【中华文化，相约巴黎文化艺术行线上展】——推荐艺术家曾传兴

时间：2024-05-24人气：作者：浩宇

【中华文化，相约巴黎文化艺术行线上展】

【 Chinese Culture, meet Paris Culture and Art Travel Online Exhibition 】

——推荐艺术家曾传兴

-- Recommended artist Zeng Chuanxing

曾传兴，1974年生于四川省，中国美术家协会会员

2001年《来客》(油画)参加21世纪首届“中国油画大展”获铜奖，中国.杭州.省展览馆;

2003年《逝》(油画)参加"湖南省第五届油画展”.中国.长沙.省博物馆;《逝》(油画)参加“携手新世纪第三届中国油画展”地区联展，中国.北京.中国美术馆;《逝》(油画)参加"携手新世纪--第三届中国油画精选作品展".中国.北京,中国美术馆;

2004年《纸新娘.祈》(油画)参加“第十届全国美术作品展览"中国.广州.广东省美术馆;

2009年《红纸新娘.鱼》参加”第十届全国美术作品展览".中国.武汉.湖北省艺术展览馆;

2011年9月《黄纸新娘.雾湖》受邀参加《委内瑞拉.中国当代油画艺术展》,委内瑞拉国家当代艺术博物馆:

2012年8月《红纸新娘.长城,放飞》受邀参加《2012奥林匹克美术大会暨创意城市-伦敦美术大展》.伦敦巴比肯中心。

2016年10月13日，作品《消失的文明系列之一.老墙》参加“奥林匹克世界美术大会”，巴西里约热内卢.国家博物馆

2017年11月，作品《玉新娘.远方的TA》参加《美国莎玛蒄蒂第39届绘画雕塑大奖赛》荣获华盛顿展览奖。

2019年4月，作品《古宇湖的黄昏》入选，《第六届西班牙当代肖像

艺术大奖赛》获得最高奖一一等奖。

2019年作品《蓝纸新娘.紫玫瑰》获2019《美国艺术大奖赛》人物肖像一等奖。

2019年作品《札达遗址.昔日的辉煌》获《2019美国艺术大奖赛》写实风景二等奖。

2022年6月作品《梦回故乡.百合花》入选《美国第四届国际花卉艺术大奖赛》获天才奖。

2022年作品《黑纸新娘.泡影之一》入选《美国国际具象艺术雕塑大赛》荣获一等奖。

2023年3月作品《红纸新娘.祈》入选《美国第五届具象艺术国际评选大赛》获天才奖。

2024年5月作品《黑纸新娘.深秋哀思2023》入选2023意大利《首届提香肖像艺术大赛》荣获二等奖。

Zeng Chuanxing, born in Sichuan province in 1974, is a member of the Chinese Artists Association

In 2001, The Visitors (oil painting) participated in the first "Chinese Oil Painting Exhibition" in the 21st century and won the bronze award in China. Hangzhou. Provincial Exhibition hall;

In 2003, "Death" (oil painting) participated in the fifth Oil Painting Exhibition of Hunan Province ". China. Changsha. Provincial Museum; "Passing" (oil painting) participated in the regional joint exhibition of "the third Chinese Oil Painting Exhibition in the New Century", China. Beijing. National Art Museum of China; Passing (Oil Painting) participated in the New Century-the third Chinese Oil Painting Exhibition. China. Beijing, the National Art Museum of China;

2004 by The Paper Brides. Qi (oil painting) participated in the "10th National Art Works Exhibition" in China. Guangzhou. Guangdong Provincial Museum of Fine Art;

2009, The Red Paper Bride. Fish participated in the 10th National Art Exhibition. China. Wuhan. Hubei Provincial Art Exhibition Hall;

September 2011, Yellow Paper Brides. Fog Lake was invited to participate in Venezuela. Chinese Contemporary Oil Painting Art Exhibition, National Museum of Contemporary Art, Venezuela:

August 2012, Red Paper Brides. The Great Wall, Flying was invited to participate in the 2012 Olympic Art Conference and Creative City-London Art Exhibition. The Barbican Centre, London.

