自 述
Artist Statement
"艺术是生命永恒意识的表现，将热情美好的或悲凉痛苦
的，以绘画特有的方式启迪人们的思索。"
——王鑫生
"...an expression embroiled in beauty and passion pains
and sorrows, generating in its typical style of painting
deep thoughts and imagination."
- Xinsheng Wang
艺术家的本能是去发现生活中的美和创造具有自我语言的艺术世界。小时候常模仿戏剧中人物生动的动作和表情，戏里的人物是夸张的但也是活生生的。其实人物生动的肢体语言和表情是最能反映其状态和性格的。近来作画常常结合中国意象的表现立意和生动的人物情态语言，力求表现一种具有更多想象空间的视觉冲击力。
面对自己这些年的作品，有很多感触。我的艺术和生活经历就像是中国这些年的变化。我是和共和国同龄的。经历了建
国，大跃进，灾荒年，文化大革命，改革开放和出国潮也目睹了近些年的经济腾飞。当知青的那些年有幸画了很多主席像，在工厂组织宣传队培养了对音乐的偏爱。所以在很多题材性作品里我也将音乐带进了里面。世界上只有艺术是无国界的。音乐和绘画本来就是在高灵性的层次上有共的。
每当作画时我总是要放一些能使我带动画面的音乐。意想随着音乐挥洒在写意的快意中。有位国外的评论家在讲到意象和抽象时说这些是外国的东西，就像舶来品一样进到中国就被中国的画家模仿了并搞的四不像。其实意象和抽象恰恰是中国艺术的立足点。把中国艺术画的感念和西方油画艺术的语言结合是必然的。也是现行艺术大环境下艺术家国际化的产物。中国绘画美学认为，美是要在物理世界之外构建一个情景交融的意象世界，而“意象”就是美的本体，也是艺术的本质。这是本身绘画的基本立足点。没了“意象”就没了所有的绘画语言。写实之后的浪漫主义、以后的移情论、表现主义和现象学美学，都是沿着这个路子走下来的，尽管它们之间也存在重要的差异。 但根本源于“意象”。从古时《易传》到今时这个时代它是立的住得。所以我觉得抓住了“意象”就抓住了中国传统美学和西方现代美学的契合点。一些自己的绘画和生活。希望画界朋友多多指导。
王鑫生
2011年于美国休士顿
The instinct of an artist is to discover the beauty of life and create the world of art with his own language. When I was young, I often imitated the acts and expressions of figures in operas. Those figures reflect artistic exaggeration but at the same time they are true to life. The vivid body language and expressions of the figures are the best reflection of their status and characteristics. In my recent works, I usually combine the conception and idea of the imagery with the dynamic facial expression and body movement of my human figures to create a visual impact with deeper space for imagination. The evolution of my paintings evokes strong feelings. Throughout my art career and life experience, I witnessed the changes happened in China in these years.
I am the same age as the People’s Republic of China. I have experienced the founding of the People’s Republic of China in 1949, the Great Jump in 1958, the disastrous years in the 1960s, the Great Cultural Revolution from 1966 to 1976, China’s Reform and the Opening to the World in 1980s, and the trend of people going abroad in 1990s. I have also seen the rapid development of the economy. In the 60s and 70s, I was lucky enough to draw a lot of pictures of Chairman Mao as the Educated Youth. I developed my passion in music when I was in the propaganda team of the factories. So that is how I bring music into themed paintings. Art is a language without the boundaries of any country. Music and painting can create a resonance at the level of high intelligence. Each time I pick up my painting brush, I play music that can stimulate my imagination of the picture that I am going to paint. I enjoy the pleasure of my thoughts flying freely with the sound of music. A foreign critic once said that imagery and abstract style originated from western countries, and then Chinese artists imitated them and made them nonsense. Yet on contrary, that is exactly the basis of Chinese art. Combining the idea of Chinese art with the language of western oil painting is necessary and completely natural. It is the product of the globalized context of modern art. The Chinese aesthetics believe that beauty should be constructed in the world of imagery integrating scenes and emotion outside the physical limitation. “Imagery” is the essence of aesthetics and art, which is the foundation of painting. Without “imagery”, the painting language would lose its meaning. Realism, Romanticism, Empathy (Einfühlung), Expressionism and Phenomenology Aesthetics all followed the path of imagery. Although they have important differences, their essence is based on “imagery”. From the ancient YiChuang time till today, the concept of imagery has been in use. So, I feel that as long as I grasp the essence of “imagery”, I can find the common point between traditional Chinese and modern Western aesthetics. Here are some of my paintings to share among friends in the art circles. All suggestions are warmly welcome.
Xinsheng Wang
Houston, TX, USA, in the year of 2011
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