即拟寻真去——陈相锋作品展

Chen Xiangfeng: A Decade’s Quest for Truth

主办单位：中央美术学院

学术主持：丘挺

展览时间：2025年11月29日-12月12日

展览地点：炎黄艺术馆2层展厅

门票：免费

展览简介

本展览是陈相锋近十年艺术探索的集中呈现。以其跨学科的人生经历为梳理线索，围绕“气质俱盛的真性追寻”与“书画用笔的同法共源”两大学术脉络，通过“观物、穷理、寻真、同源、课徒”五大板块，展出创作二百余件，深入探讨中国画图式语言在当代的转化路径，展现其“观物以穷理，寻真而通变”的艺术理路。

The exhibition Chen Xiangfeng: A Decade’s Quest for Truth presents a concentrated overview of the artist’s ten-year creative journey. Structured around his interdisciplinary trajectory, the exhibition traces two foundational themes: the pursuit of an authentic nature where vital energy and innate quality achieve perfect unity, and the exploration of the shared methods and common origins of brushwork in calligraphy and painting. Organized into five thematic sections—Observing Phenomena, Probing Principles, Seeking Truth, Exploring Common Origins, and Instructing Disciples—the exhibition brings together more than two hundred works, investigating the contemporary transformation of Chinese painting’s schematic language, articulating Chen’s artistic philosophy: to observe phenomena in order to probe their underlying principles, and to seek truth so as to comprehend change.

前言

Foreword

本次展览，是我近十年创作与教学的一次阶段性总结与汇报。展览以明代学者范钦《泛东钱湖》中的诗句“即拟寻真去”为题，分为“观物”“穷理”“寻真”“同源”“课徒”五个板块，呈现我在艺术创作与教学实践上的探索轨迹。

我早年学医，历经七年的医学学习与临床实践，后又系统研习书法篆刻四年，最终走上中国画创作的道路。从医学的实证研究，到书画的艺术表达，这两段看似异质却又内在交融的历程，共同塑造了我“观物以穷理，寻真而通变”的创作理念。在此过程中，我逐渐聚焦于两个核心命题：

其一，是对“真”的本质追问，尤其关注中国画学中“气质俱盛”这一美学理想的深层内涵。医学训练让我习惯以理性方式不断逼近客观真实，而绘画则引导我感知与表达生命的本然状态。二者的张力，促使我不断思考“真”的不同维度——科学之真在于可验证的客观实在，而艺术之真，尤其是中国画所追求的“气质俱盛”，则在于形神一体、理气相融的生命境界。

其二，是对“书画同源”理念的学理辨析与实践融合。基于我从书法向绘画延伸的学术路径，我长期致力于探究二者在笔法运用、空间构成与精神表达上的内在联系，思考如何实现“以书入画”“书画互参”的语言转化与理论构建。

因此，本次展览以“气质俱盛的真性追寻”与“书画用笔的同法共源”为双重线索，系统呈现我近年来的诗书画印创作、教学实践与理论著述。每一部分都力图从不同角度回应上述命题，尝试在理论与实践之间构建一条可贯通、可延展的学术路径，探索中国画图式语言与视觉范式在当代的转化可能。

This exhibition stands as a touchstone, a gathering of my ten years’ creative and pedagogical exploration. Its title,The Quest for Truth, draws a line from the poem Boating on the Dongqian Lake by the Ming Dynasty scholar Fan Qin. The journey unfolds through five thematic sections: Observing Phenomena, Probing Principles, Seeking Truth, Exploring Common Origins, and Instructing Disciples. Each presents a critical dimension of my ongoing search in both artistic practice and teaching.

My professional trajectory commenced with seven years of training in medicine, encompassing both academic study and clinical practice. This foundation was followed by four years of systematic study in calligraphy and seal carving, a path that ultimately culminated in my pursuit of Chinese painting. These two seemingly disparate domains-the empirical world of medical science and the expressive realm of ink and brush-are intrinsically intertwined. Together, they have forged my creative philosophy: to observe phenomena in order to probe their underlying principles, and to seek truth so as to comprehend change. Throughout this process, my focus has converged on two core propositions:

First,this inquiry delves into the nature of “truth,” with a specific focus on the profound implications of the Chinese painting aesthetic ideal known as “where vital energy and innate quality attain their zenith.”My medical training cultivated a habit of pursuing objective reality through rational methods, while painting directs me to perceive and express the essential state of life. The tension between these two fieldsof practice prompts me to continually contemplate the multifaceted dimensions of “truth.” The truth of science lies in verifiable objective reality, whereas the truth of art-particularly the “perfect unity of vital energy and innate quality”cherishedin Chinese painting-resides more in a life state where form and spirit unite, and principle and energy merge.

Second, this constitutes a scholarly exploration and practical synthesis of the concept “the common origin of calligraphy and painting.” Rooted in my academic journey evolving from calligraphy into painting, I have long committed myself to exploring the intrinsic connections between the two art forms in their brushwork execution, spatial composition, and spiritual articulation. This entails reflecting on how to realize the linguistic transformation and theoretical construction of two foundational propositions of “infusing painting with calligraphic principles” and “establishing a dialogue between calligraphy and painting.”

Therefore, this exhibition is woven through two guiding threads: the pursuit of an authentic nature where vital energy and innate quality achieve perfect unity, and the exploration of the shared methods and common origins of brushwork in calligraphy and painting. It presents a comprehensive body of my recent work spanning poetry, calligraphy, painting, and seal carving, alongside my teaching practice and theoretical writings. Each section engages with the above propositions from a distinctive perspective, seeking to construct a coherent and expandable bridge between theory and practice, and to illuminate the transformative potential of Chinese painting’s schematic language and visual paradigms in the contemporary context.

艺术家简介

陈相锋长期致力于探讨中国画学中“气质俱盛”与“书画同源”这两大核心命题，具有跨学科背景的他由医转艺，先后获得中国美术学院书法篆刻学士、中国美术学院国画专业硕士、中央美术学院国画专业博士学位。现为中央美术学院中国画学院教授，博士生导师，创研部主任，中国美术家协会会员，西泠印社社员，中国工笔画学会会员。

Chen Xiangfeng’s artistic practice is deeply engaged with two pivotal concepts in Chinese painting: the perfect unity of vital energy and innate quality, and the common origin of calligraphy and painting. His distinctive trajectory, moving from the empirical world of medicine to the expressive realm of art, informs an interdisciplinary methodology. This path is reflected in his academic credentials: a BA in Calligraphy and Seal Carving from the China Academy of Art, an MA in Chinese Painting from the same institution, followed by a PhD in Chinese Painting from the Central Academy of Fine Arts. He currently holds the position of Professor and Doctoral Supervisor in the School of Chinese Painting at the Central Academy of Fine Arts, alongside the role of Director of the Research Development & Innovative Office. His professional stature is recognized through memberships in the China Artists Association, the esteemed Xiling Seal Art Society, and the China Hue Art Association.