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「 十二問 」

上相 對話 XXX

　　「十二問」是上相公眾號2017推出的交流專題， 第一季為9-11月，三個主題，共計12期。

　　每個月尋找四位與主題內容有直接關係的人，這些人都有一個共同點，就是在這個容易被影響，容易被人左右的年代，非常認真地在做一件事情......

　　“12 questions ”is the exchange special subject published by SHANGXIANG publi caccount in 2017 ,The first season was between September and November,which has three themes, a total of 12 phases.

　　4 people will be found in every month related with the subject content,these people have one thing in common, that is, in this easy to be affected, easy to be affected by the age, but still very serious in doing a thing ......

　　我們向他們每個人提出同樣的「十二問」，從個人認知到行業觀點、甚至到人生期許，我們請求每一位分享自己內心的答案，得出對一些事物多角度的思考......

　　為甚麼是「十二問」？「十二」在中國是一個特殊的數字，是週期，亦或是輪回，至少我們今天的對話，是對過往經歷的一種回眸......

　　We ask them the same 12 questions , which questions cover the aspects from knowledge to business point even for the life expectation , we request everyone to share the internal answers , concluded the multi-angle thinking of some things

　　Why we just ask 12 questions ?This is because that 12 is the special number in China , it can mean as period or metempsychosis , also a review of the past experiences......

　　也許這些分享在你的世界發生不了翻天覆地的變化，但能有片刻的思考已彌足珍貴！

　　Perhaps these sharing in your world can't be earth-shaking changes, but should also be precious if can have a moment of thinking !

第一期

First phase

董亞媛： 從未想過不繪畫還能做甚麼

What can I do without painting

　　上相：首先，請您聊一下您是因為甚麼契機立志從事藝術行業的?

　　董亞媛：從5歲開始學畫，從小學時因為想要畫一棵松樹開始愛上繪畫這件事，從未想過不繪畫還能做甚麼。

　　SHANGXIANG: First of all, could you please tell me what drives your to engage in the art ?

　　Dong Yayuan: I learned painting at the age of 5, and began to fall in love with it l because when want drawing a pine tree at primary school.I never think of what I can do if do not paint.

　　董亞媛／Dong Yayuan

　　聽瀑／Listen to the Waterfall

　　2015年

　　水印木刻 ／Watermark Printing

　　17cm×97cm

　　上相：您認為您對事物的眼光從小就和別人不一樣嗎?

　　董亞媛：並非覺得有不平凡，只是從小就比較自我，相對其他人更另類一點，屬於不聽話但成績還不錯的那類學生，喜歡有些奇怪的東西，自從上了美術院校，因為周圍都是很有意思的人，反而覺得自己比較傳統了。

　　SHANGXIANG:Do you think your view of things is different from that of others?

　　Dong Yayuan：Not extraordinary, Iused to be self-centered, a little more off beat from others, a disobedient student with good performance, who love something strange. However, since entered into the art college, I become more and more traditional in contrast because there are interesting people.

　　董亞媛／Dong Yayuan

　　月与人面山 ／Moon Dancing with Waterfall

　　2017年

　　水印木刻 ／Watermark Printing

　　19cm*106cm

　　上相：您在挑選作品素材的時候有甚麼基準嗎?在收集素材的階段，您一般都是甚麼樣的狀態?

　　董亞媛：有兩種方式，理性的有目的性和感性的隨意性，在針對某一問題和主題時，會圍繞這個問題去書中、互聯網、博物館、實地考察等途徑收集資料，分類、對比、歸納，提煉出一個點，逐漸形成一張網，豐滿作品。另一種則是非常感性的方式，平時拍到的圖片，看到的有意思的資料、影像等，某一個隨意的瞬間往往妙不可言，勾起潛意識，形成一系列作品的初衷，有時候作品在不斷的生長，由一個非常微小的點蔓延開來，這個過程既痛苦又美妙。

　　SHANGXIANG:What criteria do you obey when selecting material for a work? What's your condition in the material collection phase?

　　Dong Yayuan:There are two ways, namely rational purposefulness and perceptual arbitrariness. I collect data on a subject and theme through Internet, museum, field trips and other methods, and refine a key point after classification, comparison and induction, to gradually form a net of works. Another is a very sensible way. I usually take pictures, see the interesting information or images, which often evoke the subconscious at a casual moment and forma series of works in my mind.Works sometimes grow constantly from a very **all point and gradually spread. This process is painful and wonderful.

　　董亞媛／Dong Yayuan

　　山音／The Sounds of Mountains

　　2014年

　　水印木刻 ／Watermark Printing

　　64cm×103cm

上相：您怎麼看待當下的設計?大家都在關注傳統文化，在作品創作中您怎麼理解傳統與當代?

