近日，美國加州大學洛杉磯分校藝術學院終身教授、世界著名重量級權威藝術評論家、美術家理查·韋恩（Richard Wearn)撰寫了一篇題為《黃建南—視覺語言藝術與表現(xiàn)藝術大師》的評論文章，在剖析黃建南這位享譽世界的中國書畫藝術家的創(chuàng)作手法、藝術風格的同時，還對其書畫作品、藝術成就等大加贊賞，隨后在美國比佛利藝術新聞網（如下截圖）發(fā)表，引發(fā)了強烈的反響。

      理查·韋恩是比佛利藝術高級顧問兼藝術執(zhí)行董事，同時擔任洛杉磯國際藝術節(jié)藝術市場指導、共同主席兼藝委會評委。美國加州大學洛杉磯分校藝術學院位列世界三甲。美國加州大學洛杉磯分校是一所公立大學，是美國商業(yè)金融、高科技產業(yè)、電影藝術等專業(yè)人才的搖籃，是美國最頂尖的綜合大學之一，提供337個不同學科的學位，是全美培養(yǎng)尖端人才領域最廣的大學。

    以下為《黃建南—視覺語言藝術與表現(xiàn)藝術大師》全文（中英文對照）：

Jiannan Huang

October 19th, 2020

Richard Wearn

Jiannan Huang’s latest series of paintings are a culmination of facts and experiences drawn from a life time pursuing a vision that at its most imminent may be described as existential. His persistence as a painter has created a visual language where by acontinuum of focus and experience has determined a form of expression resonant with an Aristotelian schema where by techne creates its own episteme. The confluence of multiple interests and approaches derived from the traditions of Chinese Ink painting and a reading of the capacities of western modernism has created within Mr. Huang’s practice a unique metaphysics - the act of painting itself has determined its own episteme, or system of understanding.   

    黃建南最新出版的繪畫作品集是他一生藝術追求的結晶，他試圖展現(xiàn)藝術方面新的視覺。 作為畫家的他執(zhí)著地摸索出了一種視覺語言，通過不斷的追求和探索，他探尋出了一種與亞里斯多德式圖式產生共鳴的表達形式，而泰恩則通過這種方式與之產生共鳴。 在黃先生的實踐中，源于中國水墨傳統(tǒng)的多種興趣和方法的融合以及對西方現(xiàn)代主義能力的理解，創(chuàng)造了一種獨特的形而上學的屬于自我的藝術體系。

This analysis of Jiannan Huang’s work is best understood through the active critical history that propels China’s rich and immense cultural life. An ongoing questioning of the primacy of the "Ink Art" tradition has dominated the artistic discourse in China throughout the twentieth century. Chinese Ink Art is the oldest co-herent tradition of image making on the planet, having maintained an active, self-referencing epistemology initiated around 400AD. The strictures and conditions of this traditionhave been increasingly challenged by the appearance of new media and artistic practices introduced from the West. The inevitability of Western influence lead to, on the one hand, a cultural protectionism, and on the other a more formal and regulated acceptance of the western modernist tradition.Reflected in the curricula of the Chinese Art Academies, whereGuohua (Chinese-style painting), and Xihua (Western- style painting) form, to this day, segregated and distinctive approaches to the instruction of visual art. Chinese Art Academies have placed Guohua and Xihua into separate departments with distinctive curricula. These separate streams of artistic context also dominate the professional field. Noteworthy, yet not directly applicable to Jiannan Huang’s practice, is the rise of a third “Globalized” or “Post Modern” Art, that emerged in the 1980s that can no longer be categorized by either of these two terms. At times Chinese artists have identified this as "experimental ink painting” or Shiyan Shuimo a modernizationof Chinese Art through the appropriation of western models whilst employing the use of traditional painting instruments and materials such as brush, ink, and paper. Others, still identifying themselves as Shiyan Shuimo utilize new media, and strategiessuch as appropriation and institutional critique within their specific forms of practice.

