UCCA狂想曲 - 连载中！
《国风新语•颜新元当代艺术“新民间”试验展》
展览时间：2009年2月22日——3月12日
展览开幕：2月22日下午2时22分（北航艺术馆）
展览地点：1、北京航空航天大学北航艺术馆
2、北京酒厂国际艺术园庄子湾画廊
主办单位：
北航艺术馆
北京航空航天大学新媒体艺术与设计学院
江西美术出版社
湖南美术出版社
前言
这年月，是人都“小康”了，而我仍是“贫下中农”。都因为积攒这些民间老祖宗的“国宝”，花费我许多钱财，陪进去好多光阴，惊散了从小抱紧的作个大画家的美梦。
收藏本是富豪们作的事情，我来掺乎纯粹是无牛让马匹来担当耕田的责任。其实也没人让我非作不行，是眼见得老百姓的艺术少有人识好，很害怕我们的儿孙将来要到外国的博物馆去找寻大中华民间艺术的见证。可是我一个穷光蛋毕竟力不从心，只进不出的收藏法则真要人的小命。睡梦中时而惊醒，恨自己没能力善待国之珍宝，没能力办个馆藏，让宝贝儿在我手上倍受凄冷；恨世界风全然不顾及民族的文化身份，将人世的热情集中到金钱、物质与时尚，把本应由全社会来挑的承继民俗艺术的担子交给那些同样渴求富裕的、明眼的“私人”。
忘不了各环节上的朋友，以他们的慧眼和无比爱国的心情协助我打探珍宝，亏欠了他们好多低价让我的人情。搭帮萧沛苍、蔡皋、李路明、蒋祖煊诸君，让我在湖南美术出版社十多年与民间和当代美术出版厮混；又多亏龙全、怀进鹏等北航院校领导提携，给了我机会到“北航”供职，跟年青学子一起去找回血脉中失去的文化“基因”；今北航艺术馆免费为我展览，蔡劲松先生和北航文化部都让我无比钦敬。多谢江西和湖南两个美术出版社鼎力协办，还多谢了搭把手扶持我上路的各色人等。
很感谢众多中国当代艺术“新民间”大师的画作作为展版的背景给展览加油助兴。很高兴在展厅多腾点地方让大家多看些民间的佳品。把无比前卫的“当代”与民俗艺术的传统在著名学院中并置，权且也算它是“装置”与“行为”实验的“创新”。
至于我那几笔学民间的习作，虽然不无粗陋，却也道出了我融民间于自我此阶段真实的声音。举我的左手、右手向党和人民保证，我将一如既往拜倒于中国“新民间”的罗裙。
颜新元
2009年1月22日于北京庄子湾书屋
自序
实验给我一个体悟，在中国，只有激活民俗艺术原生态，才能激活全社会的文化“内需”，心灵的充实会使人对金钱、物质和能源的奢求变得有度，艺术家的灵感、性情与才智的源泉会因此永不干枯，民俗是“文人”和“宫廷”永远的沃土。
35年的从艺生涯，我作了一个梦，——迎着世界风，把被吹落眼前的 “老民间”宝贝儿捡拾起来，等它发酵、释热、来世转生。若能与之通灵附体，便不枉习了一番翰墨丹青。
我对民族“民间”的痴情是命运的安排，命运让我目睹人世的稀奇古怪：一个蕴藏着最多珍宝的美术与设计资源大国，审美的眼睛和主张好像都要跟外国人借贷，最抢手的教材是欧美译来，最流行的时尚是尽力模仿洋人的那种外表气派。许多的艺人忙活着整他些事情出来，脑壳里头总有个挥之不去的有钱的遥远的“老外”。一拨又一拨的后人，等不到民俗国宝未来的“惊世出土”，只能对现实的流行顶礼膜拜。一个被机器文明弄得本也“一体化”单调泛味的地球，丢失了好多有源、有品、有节、有趣的血脉……
话说回来，多元文化的交合躲它不开，多元交合原本也有益无害，比如毕加索、马蒂斯之流拿“民间”和“原始”的钥匙，把世界当代艺术的大门打开，人类对机器文明的烦躁因此得到缓解。人家学我，可没把他自己的母体抛弃，却为何到我，同胞的言谈举止里有那么多刻意的崇洋媚外？
生产文化、艺术和灵性的民俗之皮失去了原先依附的躯体和宠爱，支撑文化体貌的类型种种，像缺少了养分的毛发，脱落、散失、被风掩埋……
在无限膨胀的、露骨的物欲渴求的欢呼中，我们沉醉于为种种的“时尚”显摆，而历史很可能悄悄把我们载向一个没有文化身份的时代！
是的，人们尚且能从地图上认清我们的祖先拼死捍卫的中国地域版图，而经由我辈移交给后人的当下精神与文化遗产，是否仍见得出中华的诸多气概？