董亞媛：當下中國的設計面貌不錯，有很多優秀的設計，進步的速度很快，但也像中國的城市建設一樣，套用一種模板之後，一瞬間就高樓林立，有時趨於雷同化，模仿的影子也比較多，這不光是設計的問題，藝術界乃至整個文化系統也是如此，若能結合自身真實的需求和文化，形成自身文化的標準和體系，才是應該追求的方向，很多人都在為此做著巨大的努力。

　　我的研究方向是中國傳統版畫，所做的並非一味的復古，而是試圖激活傳統版畫中活的因子，使其當代化，精緻的文化脆弱而又經不起摧殘，有些淪為歷史淘汰的必然，死去了，我們想著怎麼把那股“氣”接上，並有新的發展。

　　SHANGXIANG:What do you think of current design? As everyone is paying attention to the traditional culture, how do you understand the tradition and the contemporary in the creation of the works?

　　Dong Yayuan:The design of China looks good because there are a lot of excellent designs in fast progress. However, it takes same template as China’s city construction, and skyscrapers will emerge in flash, tending to be identical in the shadow of imitation.This not only concerns design, so is the art world and the who lecultural system. forming the cultural standard and system in the combination of their own real needs and culture should be what artists pursue, for which a lot of people are making great efforts.

　　I research on Chinese traditional print, don't blindly retro, but try to activate the factor in traditional printmaking into contemporary culture, preventing its original delicateness and weakness from dying in the history. We are thinking about how to lengthen its life span in art and make it have a new development.

　　董亞媛／Dong Yayuan

　　黑龍潭／Black Dragon Pond

　　2015年

　　水印木刻 ／Watermark Printing

　　65cm×100cm

　　上相：您的作品形象跟您的潛意識有關係嗎?

　　董亞媛：有很大的關係，有很多是和童年的記憶有關。聽瀑賞石觀雲海，似懂非懂時，童年與少年時代身體的觸摸與攀爬把自然中的山與水變成了感知的本能，在與自然斷裂的當下生活中，喚起一種自覺，在現實觸及回憶的時候，產生了一種復現與時空的錯位，在冥想中進入一個有意境的自我建構的時空維度中，體驗永恆的真實。在作品《黑龍潭》中，我彷彿回到了與母親在夏日潭水中嬉水的童年時空，每個岩石縫隙的形體與結構中貯存的水都匯集在象徵母性的瀑布中，不斷的流動。但是這種不斷的流動又會使得造成瀑布的懸崖在水的衝刷下不斷地坍塌，最終導致瀑布的消失。瀑布作為一種暫時性存在的河流形態，卻又創造了永恆的時空感受。

　　SHANGXIANG:Does your works image have anything to do with your subconscious mind?

　　Dong Yayuan：Yes,it has a great relationship, especially with my childhood memories. Climbing the mountain and enjoying beautiful landscapes in nature have become instincts in childhood and boyhood, which have an impact on my real life, making me have a feeling of recurrence and dislocation of time and space. I feel like going into self-constructed space-time dimension in meditation to experience the eternaltruth. In the works"Black Dragon Pond“, I go back to the childhood time when I played with mother in the pond water in summer. The water stored in each rock is collected into the waterfall in symbol of motherhood, continuously flowing. But this constant flow will make the waterfall cliff collapse in water erosion, resulting in the disappearance of waterfall. As a temporary existence of river morphology, waterfall creates a feeling of eternaltime.

　　董亞媛／Dong Yayuan

　　冥／Profound

　　2015年

　　水印木刻 ／Watermark Printing

　　100cm×100cm

　　上相：有作品就會需要空間，設計師/藝術家必須對空間結構有非常清晰的認知，然後再根據空間來進行作品的放置。 那麼，您怎麼理解每件作品與空間之間的關係?

　　董亞媛：空間與作品的關係非常重要，我的作品是傾向於感知性的，它不僅僅是一個圖像，或者是圖像內部營造的充滿隱喻的空間，對於一幅作品的全部感知是一個完整的整體的感受，圖像本身要和承載她的媒介有關，與天氣、時節有關，與周圍的人與生活有關，與氣有關，就好像我們看一尊佛像，給你最震撼的極致的感受是在原本的環境里，是當它與寺院或者石窟在一起的時候，就好像我在日本京都三十三間堂看到的1000尊觀音，非常震撼，極有感染力，而不是一堆搬到像敬老院一樣的博物館裡與不同年代的其他觀音在一起，他們沒有家。同時，圖像又是流動的，它可以從畫紙上流動到器物上，或者是流動到建築中，整體營造出一種詩意的空間。

　　SHANGXIANG:As works need space, the designer or artist must have a very clear understanding of the spatial structure and then place the work according to the space. Then, how do you understand the relationship between each piece and the space?