On October 13,2016, one of the disappearing Civilization series. Old Wall participates at the Olympic World Congress of Fine Arts, Rio de Janeiro, Brazil. National Museum

In November 2017, the work, jade Bride. TA participated in the 39th Painting and Sculpture Grand Prix and won the Washington Exhibition Award.

In April 2019, the work The Dusk of Guyu Lake was selected as the sixth Contemporary Portrait of Spain

Art Grand Prix " won the highest prize one first prize.

In 2019, the Blue Paper Bride. The Purple Rose won the first prize in the portrait of the 2019 American Art Grand Prix.

In 2019, " The Zada Site. The Former Glory won the second prize of realistic scenery in the 2019 American Art Grand Prix.

In June 2022, the work is "Dreamwork back to Hometown". Lily was selected to the fourth American International Flower Art Grand Prix and won the genius award.

In 2022 by The Black Paper Bride. One of the films was selected in the American International figurative Art Sculpture Competition and won the first prize.

In March 2023, the Red Paper Bride. Qi was selected to the fifth American figurative Art International Competition and won the genius award.

In May 2024, the Black Paper Bride. Late Autumn grief 2023 was selected into the 2023 Italian first Titian Portrait Art Competition and won the second prize.

《黑纸新娘·深秋哀思2023 》138 x81cm 2023年12月

《蓝纸新娘·泡影之四》 126 X75 cm 2022年

曾传兴油画的人文关怀

The humanistic concern of Zeng Chuanxing's oil painting

与灵性之美

With spiritual beauty

罗扬敏

Luo Yangmin

曾传兴作为审美艺术的执着坚守者，一直以来都坚持用新古典主义创作方法唯美、含蓄地表达自己的理念与情感。自二十世纪以来各种艺术流派如雨后春笋般出现在大众视野之下，艺术的形式和功能被拓宽，艺术的边界也由清晰变得模糊。观念艺术、行为艺术、装置艺术、表现主义绘画等现代艺术被视为更富创造力和独特性而更受欣赏者和艺术家们喜爱。在这个大时代背景下坚定不移地坚守自己的创作理念，采用传统的古典主义创作方法表现我们所生活的时代确实需要非常大的勇气和信念。曾传兴以其天生的感受力和勤奋创造了大量的作品，其中不乏素描、速写、和油画创作。自2003年《逝》以一名白纸包裹着的现代女性纸新娘进入大众视野起，曾传兴便一直坚持绘制纸新娘系列油画，直至现在“纸新娘”已经变成一个现代符号。曾传兴喜欢将懵懂、稚嫩、灵气逼人的少女置于自然环境背景之中，少女们在各种大自然背景下或彷徨或惆怅，纸衣少女的姿态万千，有的展眉呐喊仿佛等待着远山的回应；有的回眸直视，目光好似从亘古传来，望穿人心；有的身着一袭红衣在清幽寂静的山涧双手合十，表情肃穆，像是在祷告着什么，充满宗教的庄重与神圣感；还有的低头蹙眉，在灰沉沉的天空和干枯的老树的衬托下，像是在思考类似宇宙与人类的关系这样宏大的命题。从这些画面中看到了曾传兴对人类和生命本质的思考，感受到了他的人文关怀和人与自然万物的灵性之美。