有时是浪涛拍我，有时我随波逐浪，形单影只、眼高手低、自作多情的我，总是落在别人后旁。
回想起每一次遇贵人帮忙，每一次采风、求教和收藏幸得与善缘结伴，还有在编辑室、学院内和书画间遭遇的三三两两，外加今日里师友亲朋远道前来指教捧场，费许多车钱，花不少时光，本人我感恩的热流油然涌上。
在这厢献上颜新元水墨、书法，丑媳妇也让她见见婆娘；从17000余件古代民俗文物收藏中随机抽出的展品，头一次凑合起来与大家分享分享。
本展览有两展区同时开放。一个是北航艺术馆，一个是位于北京望京酒厂艺术园区的“庄子湾”画廊。“庄子湾”画廊一套元、明间巨大人物肖像堪称传统色彩画中既明丽又谐和的神品，画的是汉、唐、宋、元的文武大将。如何走，可打电话010－52023912向青年画人弯弯小姐询访。
蔡劲松部长正式通知我，展览定在二月二十二日开幕。我心一跳——三十年前的这个日子，决定谁已经成为我的老婆！缘分呀，因此我选择展期答谢来宾的办法也许不错，邀约夫人每天下午二点二十二分来北航展厅唱首当年的山里情歌。歌名有：单身汉冒婆娘；家花冒得野花香；太阳姐落土夜落曦；这边的山坡望见那边的山坡；姐屋门前一树春；当初何不学裁缝；娇莲姐生得白如岩；娇莲姐走路把白扇子遮；隔河隔港港隔隔港湾；六月粽子蜜糖多……如若您也来上一曲撒撒野，春月里的老北京一定会乐乐呵呵。
颜新元
2009年1月22日于北京庄子湾书屋
颜新元艺术、生活简历与贵人提携谱
颜新元，湖南省桃江县人，1952年生 1967 15岁被“文革”打成“反革命”，开除学籍，务农“劳改”做木匠。得父母，师父教诲 1974 参加“工作”。任湖南省桃江县荷塘乡文化站文化辅导员。得颜畅生、曾茂才先生最先荐举 1974 开始民俗艺术田野采风和收藏 1976 兼任乡文化站电影放映员 1978 调桃江县剧团任编剧。得傅悠新、阙全芳先生荐举 1980 与村民刘雪纯结婚并生子“颜开” 1980 调桃江县电影公司任美工 1982 调桃江县文化馆工作。得张哲卿、符汇河先生荐举。 1982 获准拿一半工资常年下乡从事民俗采风 1983 开始在一些报刊公开发表散文、小说、诗歌、歌曲等作品 1984 生女“弯弯” 1985 散文《蟋蟀的歌》、《照泥鳅》发表于《湖南日报》、《散文世界》杂志 1985 论文《中国传统文化衰落的必然性》发表于《美术论文集》 1985 开始美术创作。系列版画参加“立交桥版画展”。得萧洁然、李路明、黄铁山、詹鸿昌先生荐举 1986 版画《扎泥鳅》入选第九届全国版画展览 1986 在《美术》杂志发表版画《打米厂》 1986 在《画家》、《文艺生活》、《成才》、《年轻人》等杂志发表画作 1988 国家文化部授予“民间美术工作开拓着”称号 1989 就读于中央美术学院。得孟国治、寻耀华、杨先让、靳之林、吕胜中先生荐举 1990 论文《剪纸与民歌的抽象美通感》发表于《民间文学论坛》（中国文联主办） 1991 论文《长沙马王堆汉墓T形帛画主题思想辩正》发表于中国民间美术理论研讨会 1992 论文《剪纸与民歌的抽象美通感》发表于《中国民间剪纸艺术研究》文集（北京工艺出版社） 1992 论文《长沙马王堆汉墓T形帛画主题思想辩正》参加“国际马王堆学术研讨会”，得李学勤、高至
喜先生荐举 1993 论文《长沙马王堆汉墓T形帛画主题思想辩正》发表于《中国民艺学研究・第二届民间美术研讨会文集》（北京工艺美术出版社） 1993 举家迁居省城长沙。在湖南省博物馆的马王堆汉墓陈列馆内长期设立“颜新元祭祀文物藏品陈列馆”。得鲁一妹、陈松长、闻小宁、熊传薪先生帮助 1994 系列民艺藏品获“中国民间艺术一绝”大展（中国美术馆）金奖 1994 论文《长沙马王堆汉墓T形帛画主题思想辩正》参加首届楚文艺研讨会并文集出版 1995 作为编委成员、主要撰稿人之一的《湖南民间美术全集》获第二届国家图书奖提名奖 1996 调湖南美术出版社工作。