　　Dong Yayuan:The relationship between space and work is very important. My work is prone tosensation, which is noless than an imageor metaphorical space in images. The perception of a piece is a complete sense of the whole image, and to carry her media,such as season, time and the surrounding people around.When seeing a statue of Buddha, the most shocking extremefeeling is caused in the original environment with temple and grottoes or together.For example, I was impressed with 1000 statues of Guanyin at thirty-three hallof Kyoto,different from those at museum.At the same time, the image is flowing fromthepaper to the vessels, or into the building, building a kind of poeticspace.

　　董亞媛／Dong Yayuan

　　月初弦I／First Quarter Moon I

　　2015年

　　水印木刻 ／Watermark Printing

　　71cm×43cm

　　上相：現在原創的品牌,優秀的年輕設計師也很多，每種設計都有自己的“個性”,您怎麼去定義設計“個性”與“商業發展”的問題?

　　董亞媛：純藝術家往往很窮，也很少有商業大發展的可能，當然大多藝術家也有功利的世俗的訴求，商業利益、名聲、自我價值的實現等等。有時這些慾望是一種動力、有時是限制，版畫實際上是充滿限定性的藝術，每一個技法都充滿著不可能，這樣的限制反而激發出創造力，形成強有力的風格和獨特的表達，這是一對相互平衡的關係，設計可能會更需要平衡好商業需求與個性表達的關係，如何配合的巧妙而智慧就因人而異了。

　　SHANGXIANG: Now there are a large number of original brands and excellent young designers, and each design has its own "personality", how do you define the "personality" and "business development"?

　　Dong Yayuan:Pure artists are often very poor, rarely linked to commercial development. Of course, most of the artists also have demands for utilitarian, commercial interests, reputation or self realization. Sometimes these desires are both power and limitations. Print is actually full of constraints, whose skills are filled with impossibilities, but this restriction stimulates creativity instead, forming a strong and unique style of expression. This is a mutually balanced relationship, which is necessary for the relationship between business needs and expression of personality, but how to perform well depends on their cleverness and wisdom.

　　董亞媛／Dong Yayuan

　　魑扇／The Fan of Chi

　　2014年

　　水印木刻 ／Watermark Printing

　　120cm×60cm

　　董亞媛／Dong Yayuan

　　魅扇／The Fan of Mei

　　2013年

　　水印木刻 ／Watermark Printing

　　120cm×60cm

上相：如果有機會，除了祖國之外，您最希望在哪個城市舉辦一場個展?為甚麼是那個城市?

　　董亞媛：日本的京都，在嘈雜的環境中突然進入到一個寺院，走到寺院一隅的小小茶室中，獲得了難得的平靜，進入這樣的一種安靜雅致的空間內部的時候，人會有一種脫離感，與現實的時空關係有一些錯位和跳脫，同時獲得了一種自由，這一點跟我的扇外山系列作品想要表達的那個有意境的精神世界是相通的，若作品有幸在這樣的地方展示，會更有契合感，獲得事半功倍的效果。

　　SHANGXIANG:If there is a chance, which city do you hope to hold a solo exhibition inaddition to the motherland? Why is that city?

　　Dong Yayuan:I may choose Kyoto, Japan, where I can get rare peace from noisy environment in a **all teahouse of temple. People will have a sense of detachment from reality in such a quiet and elegant space, feeling freedom, which accords with what I want to express in the Fan Mountain. I will feel honored to display works in such a place.

　　董亞媛／Dong Yayuan

　　尋山／Looking for Mountains

　　2013年

　　水印木刻 ／Watermark Printing

　　77cm×100cm

　　上相：談一談您對未來的期許，對工作，對生活。

　　董亞媛：平淡、鬆弛、勇敢即可。

　　SHANGXIANG:Could you please talk about your expectations for the future, work and life?

　　Dong Yayuan:Insipid, relaxed and brave lifestyle couldn’t be better.

　　上相：怎麼認識的上相?用一個詞形容您眼裡的上相。

　　董亞媛：通過朋友的推薦認識的上相。深沈極簡，具有東方魅力。

　　SHANGXIANG:How do you know SHANGXIANG? Describe it in one word.

　　Dong Yayuan: I knew it through the recommendation of friends. It is simple, of oriental charm.

　　董亞媛／Dong Yayuan

　　音的实验-流水／Experimentof sound- Running Water

　　2016

　　絹本水墨／Chinese Silk ink

　　33cm＊98cm

　　上相：作為一個正在往“品牌”路上走的品牌，您覺得上相與眾不同的地方是甚麼?