As a persistent defender of aesthetic art, Zeng Chuanxing has always insisted on aesthetically and implicitly expressing his ideas and emotions with the neo-classical method of creation. Since the 20th century, various art schools have sprung up in the public eye, the form and function of art have been broadened, and the boundary of art has become blurred from clear. Modern art, such as conceptual art, performance art, installation art, expressionist painting, is regarded as more creative and unique, and more popular with viewers and artists. In the context of this big era, unswervingly sticking to their own creative ideas and adopting traditional classical creative methods to express The Times we live in indeed require great courage and conviction. With his natural sensibility and diligence, Zeng Chuanxing created a large number of works, including sketches, sketches, and oil paintings. Since "Gone" in 2003 with a modern female paper bride wrapped in white paper entered the public eye, Zeng Chuanxing has been insisting on painting paper bride series oil paintings, until now "paper bride" has become a modern symbol. Zeng Chuanxing likes to place ignorant, immature and inspiring girls in the background of the natural environment, girls in various natural backgrounds or hesitation or melancholy, the posture of the girls in paper clothes is myriad, and some of them are Shouting as if waiting for the response of the distant mountains; Some look back directly, the eyes seem to come from eternity, looking through the heart; Some dressed in a red dress in the quiet mountain valley hands clasped, solemn expression, like praying something, full of religious solemnness and sacred sense; Still others frown, in the grey sky and dry old trees against the background, as if thinking about such grand propositions as the relationship between the universe and human beings. From these pictures, we can see Zeng Chuanxing's thinking on the nature of human beings and life, and feel his humanistic care and the spiritual beauty of man and nature.

《黄纸新娘·天下黄龙》160 x130cm 2015-2017年

曾传兴油画作品之解读

The interpretation of Zeng Chuanxing's oil paintings

（一）灵性美 (1) Spiritual beauty

18世纪德国新古典主义美学家温克尔曼曾将古希腊艺术特征概括为“高贵的单纯和静穆的伟大”。这句话用描述曾传兴笔下纸新娘形象特征也同样贴切，纸新娘们宁静单纯的外表下，潜藏着作者无尽的情思与意欲的波涛。曾传兴将内心激烈的情感注入进宁静平和的外在形式，这两种矛盾的对立使画面拥有一种强大的精神冲击观者的心灵。灵性是指生命个体与宇宙万物间能量转换和信息传递达到了一种超然的效果，人具有了灵性，眼神是纯洁清澈的，可以与宇宙万物沟通，自然界的花花草草会亲近你，小动物会喜欢你，在你的眼里所有事物都是有生命的，都是值得被尊重和善待的。

当作品有了灵性时，便可以穿透画布与观者进行心与心的链接与交流，产生的精神力量将会更加强大。有灵气的作者才能创作出如此有灵气的作品，曾传兴是一位十分具有有灵气的画家，他的灵气来自于他情感的真挚与纯净，但是有灵性的人，却不一定被世俗喜欢，因为他们通常特立独行，不被世俗意识所捆绑，坚持内心的真实和真理，甚至不惜得罪一部分人。他善良单纯，并有着艺术家特有的执着和偏执。曾传兴笔下的纸新娘们个个灵气逼人，纯真清澈的眼眸很难不让观者卸下所有防备，真诚地与纸新娘进行心与心的链接。

从主体人物的情态和动作来看，纸新娘们大多表情落寞，暗自神伤，像是在担心这某种不好的事情发生，连同着观者的心一起被揪了起来。她们美丽、纯真、善良，但也脆弱、易逝，仿佛下一秒新娘便消失在了这神秘清幽的背景之下。眼睛是心灵的窗口，曾传兴极为重视眼神的描绘，画中的纸新娘们虽然神情忧郁，但眼睛却像一汪反射着银河的清泉，拥有着自然馈赠的灵气。画面所传达出来的灵气，既来自于自模特本身，又得益于作者本人的悟性和天生的感受能力。《纸新娘》系列作品的背景大多是深色，易给人以压抑和低落之感，与此同时作者又将远处黑压压的天空或远山置于一束暖黄色的光，以象征绝境之下的一丝希望。忧郁和伤感的外壳之下，是画家内心对美好事物的憧憬和对未来的一丝希望。

The 18th century German neoclassical esthetician Winckelmann once summarized the characteristics of ancient Greek art as "noble simplicity and quiet greatness". This sentence is equally appropriate to describe the image characteristics of Zeng Chuanxing's paper brides, whose quiet and simple appearance hides the waves of the author's endless feelings and intentions. Zeng Chuanxing injects the inner intense emotion into the outer form of tranquility and peace, and the contradiction between these two kinds of contradictions makes the picture have a powerful spiritual impact on the viewer's mind. Spirituality refers to the transcendent effect of energy conversion and information transmission between individuals and all things in the universe. With spirituality, people have pure and clear eyes and can communicate with all things in the universe. Plants and plants in nature will be close to you, and small animals will like you.