    對于黃建南作品的理解，可以通過對中國豐富文化歷史的了解得到最好的印證。在整個二十世紀，對“水墨藝術”傳統(tǒng)的至高無上的探尋一直主導著中國的藝術話語。中國水墨藝術是地球上最古老的文化傳統(tǒng)，在公元400年左右就一直保持著活躍的，自我參照的認識論。從西方引進的新媒體和藝術實踐的出現(xiàn)，使這一傳統(tǒng)的局限性和條件日益受到挑戰(zhàn)。受西方影響，一方面導致了文化保護主義，另一方面又導致了對西方現(xiàn)代主義傳統(tǒng)的更加正式和規(guī)范的接受。迄今為止，在中國美術學院的課程中都體現(xiàn)了國畫和西畫的相互融合，它們在視覺藝術教學中采用了截然不同的方法。中國美術學院將國畫和西畫分為不同的課程，各有特色。這些獨立的藝術語境也影響著專業(yè)領域。值得注意的是，第三種“全球化”或“后現(xiàn)代”藝術的興起，從某種層面影響著黃建南藝術的創(chuàng)作。有時，中國藝術家將其稱為“實驗水墨畫”，這是受西方繪畫的影響，同時使用傳統(tǒng)繪畫工具和材料（例如畫筆，墨水和紙張）來實現(xiàn)的中國藝術的現(xiàn)代化。 

Sound scholarship responsive to art considers the ongoingcultural and historic processes that determine our subjectivities, particularly as cultural dialogues embrace post-colonial narratives. As Jacques Derrida emphasized, there is ‘no greater indignity than the reading of one culture by another.’   

    學術研究是一個非常持續(xù)的過程，尤其是當東西文化產生碰撞的時候。 正如雅克·德里達（Jacques Derrida）所強調的那樣，“文化之間相互的碰撞是一個延續(xù)的過程。”

What compels me to respond to Mr. Huang’s painting practice is the expansion of preoccupations of both Guohua and Xihuasimultaneously, that has given rise to a new visual language that may be read as both intrinsic to the craft of painting in both instances, and also extrinsic to those definitions by way of its allusionistic and semiotic conditions. My address is pertinent to Mr. Huang’s iterations of pictorial space, that are both western modernist in intent, traditional in terms of Guohua, and indeed allusionistic and literal in reference.  

Mr. Jiannan Huang has arrived at the confluence of these approaches, processing them into his distinctive painting practice which is removed from the institutional orthodoxies of studio arts education. He is a self-taught artist, his paintings are grounded in a vision that was informed equally by his personal and self- guided scholarship, and his witnessing of the seismic historic, social and political alterations that China has undergone in his life time.

    我對黃先生繪畫語言的理解，他使用了一種新的視覺語言。在東西文化的輝映中，這種視覺語言有其獨物的藝術探索思維。我的講話與黃先生的繪畫思路的方向有關，既有西方繪畫的感覺，又繼承了傳統(tǒng)國畫的精髓。

    黃建南先生已經達到了這些方法的融合，并將它們處理成他獨特的繪畫實踐。他是一位自學成才的藝術家，他的繪畫基于他的個人不懈的努力，他見證和經歷了中國很多時期的發(fā)展，這在他的藝術上有所體現(xiàn)。 

Western artists who did not undergo a formal training are designated as “outsider”. I have often thought this term to be oppressive and designed to re-enforce a cultural and economic hierarchy that has evolved from the exclusionary processes of Modernism. In my view this terminology becomes accurate when it is inverted. An “Insider” Artist is one that is motivated by the seeking of a deeper authenticity of experience and its rendering into form. A rejection of institutionalized orthodoxies, replaced by the embrace of the sensory pleasure of existence. The existential phenomenology that underwrites Mr. Huang’s practice is easily traceable - he walked. He spent a large part of his life trekking across China, his journey through out its vastness was the creation of a life narrative grounded in the sensory. A daily practice of living enlivened his senses, and his meditative bandwidth.

    有一種說法是西方藝術家是游離于藝術之外，我認為是牽強附會的。我認為，成熟的有鮮明風格的藝術家尋求更深的體驗真實性并將其轉化為形式。從傳統(tǒng)中來，又不拘泥于傳統(tǒng)，取而代之的是對藝術形式的不斷創(chuàng)新。黃建南一路走來，他一生的大部分時間都在中國各地跋涉，游歷，他在整個中國的旅程是走一路畫一路。每天的生活實踐開闊了他的視野。

Jiannan Huang’s paintings arise from the practice of life. When we survey them, a notion such as “expression” confuses the capacity of the work to induce empathy. Often we think of expression as an end game, a definitive and readable statement of inner feeling. Through paint Mr. Huang, relaxes this preponderance and offers an insight of what it is to bring the ineffable to expression, as opposed to expressing a particular something.