得蔡皋、萧沛苍先生荐举 1996 在北京当代美术馆举办“颜新元藏湖南水陆道场画展”（由中国佛教文化研究所、古汉集团主办）得李路明、田青、吴立民、李家振、田东辉、申甲球、张仃、钱绍武先生荐举 1996 在《佛教文化》杂志发表系列图文 1986 中央电视台“书坛画苑”栏目专题报道 1996 与法国远东学院合作，开始民俗艺术分类鉴藏与研究。得华澜［法国］、范华［法国］、雷鸣等先生帮助 1996 专著《民间鬼神画》出版（湖南美术出版社） 1997 论文《马蒂斯怎样创造杰作》发表于《文化时报》 1997 散文《蟋蟀之歌》收入《画家散文》一书 1998 专著《中国现代陶艺家》一书出版（湖南美术出版社） 1998 《真情里程碑》发表于《读书》杂志和《十九世纪中国风情画》一书 1998 论文《真情里程碑》发表于《中国文化报》 1998 策划、供稿、撰文、主编的《名碑名帖软硬笔对照系列丛书》（8册）出版 1998 报告文学《黑鸟逢春》在《新创作》杂志发表 1998 编著和责编的《十九世纪中国风情画》丛书出版 1998 为《从o开始》一书作序：《高速入口・通往成功》 1999 编写《中国民间美术丛书・绝活儿》出版 1999 专著《名师点化・名师访谈》出版。得靳尚宜、杜大恺、王华祥等先生协助 1999 《十九世纪中国风情画》入选第五届全国书籍装帧艺术展 2000 论文《湖南功德画》发表于《装饰》杂志。得杭间、孙健君先生荐举 2000 论文《从生命的“原始”到艺术的“民间”》发表于《现代艺术大师学民间》一书（序言） 2000 报告文学《黑鸟逢春》在《出版广角》发表，并被收入《同步的足音》丛书（广西美术出版社） 2000 论文《南中国的一面旗帜》发表于《书屋》杂志 2001 与李路明等合作的大型油画组画《升》、《腾》，被中国银行收藏 2002 组稿、责编《世界当代艺术状态丛书》出版发行 2002 论文《抢救民间文化遗产，保护湖湘人文生态》发表于《湖湘文化论坛》一书（湖南大学出版社）。得陈飞虎先生荐举 2002 策划、组稿、责编，与谭平合作主编的《中央美术学院设计学院学生优秀作品集》丛书出版 2003 《鹃花》杂志劈专栏——《庄子湾心情澡堂》发表连载文章（次年再次连载） 2003 论文及图片《巫文化收藏了我》发表于《生活经典》杂志 2003 美术评论《从长沙窑进入》发表于《新居室》杂志 2003 论文《在传统与现代的边边》发表于《生活经典》杂志 2003 散文《花心少年时》发表于《生活经典》杂志 2003 为湖南卫视娱乐频道作长期民俗电视节目嘉宾，其节目同时以图文形式发表于杂志 2003 为《易元和画集》作序 2003 为《肖健版画作品》一书作序 2003 论文《湖南木菩萨》发表于《收藏界》杂志 2003 受邀为重点图书《张庚文集》（湖南文艺出版社）作装帧设计，该书获国家图书奖 2004 所编《梦飞》、《世界当代艺术状态》丛书参加第六届全国书装艺术展，并获优秀作品奖 2004 责编的《历史・空间・媒介》（黄建成著）获全国第六届书籍装帧艺术展整体设计优秀作品奖 2004 美术作品《雪夜归人早》参加中国出版界美术作品展，被收入《中国美术出版界美术家作品集》 2005 论文《在高等艺术学院，艺术研究院设立民俗艺术研究与设计专业方向的设想》在《美术研究》发表。得殷双喜先生荐举 2005 论文《在中央美术学院设立“民俗文化与设计应用”课目的建议》在《美术研究》发表 2005 开始“嵌人名顺口诗文”造句并书法创作 2005 为《艺术家风格丛书・盛景华2/2》作序 2005 为《艺术家风格丛书・许金芝》撰文 2005 为《符竹书画集》作序 2006 论文《在高等艺术学院艺术研究院设立民俗艺术研究与设计专业方向的设想》转载于《美术》杂志 2006 在中央美术学院设计学院给研究生授课。得潘公凯、谭平、王敏、许平先生荐举 2006 受《清华美术》主编之邀为《清华美术》特约组稿。得杜大恺先生荐举 2007 儿子、女儿分别获中央美术学院硕士、学士学位并从此走向社会独立生活。