四川美術學院院長 龐茂琨
Pang Maokun, The head of Sichuan Fine Art Institute

  龐茂琨，1963年生于重慶，1985年四川美術學院油畫系畢業，1988年獲碩士學位并開始任教于四川美術學院油畫系。現為四川美術學院院長、教授，重慶畫院院長，重慶美術家協會副主席，中國美術家協會理事，中國美術家協會油畫藝委會副主任，中國油畫學會理事 。

1974～2016年 龐茂琨肖像
Photo of Pang Maokun 1974--2016

  1983年的龐茂琨的作品《蘋果熟了》一舉成名，成為現實主義風格的代表性人物。之后在從事四川美術學院學術教育上卓有建樹、也在油畫創作上，不斷對自己的手法、材料和方法提出質疑，2010年創造出帶有戲劇性和挑戰性的系列：《沉溺》 、《光耀》 、《巧合》等，打破繪畫語言的秩序，顛覆約定俗成的符號隱喻。

香臉輕勻,黛眉巧畫宮妝淺 雙蝶繡羅裙。
東池宴,初相見。朱粉不深勻,閑花淡淡香。
細看諸處好,人人道,柳腰身。昨日亂山昏,來時衣上云.....
——《洛神賦》曹雪芹

龐茂琨 Pang Maokun
沉溺之一 Indulgence No.1
布面油畫 Oil on canvas
110×150cm 2011

龐茂琨 Pang Maokun
沉溺之三 Indulgence No.3
布面油畫 Oil on canvas
110×150cm 2011

  每首詩有獨特的畫面，每幅畫有觀者自己的解讀，龐茂琨的沉溺之四仿佛是在描述一位“柳腰身”的女性在畫黛眉，裸女與石頭所構成的空間讓人有無盡的遐想。柔軟的身軀和堅硬的石頭成為強烈的對比。由于這些圖像與片段化的場景脫離了原來的語境，當它們出現在同一個畫面時，勢必會造成在時間、空間，以及視覺心理上的錯位感，而此刻，圖像自身所具有的意義就會彌散開來，彼此沖突，于是，一種新的繪畫敘事方式得以形成。顯然，這種“景觀化”的表達已由一種典型的后現代主義的敘事方式所主宰，即作品的敘事是不符合人們的日常視覺經驗的，其內在邏輯是沖突的、矛盾的。毋庸置疑的是，“凝視”的力量遠遠大于“觀看”，因為它能反映出藝術家對當下問題所保持的敏銳洞察力，蘊含著藝術家關照現實時的精神深度。從這個意義上講，重要的不是圖像本身，而是藝術家對某種類型的圖像所進行的選擇。但不管是那類圖像，現實主義都是其底色。

龐茂琨 Pang Maokun
沉溺之四 Indulgence No.4
布面油畫 Oil on canvas
160×200cm 2011
華藝國際2017年春季拍賣會拍品

  “關鍵是凝視，那是一種發自內心的審視，一種自我反省，一種向外探求。有趣的是，在這凝視的目標下，龐茂琨著重表達的是一系列的女性。在他的大量作品中，女性占據了顯著的位置，從早期描繪彝族女性到后期描繪城市女性，盡管對象的身份有了重大變化，但隱含其間的一種觀望，一種凝視，一種反省，卻一直主宰著藝術家的思維。”— 楊小彥

龐茂琨 Pang Maokun
邂逅之二 Encounter No.2
布面油畫 Oil on canvas
180x260cm 2010

龐茂琨 Pang Maokun
鏡花緣之六 Romance of Mirrored Flower NO.6
布面油畫 Oil on canvas
160x120cm 2014

  當今，信息爆炸每秒產生上百萬圖片，轟炸我們的眼球，這正是在考驗藝術家能否創造出新的畫面，讓觀者有不同的體驗，并與藝術家一起感同身受藝術魅力的時刻。龐茂琨的作品沖突而強有力的戲劇張力，讓我們重新思考。畫面中的視覺聯系，因個人思維的變化和時代的變遷而改變，超越了圖示所直接闡釋的意義。

龐茂琨工作室照片 Photo of Pang Maokun’s studio

龐茂琨工作室照片    Photo of Pang Maokun’s studio

Pang Maokun| Gazing at Spectacles

Born in 1963 in Chongqing, Pang Maokun graduated from Oil Painting Department of Sichuan Fine Arts Institute in 1985 and received his master degree in 1988. He is the head of Sichuan Fine Arts Institute, the Vice Chairman of Chongqing Artists Association and the committee member of China Oil Painting Society.

In 1983, his work Apples are Ripe was a great success and he became one of the leading painters of realistic paintings in China. During the following years, he was not only successful in teaching at Sichuan Fine Arts Institute, but also trying to apply some new methodologies and techniques to his paintings. In 2010, he created a dramatic and challenging painting series: Indulgence, Glory, Coincidence, etc. His works broke down the painting’s formal compositions, overturned the conventional metaphor of still-life images in paintings.

Every poem has a unique scene, and every painting generates different interpretations from the viewers. Pang Maokun’s Indulgence No. 4 seems to describe an image of which a skinny lady is drawing her eyebrows. The soft skin and the hard stone became a contrast and they created an intimate space that led to viewers’ reverie. Because this scene rarely happens in the real life, it dislocated our vision, time and space as painted on the same canvas. This illogical scene was spread into multiple meanings and reformed a new narrative to describe paintings. Obviously, a classic description of postmodernism dictates this spectacle-oriented expression, thus its inner logic is conflicting and contradictory based on our daily visual experience. There is no doubt that ‘gazing’ is a more powerful action than ‘observing’ since it reflects a highly sensitive insight and an in-depth concern to reality coming from the artist. The spectacle itself is no longer vital compared to the selection of the spectacle, however all spectacles rely on realism.

Gazing to his work is the key to inner self-examination, an introspection, but it is also an extrospection of exploration. Interestingly, Pang Maokun is focusing on the portrayal of a range women. From earlier work on Yi nationality’s women to later work on modern women, there is no doubt that women has taken a significant part of his work. Even there is an obvious alternation on different identity, this spiritual self-examination dominates his conception.-Yang Xiaoyan

Nowadays, information is booming our eyes with millions of images produced in a second. It has been a huge challenge for an artist to create a brand new experience to viewers. Whether they can experience the charm of art as the artist’s personal favor is also a great difficulty. The strong conflict and theatrical tension revealed on his work make us to rethink. It’s not hard to find that visual connection has been altered to beyond its physical explanation as the ideas and time are advancing.