When the work has spirituality, it can penetrate the canvas and carry out heart-to-heart link and communication with the viewer, and the spiritual power generated will be more powerful. Zeng Chuanxing is a very reiki painter, and his reiki comes from the sincerity and purity of his emotions, but spiritual people are not necessarily liked by the world, because they are usually independent, not bound by secular consciousness, and adhere to the truth and truth of the heart, even at the cost of offend some people. He is kind and simple, and has the persistence and paranoia characteristic of artists. The paper brides under Zeng Chuanxing's pen are all very lively, and the pure and clear eyes make it difficult for the viewer to remove all their precautions and sincerely link heart to heart with the paper bride.

Judging from the modus and actions of the main characters, most of the paper brides are lonely and secretly sad, as if they are worried about some bad thing happening, and the hearts of the viewers are pulled up together. They are beautiful, pure and kind, but also fragile and perishable, as if the next second the bride disappeared under this mysterious and quiet background. The eyes are the window of the soul, Zeng Chuanxing attaches great importance to the description of the eyes, although the paper brides in the painting look sad, but the eyes are like a wang reflecting the Milky Way spring, with a natural gift of reiki. The aura conveyed by the picture not only comes from the model itself, but also benefits from the author's own understanding and natural feeling ability. The background of "Paper Bride" series is mostly dark, easy to give people a sense of depression and depression, at the same time, the author also puts the distant dark sky or distant mountains in a warm yellow light, to symbolize a ray of hope under the desperate situation. Under the shell of melancholy and sadness is the painter's inner longing for beautiful things and a glimmer of hope for the future.

《橙纸新娘·一抹圣光》 2013年

《红玫瑰与白玫瑰》 200 X160 cm 2009 -2014年

（二）人性美 (2) Beauty of human nature

曾传兴油画作品的人性美体现在其强烈的人文主义情怀，所谓“人文”，《辞海》中这样写道：“人文指人类社会的各种文化现象”，简而言之即是人类文化的简称，是站在普世的角度尊重人类文化中所有先进、优秀的部分，而人文主义精神则是指以人为本，充分尊重人的生命和价值，以一种入世的积极品格，对现实世界给予充分关注。这种关注和思考超越了个体和种族，是从全人类的角度去思考世界，关心的是全人类的命运和存亡。

从曾传兴的作品中我们看到了他对对自己所处时代婚姻问题的思考，纸的易碎象征着现代婚姻的脆弱，新娘们伤感忧郁的眼神体现了曾传兴对女性在婚姻中极易受伤的关爱和同情，他的作品体现出来的是对全世界女性的关爱，表现得这个时代人们普遍的精神状态。人文主义精神还体现在有着强烈的居安思危的忧患意识，仔细研读曾传兴的所有作品后会发现其作品除“纸新娘”这一符号之外，还有另外一个小符号—“泡沫”。“泡沫”图式不仅出现在其许多《纸新娘》系列作品中，还出现在了他的一些素描习作中。“泡沫”和“纸”一样都脆弱和易逝。在中华文化中，“泡沫”通常被用来比喻人事的虚妄和幻想。曾传兴作品中的“泡沫”图式既是他对婚姻关系不稳定性的思考，又有对这看似太平稳定的社会和国家，乃至全人类命运的担忧。