得谭平、王敏、戴士和、孙为民、孙景波、邹跃进、宋协伟、吕品晶、颜惠卿、刘向涛、刘静姝等人帮助和赞助 2007 为莫立唐画展作序《莫老，莫——老！》。发表于展览和《湖南日报》 2007 举办夫人刘雪纯个人画展。得方力均、蒋祖煊、郭学仁、阮国新、霍红、李立民、杨荣波等人协助 2007 艺术评论《我的老婆刘雪纯》 发表于《画刊》 杂志。得靳卫红先生荐举 2007 被聘为中国艺术研究院博士研究生导师。得王文章、张晓凌、孙健君、田青、吕品田先生荐举 2007 编辑的《民间美术观念》（吕品田著）出版 2007 本年度十月十日调北京航空航天大学新媒体艺术学院任教。得龙全、怀进鹏、王文章、田青、杜大恺、戴士和、王敏、陈飞虎等人荐举 2008 在《美术观察》发表艺术评论。得陆军先生帮助 2008 编辑的《民间美术观念》（吕品田著）获“中华优秀出版物”奖 2008 专著《中国当代“新民间”艺术》出版 （江西美术出版社）。得傅廷煦、陈政、朱金宇等人荐举 2008 专著《湖湘文库・湖湘民间绘画》（国家“十一五”出版工程项目）出版（湖南美术出版社）。得张天明、张光华、郭天民、汪华、李小山、邹建平等人荐举 2008 创办北京“庄子湾“画廊（北京酒厂国际艺术园）。得张方白、梁长胜先生帮助 2009 编辑的《民间美术观念》（吕品田著）获全国原创图书“三个一百” 奖 2009 专著《湖湘文库・湖湘民间木雕》（国家“十一五”出版工程项目）出版（湖南美术出版社；与龙全先生合作） 2009 在北航艺术馆和北京酒厂国际艺术园“庄子湾”画廊主办“国风新语・颜新元当代艺术新民间实验展”。得蔡劲松、龙全、莫骄等人荐举
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Traditional Chinese Style and Modern Interpretation
Yan Xinyuan Contemporary Art “New Folk Art” Experimental Exhibition
Date: Feb.22-Mar.12 2009
Opening: Feb.22 2:22pm (Beihang Gallery)
Address: 1. Beihang University Beihang Gallery
2. Zhuang-Zi-Wan Gallery, Beihuqu Anwaibeiyuan Chaoyang District Beijing
Organizers:
Beihang Gallery | Beihang University School of Art&Design | Jiangxi Fine Arts Publishing House | Hunan Fine Arts Publishing House
Preface
Experiments have made me comprehend that, in China, the cultural “domestic demand” of the whole society can be activated only when the aboriginality of fork art is activated. Enrichment of the soul can moderate the extravagance of man towards money, materials and energy, and therefore the source of inspiration, disposition, ability and wisdom of the artists will never dry up, for folk-custom is forever the fertile soil of the “literati” and of the “royal court”.
