a lonely fighter or contemporary knight.

Recently, some glistening white stallions have galloped into his paintings. It seems they charge out of the fires of hell into freedom. The tragically braying horses are replaced by divine steeds freely galloping into the sunshine. The intrepid horse, now carrying a torch-bearing panda instead of a scarecrow, breaks out of hell and secular desire to approach paramita. Here, the Ode of the Horse reflects the evolution of Qiu Guangping's recent thinking. He seems to have found a free space closer to Heaven as his spiritual world.

Kuiyi Shen

Qiu Guangping is a painter with an extremely strong expressive power. He uses his heart to conduct dialogue with history and reality. The first time I saw his paintings I was strongly impressed by the power in his depictions of herds of galloping horses. From the images of the wild horses, filled with vigor, I saw the image of the artist. He found his best visual symbol, the horse, to express his ideals and concepts. Across the canvas he rides these horses at a gallop, as they, with their neighing and struggling, resist and confront their surroundings. Through his images of horses he conveys his concerns about life, society, and the destiny of human beings, giving his work a powerful quality of social criticism.

简历

安雅兰，美国俄亥俄州立大学杰出讲席教授，主要研究领域为中国绘画和现代中国艺术。先后于哈佛大学和柏克莱加州大学获中国美术史硕士和博士学位。她的《中华人民共和国的画家和政治1949－1979》获得美国亚洲学会1996年列文森着作奖；《现代中国艺术》获得国际亚洲学者协会2013年人文类着作奖。她还曾多次获得福尔布莱学者和古根海姆学者研究基金。曾策划1998年在纽约和西班牙毕尔堡古根汉博物馆展出的《世纪的危机：二十世纪中国艺术中的传统与现代性》，亚洲协会香港中心展出的《黎明曙光：1974-1985年的中国前卫艺术》（2013）和《道无尽：方召麐的水墨艺术》（2017）。

Short Bio

Julia F. Andrews is Distinguished University Professor at Ohio State University. Her first book, Painters and Politics in the People's Republic of China, 1949-1979 (1994), won the Joseph Levenson Prize of the Association for Asian Studies for the best book of the year on modern China. Her most recent book, co-authored with Kuiyi Shen, Art of Modern China (University of California Press, 2012), won the 2013 ICAS (International Convention of Asia Scholars) Book Prize in the Humanities. In addition to teaching and writing, she also curates exhibitions, and is a frequent contributor to exhibition catalogues. Among her exhibitions are one of the first American exhibitions of contemporary Chinese art, Fragmented Memory: The Chinese Avant-Garde in Exile, at OSU's Wexner Center for the Arts in 1993, the Guggenheim Museum's ground-breaking 1998 exhibition, A Century in Crisis: Modernity and Tradition in the Art of Twentieth Century China, shown in New York and Bilbao, and Blooming in the Shadows at China Institute in New York in 2011. She is currently a Senior Fulbright Fellow at CUHK.