他内心仿佛一直在担心着未来会发生某件不好的事情，或许那是这个国家的灾难，或关乎全人类兴亡。具体是何种担忧，恐怕只有作者本人知道了，或许就连作者本人也不清楚自己心里的隐隐担忧究为何。只是作者与生俱来的忧郁气质和心怀天下的精神指引着他这样创作。画面中的“泡沫”像是在警示着世人，美丽易逝，美好与繁华的生活下还潜藏着许多危机和腐朽。具有人性之美的作品必定揭示的是人性的善和真，从纸衣新娘们的眼神中我们可以感受到她们内心的纯真和善良，面对未来她们虽然迷茫恐惧，但眼里仍然闪烁着光亮心怀希望。然而就是在这样一群美好善良单纯的女孩子之中，却经历着许多不好的事情—婚姻的伤痛，这给作品笼上了一层悲剧色彩。使得欣赏者在观看作品时心头萦绕着一层淡淡的忧伤和含蓄朦胧的美。

The beauty of human nature in Zeng Chuanxing's oil paintings is reflected in his strong humanistic feelings. The so-called "humanism" is written in Ci Hai as follows: "Humanity refers to various cultural phenomena in human society", in short, it is the abbreviation of human culture, which respects all advanced and excellent parts of human culture from a universal perspective, while humanism refers to people-oriented, fully respecting human life and value, and giving full attention to the real world with a positive character of entering the world. This kind of concern and thinking goes beyond individuals and races, thinking about the world from the perspective of all mankind, concerned about the fate and survival of all mankind.

From Zeng Chuanxing's works, we can see his thoughts on the marriage problems of his era. The fragility of the paper symbolizes the fragility of modern marriage. The sad and melancholy eyes of the brides reflect Zeng Chuanxing's care and sympathy for women who are easily hurt in marriage. The spirit of humanism is also reflected in a strong sense of danger in peace. After a careful study of all Zeng Chuanxing's works, we will find that in addition to the symbol of "paper bride", there is another small symbol - "bubble". The "bubble" schema appears not only in many of his Paper Bride series works, but also in some of his sketching exercises. "Foam" is as fragile and perishable as "paper." In Chinese culture, "bubble" is often used as a metaphor for human vanity and fantasy. The "bubble" schema in Zeng Chuanxing's works is not only his thinking about the instability of marriage relationship, but also his concern about the seemingly peaceful and stable society and country, and even the fate of all mankind.

It was as if he was always worried that something bad would happen in the future, perhaps the disaster of the country, or the rise and fall of all mankind. I am afraid that only the author himself knows what kind of specific worries, and perhaps even the author himself does not know why the hidden worries in his heart. Only the author's innate melancholic temperament and the spirit of the world guide him to create this way. The "bubble" in the picture seems to warn the world that beauty is perishable, and there are many crises and decay lurking under the beautiful and prosperous life. Works with the beauty of human nature must reveal the goodness and truth of human nature. From the eyes of the brides dressed in paper, we can feel their inner innocence and kindness. In the face of the future, although they are confused and afraid, their eyes are still shining with hope. However, it is in such a group of beautiful, kind and simple girls, but experienced many bad things - the pain of marriage, which gives the work a layer of tragic color. When the viewer watches the work, he is haunted by a layer of subtle sadness and subtle and hazy beauty.

《牵手》210 x180 cm 2009 -2022年

《红纸新娘· 泡影之五》 130 x110cm 2023年

（三）意境美 (3) Beauty of artistic conception

意境是中华美学的最高范畴，是中国画的最高审美标准，自古以来便为文人墨客所推崇和追求。近代美学家王国维在《人间词话》中提出了“有我之境”和“无我之境”之别。“有我之境”是物皆著我之色彩，情感直露；“无我之境”是物我两忘，画家与作品合二为一，作者的情感与物象相互交融，情感表达则更为内敛含蓄。曾传兴的作品显然属于后者，作者的感情自然而然地流露于描绘对象的如实描写中，作品画面不设不施，毫不刻意的自然美。曾传兴的作品既继承了西方古典主义大师的传统写实技法，又有着中国画的意境美，这得益于他早年学习中国画的经历。曾传兴本科阶段一开始本是国画专业，因后面对油画更加感兴趣而改成了油画。