In the 35 years of my art career, I had only one dream, - against the world wind, I picked up the “old folk” treasure that was blown down under my very nose, and waited for it to ferment, to release heat, and to reincarnate in the next life. I wouldn’t have practiced brush and ink in vain for a long time if only I could communicate and be possessed by its spirit.
My infatuation to our national “folk-custom” is arranged by fate, and it is fate that allows me to discern the weirdness and oddity of the land of the living:
It seems that a country stored with the most plentiful treasuries of art and design resources like China has to borrow from foreigners all of its aesthetic visions and advocacies, the teaching materials of the most shopping-rush goods are translated from European and American countries, and the most popular fashion is to imitate the kind of appearance and style of westerners as much as possible. Many artists are busying themselves in packing up something novel and the image in their skull of a certain wealthy “Laowai (foreigner) coming from faraway can never be brushed away. As posterities in succession have no chance to expect the future “excavation” of the folk-customs and national treasures, they could only fall down on their knees to the fashions and vogues in reality. The earth that was degenerated to also an “integrated” monotony and insipidity by the mighty machine civilizations has lost much blood that is resourceful, tasteful, moderate and interesting…
But then again, multi-cultural exchange and fusion cannot avoid it. Essentially, multi-cultural exchange and fusion has also no harm but benefits. For instance, artists like Picasso and Matisse et al, had opened the gate of modern art of the world with keys of “folk-custom” and “primitivity”, and the fidgetiness of mankind towards machine civilization has therefore been released. They learn from us, and yet do not abandon their own matrix, but when it comes to me, why there are so much painstaking worship and blind faith in foreign things betrayed in the speeches and deportments of my countrymen?
The skin of folk-customs that produces culture, arts and spiritualism has lost its originally attached corporal and favor, while the various types that support the cultural appearance look like hair that runs short of nutrient as they fall off, dissipate, and buried by wind……
In the jubilance of endless inflation and naked desire for materials, we are intoxicated by it as to show off for the various kinds of “fashions”, and yet, it is very likely that history is carrying us silently towards an era without a cultural identity!
Yes, people can even recognize from the map the territorial domain of China that our ancestors have defended desperately, but can the current spiritual and cultural heritage handed over to the posterities by our generation still reveal the a good many lofty spirits and qualities of the Chinese race?
At times, it is the great waves that beat me; and at times, it is me who drifts along with the winds and waves. I, in solitariness, with grandiose aims but puny abilities, and imagining myself as the favorite of my beloved, am always left behind the others.
My each meeting with the nobles who help me and my lucky and good companionship each time for collection of folk customs, cultural heritages, and requests for instructions, and also my two or three times of encounters with them in the editorial rooms, academic institutions and between paintings and calligraphies, coupled with the advices and supports from teachers, friends, and relatives from far away today, spending a lot of times and money on traveling, every time when I recall these, I just couldn’t stop my tears of heartfelt thanks trickling down from my very face.
In this art studio, I present to you of water paintings and calligraphies by Yan Xinyuan, for the ugly daughter-in-law will have to see her parents-in-law in the end. This is also the first time that of art items are gathered together for sharing with the public as they are drawn out from more than 17,000 pieces of collections of ancient folk customs and cultural relics.
There will be two exhibition areas for spontaneous opening in the present exhibition. One is the Beihang Art Gallery, and the other is the “Zhuangzi Bay (Zhuangziwan)” Gallery, located in the art garden area of the Wangjing Wine Factory, Beijing. A set of huge personal portrait of the Yuan and Ming dynasties in the “Zhuangzi Bay” Gallery, with its brightness and touch of harmony, can certainly be called a superb art work in the traditional colored paintings. The sets of portrait depict the senior civil and military generals of the Han, Tang, Song, and Yuan dynasties. For inquiry about the direction, please call the young female artist with the name Wan Wan at 010 – 52023912.