　　董亞媛：價值觀、設計感、材料美感與產品的結合等，都是上相有特色的地方，現在大家都開始追求雅致與品質，產品與空間的搭配是表面的追求，更為宏大的問題是推廣雅致的文化和生活方式。作品的種類數量並不必追求過多，但求有創意、精緻、經典，逐漸形成完整的系列。

　　SHANGXIANG: As a brand going on the "brand" road, where do you think is its uniqueness?

　　Dong Yayuan:Its values, aesthetic sense of material and design make SHANGXIANG at unique place. Now we are beginning to pursue elegance and quality products. Collocation and space are superficial, while publicity of the elegant cultureand way of life is worth of much more attentions. Works do not have to be too much, but creative, exquisite, classic, and gradually forma complete series.

　　董亞媛／Dong Yayuan

　　干涸的流水／Running Dry

　　2016

　　天然大漆 / Natural lacquer

　　33cm＊98cm

　　上相：如果有適合的時機合作上相，您覺得會是以甚麼樣的方式?

　　董亞媛：我本身比較喜歡手造的器物，尤其是茶道具和傢具，若有幸與上相合作一件作品，可以參與到器物的設計或者空間設計中。

　　SHANGXIANG: If you have the opportunity to cooperate with SHANGXIANG, what would you like to do ?

　　Dong Yayuan: I prefer the old implements, especially the teaprops and the old furniture. If lucky enough to cooperate with Photograph Design, I want to participate in the design of the utensil or space.

　　董亞媛

　　1987年 出生於山東，2014年畢業於中央美術學院版畫系，獲碩士學位。

　　1987年 出生於山東，2014年畢業於中央美術學院版畫系，獲碩士學位。

　　近期展覽包括

　　「 扇外山 」——董亞媛個展，水墨軒，北京，中國（2016）；

　　本初·當代的語彙，芳草地畫廊，北京，中國（2016）；

　　藝·無界—— 版畫·印記，四九畫廊，北京，中國（2016）；

　　第三屆中國青年版畫邀請展，青島市美術館，青島，中國（2015）；

　　「 守望刀版」——中國八大美術學院的版畫專業展覽，中國美術學院美術館，杭州，中國（2015）；

　　青年藝術100，北京全國農業展覽館，北京，中國（2015）；

　　第十二屆全國美術作品展覽，廣東美術館，廣州，中國（2014）。

　　曾獲獎勵

　　曾獲中央美術學院2014屆碩士研究生畢業優秀創作獎，中央美術學院“衣戀”優秀畢業創作獎學金，“游與藝”2013凱撒藝術新星——藝術院校大學生年度提名展銅獎。

　　現工作生活於北京

　　Dong Yayuan

　　Born in 1987, Shandong, China. Graduated from department of Print-making, China Central Academy Of Fine Arts in 2014, Master Degree.

　　Recent Exhibition

　　Floating Upon the Orient, Dong Yayuan Solo Exhibition, Shui Mo Xuan, Beijing, China (2016)

　　The Theme Exhibition Of PVG Art Festival 2016 - Inheritances - The language in Contemporary Art, PARKVIEW GREENART, Beijing, China (2016)

　　Print and Mark, Gallery 49, Beijing, China (2016)

　　The Third Chinese Youth Printmaking Exhibition, Qingdao Art Museum, Qingdao, China (2015)

　　Visions of Printmaking — Exhibition of Printmaking Departments of 8 Academies of Fine Arts in China, Museum of Comtemporary Art of CAA, Hangzhou, China (2015)

　　Art Nova 100 exhibition, Beijing National Agricultural Exhibition Center, Beijing, China (2015)

　　The 12th national arts exhibition, Guangdong Museum of Art, Guangzhou, China (2014)

　　Award

　　The 2014 China Central Academy of Fine Arts graduate outstanding creative Award (2014)

　　China Central Academy of Fine Arts "Eland" outstanding graduate scholarship (2014)

　　CAISSA Rising Artists-Exhibition for Nominated Students from Art Academy Certificate of Award, Bronze Award (2013)

董亞媛2016年「扇外山」個展海報

個展現場

　　點擊文章底部【原文閱讀】進入董亚媛个展“扇外山”｜水墨轩·现场，了解關於本期藝術家更多資訊，請根據文章下方聯繫方式咨詢上相工作人員！

　　Click at the bottom of the article to read the original 】 【 Dong Yayuan solo exhibition "mountain" outside the fan | ink xuan live, know more information about this artist, according to the article below, please contact advisory photogenic staff.

恰好你來

恰好我在

It happens that you come

It happens that I am here.

　　Our contact methods are:

　　I believe that you also love andrespect the original as us.

　　▼ 點擊文章底部“原文閱讀”進入董亞媛個展現場推送。

　　▼Click on the article at the bottom ofthe "original reading" into the Personal exhibition site.