Artistic conception is the highest category of Chinese aesthetics and the highest aesthetic standard of Chinese painting, which has been admired and pursued by literati since ancient times. Wang Guowei, a modern aesthetician, put forward the distinction between "the state of self" and "the state of no self" in his book Human Ci. "There is my state" is that everything is my color, the emotion is exposed; "The state of no self" is the two forgetting of the object and the self, the painter and the work become one, the author's emotion and the object image blend with each other, and the emotional expression is more restrained and implicit. Zeng Chuanxing's works obviously belong to the latter, the author's feelings are naturally revealed in the depiction of the true description of the object, the picture of the work is not set, not deliberately natural beauty. Zeng Chuanxing's works not only inherited the traditional realistic techniques of Western classical masters, but also had the artistic conception beauty of Chinese painting, which benefited from his early learning experience of Chinese painting. Zeng Chuanxing majored in Chinese painting at the beginning of his undergraduate study, but changed to oil painting because he became more interested in oil painting.

《玉新娘·远方的TA 》70 X50cm 2017年

《红纸新娘. 翡翠谷》 160 X130cm 2013 －2014年

中国画对曾传兴作品的影响在许多方面都有所体现。首先在人物造型上，曾传兴十分重视眼神的描绘，如顾恺之所言：“传神写照，以形写神。”虽然他学其次曾传兴极为重视线条和笔触的运用，即便是他选取的是油画媒介，作品中仍然能看到许多线条的运用，人物的五官、头发丝、睫毛的用线紧劲连绵，自然流畅，如同中国画中的高古游丝描。其作品塑造并非采取西方罩染技法而完成，而是用细小的笔触塑造而成，笔触的走向形状都十分考究，画面充满诗意和书写感。再者，背景山水处理，不做过多细节描绘，模糊笔触，再通过降低色彩饱和度和明度，营造出若隐若现，若有若无的视觉感受，更有中国山水画的朦胧美。

山水背景与纸新娘浑然一体，各种颜色的纸衣新娘们像是散布在自然界的精灵，守护着这片苍茫大地，也无力注视着正在人间发生的一幕幕惨剧，又因无法改变当前局势而神情忧郁，难掩伤感。这种人与自然高度和谐统一的状态形成了特有的意境美。他的作品对于前景人物细节的描绘十分精细，远处自然背景的简化处理成缥缈悠远的艺术效果，给人以无限的想象，意味无穷。既能使欣赏者身临其境，又让人产生某些画外的联想和感悟。纸新娘们欲言又止，欲说还休，神情举止如同古代女子般优雅含蓄给人以无限之感和超越之美。

The influence of Chinese painting on Zeng Chuanxing's works can be seen in many aspects. First of all, in the character modeling, Zeng Chuanxing attaches great importance to the description of eyes, as Gu Kaizhi said: "The portrayal of God, to write God." Although he was second to Zeng Chuanxing, he attached great importance to the use of lines and strokes, even if he chose the oil painting medium, he could still see the use of many lines in his works, and the lines of the characters' features, hair and eyelashes were tight and continuous, natural and smooth, just like the ancient hairspring depiction in Chinese painting. His works are not shaped by Western mask dyeing techniques, but by small brushstrokes. The direction and shape of the brushstrokes are very elegant, and the picture is full of poetry and writing sense. In addition, the background landscape treatment, do not do too much detail description, fuzzy brush strokes, and then reduce the color saturation and brightness, to create a vague, if there is no visual experience, but also the Chinese landscape painting of the hazy beauty.

Landscape background and paper bride integrated, a variety of colors of paper brides like scattered in the nature of the elves, guarding this vast land, but also unable to watch the tragedy is happening in the human scene, and because of unable to change the current situation and melancholy, difficult to hide sadness. This highly harmonious and unified state of man and nature has formed a unique artistic conception beauty. In his works, the details of the foreground characters are very fine, and the simplified treatment of the distant natural background becomes the ethereal and distant artistic effect, which gives people unlimited imagination and infinite meaning. Not only can make the viewer immersive, but also make people produce some out-of-picture association and perception. Paper brides want to talk, want to talk back to rest, look and behave like ancient women as elegant implicit giving people a sense of infinity and transcendent beauty.