In a formal notice by Director Cai Jingsong, I was told that the exhibition is scheduled to be open on 22nd of February. With a thrill of heartbeat, I remembered that, on this very day thirty years ago, it had already been decided who would be my wife! It is lot or luck. Therefore, my decision of the date of exhibition to express my appreciation to the guests may not be bad, for I can invite my signora to come to the Beihang Exhibition Hall at 2:22 p.m. each day to sing a love song from the mountain areas of those years. It says: danshenhan mao poniang; jiahua maode yehuaxiang; taiyangjie luotu yeluoxi; zhebiande shanpo wangjian nabiande shanpo; jiewu menqian yishuchun; dangchu hebu xuecaifeng; jiaolianjie shengde bairuyan; jiaolianjie zoulu ba baishanzi zhe; gehe gegang gangge gegangwan; liuyue zongzi mitangduo (general meaning: a bachelor is greedy for a young woman for wife; a home flower is more fragrant than a wild one; the sun sister sets and darkness casts away the sunlight; the mountain slope of this side echoes the mountain slope of the other; in front of the door of sister’s (wife) house, there is a tree that foretells the spring; why don’t learn to be a dressmaker in the first place; sister Jiaolian’s skin is as white as cliff; sister Jiaolian shades her white fan when walking; separated by rivers, separated by ports, and ports are separated from each other and from harbors; the glutinous rice dumpling of June is saturated with sweet and honey……
If you also want to sing a song to express your wild feelings, the old Beijingers in the Spring month will certainly be very happy to listen.
Yan Xinyuan
Zhuangziwan Gallery, Beijing
22 January, 2009
Tel：13911708708
yanxinyuan@buaa.edu.cn
deyueliang@yahoo.com.cn
http://zhuangziwan.blog.artron.net
http://yanxinyuan.ycool.com
展览时间：2009年2月22日——3月12日
展览开幕：2月22日下午2时22分（北航艺术馆）
展览地点：1、北京航空航天大学北航艺术馆
2、北京酒厂国际艺术园庄子湾画廊
主办单位：
北航艺术馆
北京航空航天大学新媒体艺术与设计学院
江西美术出版社
湖南美术出版社
前言
这年月，是人都“小康”了，而我仍是“贫下中农”。都因为积攒这些民间老祖宗的“国宝”，花费我许多钱财，陪进去好多光阴，惊散了从小抱紧的作个大画家的美梦。