    黃健南的繪畫源于生活實踐。當我們研究他的作品之時，我們驚異于他對于中西方文化的融匯貫通。通常，我們認為表達是一種終極手段，是對內在感覺的明確表述。通過繪畫，黃先生輕松把所見所感訴諸于筆端，這豐富了他對藝術的表達，他對藝術不拘一格的理解。

Underwriting these attributes of Jiannan Huang’s work are a set of painterly innovations that coexist, vibrating on the same field. The picture plane to Huang is a vast expansion through which we pass. Our senses are reminded of the levity and possibility of zero gravity, as the image field floats and undulates. Thevibration in Mr. Huang’s work is connected to surface, the tactility of the paint and how its dynamic handling registers an authentic and spontaneous energy. It is the autographic directness, that coalesces to a form. Paradoxically, this non – objective process of painting also successfully delivers imagery. The accumulations of Jiannan Huang’s memories and his phenomena based knowledge is substantiated not in a directly referential co-ordination but are enmeshed in various processes of formal becoming. Cosmological in feel, Mr. Huang’s paintings evoke the universe and its multi-dimensional limitlessness. At all times the spatial relationship to the picture plane and its allusion is adjusted based on our acknowledgement of the painting’s surface qualities. Jiannan Huang brings to expression a sublime and shimmering edge of the infinite.

    黃建南作品的這些特征的承托力是在同一個領域中共存的一系列繪畫創(chuàng)新。通往黃的作品，我們讀到了一種巨大的藝術擴展能力。 黃先生油畫作品中所體現(xiàn)出來的質感，似乎有一種自發(fā)的能量感人至深。黃建南的藝術感覺源于他豐富的知識積累，他的作品體現(xiàn)出多樣化的藝術形式。黃先生的繪畫具有宇宙學意義，喚起了宇宙及其多維無限性。在任何時候，我們都能從他的畫作中體會出他對于獨特空間關系的處理。黃建南將無限的很微妙的意境融于一爐，表達出很深的藝術境界。

藝術大師黃建南

     黃建南，號“妙建”，國家一級美術師，擅長油畫、國畫，“全球公益聯(lián)盟金質勛章”獲得者，榮獲印度尼西亞皇室“伯爵”爵位。黃建南自2015年以來連續(xù)在胡潤研究院《胡潤藝術榜》排名前十位，并在《2019胡潤藝術榜》取得第四位、《2020胡潤中國藝術榜》第三位的好成績，是中國目前唯一一個在油畫和國畫兩個領域同時排名前十位的畫家，在歐美藝術權威網站artprice的全球當代藝術家500強中排名第二十一位。

▲黃建南作品鑒賞

▲黃建南作品鑒賞

    黃建南先后榮獲“2019年全國公益慈善十大影響力人物”“2020年全國學雷鋒先進人物”，連續(xù)兩期被聘為清華大學深圳研究生院兼職研究員，是 中國傳統(tǒng)文化促進會理事、 “為奧運喝彩”組委會海外藝術總顧問、法國國立藝術家委員會會員、世界低碳城市聯(lián)盟藝術顧問、法國吉尼市金質勛章榮譽市民。

▲黃建南作品鑒賞

▲黃建南作品鑒賞

    黃建南早期歷時九年步行三萬八千多公里，走遍大江南北、深入大漠鄉(xiāng)村城鎮(zhèn)體驗生活、寫生創(chuàng)作，積累了大量的素材及經驗。2017年，黃建南與法國歷史悠久的ROSSINI拍賣行簽約，隨著國畫和油畫作品的多次拍賣成功，標志著黃建南作品正式進入歐美主流拍賣市場，成為目前中國極少數(shù)能成功進入歐洲主流拍賣市場的藝術家之一。

▲黃建南作品鑒賞

▲黃建南作品鑒賞