收藏本是富豪们作的事情，我来掺乎纯粹是无牛让马匹来担当耕田的责任。其实也没人让我非作不行，是眼见得老百姓的艺术少有人识好，很害怕我们的儿孙将来要到外国的博物馆去找寻大中华民间艺术的见证。可是我一个穷光蛋毕竟力不从心，只进不出的收藏法则真要人的小命。睡梦中时而惊醒，恨自己没能力善待国之珍宝，没能力办个馆藏，让宝贝儿在我手上倍受凄冷；恨世界风全然不顾及民族的文化身份，将人世的热情集中到金钱、物质与时尚，把本应由全社会来挑的承继民俗艺术的担子交给那些同样渴求富裕的、明眼的“私人”。
忘不了各环节上的朋友，以他们的慧眼和无比爱国的心情协助我打探珍宝，亏欠了他们好多低价让我的人情。搭帮萧沛苍、蔡皋、李路明、蒋祖煊诸君，让我在湖南美术出版社十多年与民间和当代美术出版厮混；又多亏龙全、怀进鹏等北航院校领导提携，给了我机会到“北航”供职，跟年青学子一起去找回血脉中失去的文化“基因”；今北航艺术馆免费为我展览，蔡劲松先生和北航文化部都让我无比钦敬。多谢江西和湖南两个美术出版社鼎力协办，还多谢了搭把手扶持我上路的各色人等。
很感谢众多中国当代艺术“新民间”大师的画作作为展版的背景给展览加油助兴。很高兴在展厅多腾点地方让大家多看些民间的佳品。把无比前卫的“当代”与民俗艺术的传统在著名学院中并置，权且也算它是“装置”与“行为”实验的“创新”。
至于我那几笔学民间的习作，虽然不无粗陋，却也道出了我融民间于自我此阶段真实的声音。举我的左手、右手向党和人民保证，我将一如既往拜倒于中国“新民间”的罗裙。
颜新元
2009年1月22日于北京庄子湾书屋
自序
实验给我一个体悟，在中国，只有激活民俗艺术原生态，才能激活全社会的文化“内需”，心灵的充实会使人对金钱、物质和能源的奢求变得有度，艺术家的灵感、性情与才智的源泉会因此永不干枯，民俗是“文人”和“宫廷”永远的沃土。
35年的从艺生涯，我作了一个梦，——迎着世界风，把被吹落眼前的 “老民间”宝贝儿捡拾起来，等它发酵、释热、来世转生。若能与之通灵附体，便不枉习了一番翰墨丹青。
我对民族“民间”的痴情是命运的安排，命运让我目睹人世的稀奇古怪：一个蕴藏着最多珍宝的美术与设计资源大国，审美的眼睛和主张好像都要跟外国人借贷，最抢手的教材是欧美译来，最流行的时尚是尽力模仿洋人的那种外表气派。许多的艺人忙活着整他些事情出来，脑壳里头总有个挥之不去的有钱的遥远的“老外”。一拨又一拨的后人，等不到民俗国宝未来的“惊世出土”，只能对现实的流行顶礼膜拜。一个被机器文明弄得本也“一体化”单调泛味的地球，丢失了好多有源、有品、有节、有趣的血脉……
话说回来，多元文化的交合躲它不开，多元交合原本也有益无害，比如毕加索、马蒂斯之流拿“民间”和“原始”的钥匙，把世界当代艺术的大门打开，人类对机器文明的烦躁因此得到缓解。人家学我，可没把他自己的母体抛弃，却为何到我，同胞的言谈举止里有那么多刻意的崇洋媚外？
生产文化、艺术和灵性的民俗之皮失去了原先依附的躯体和宠爱，支撑文化体貌的类型种种，像缺少了养分的毛发，脱落、散失、被风掩埋……
在无限膨胀的、露骨的物欲渴求的欢呼中，我们沉醉于为种种的“时尚”显摆，而历史很可能悄悄把我们载向一个没有文化身份的时代！
是的，人们尚且能从地图上认清我们的祖先拼死捍卫的中国地域版图，而经由我辈移交给后人的当下精神与文化遗产，是否仍见得出中华的诸多气概？
有时是浪涛拍我，有时我随波逐浪，形单影只、眼高手低、自作多情的我，总是落在别人后旁。
回想起每一次遇贵人帮忙，每一次采风、求教和收藏幸得与善缘结伴，还有在编辑室、学院内和书画间遭遇的三三两两，外加今日里师友亲朋远道前来指教捧场，费许多车钱，花不少时光，本人我感恩的热流油然涌上。
在这厢献上颜新元水墨、书法，丑媳妇也让她见见婆娘；从17000余件古代民俗文物收藏中随机抽出的展品，头一次凑合起来与大家分享分享。
本展览有两展区同时开放。一个是北航艺术馆，一个是位于北京望京酒厂艺术园区的“庄子湾”画廊。“庄子湾”画廊一套元、明间巨大人物肖像堪称传统色彩画中既明丽又谐和的神品，画的是汉、唐、宋、元的文武大将。如何走，可打电话010－52023912向青年画人弯弯小姐询访。
蔡劲松部长正式通知我，展览定在二月二十二日开幕。我心一跳——三十年前的这个日子，决定谁已经成为我的老婆！缘分呀，因此我选择展期答谢来宾的办法也许不错，邀约夫人每天下午二点二十二分来北航展厅唱首当年的山里情歌。歌名有：单身汉冒婆娘；家花冒得野花香；太阳姐落土夜落曦；这边的山坡望见那边的山坡；姐屋门前一树春；当初何不学裁缝；娇莲姐生得白如岩；娇莲姐走路把白扇子遮；隔河隔港港隔隔港湾；六月粽子蜜糖多……如若您也来上一曲撒撒野，春月里的老北京一定会乐乐呵呵。
颜新元
2009年1月22日于北京庄子湾书屋
颜新元艺术、生活简历与贵人提携谱
颜新元，湖南省桃江县人，1952年生 1967 15岁被“文革”打成“反革命”，开除学籍，务农“劳改”做木匠。得父母，师父教诲 1974 参加“工作”。任湖南省桃江县荷塘乡文化站文化辅导员。得颜畅生、曾茂才先生最先荐举 1974 开始民俗艺术田野采风和收藏 1976 兼任乡文化站电影放映员 1978 调桃江县剧团任编剧。得傅悠新、阙全芳先生荐举 1980 与村民刘雪纯结婚并生子“颜开” 1980 调桃江县电影公司任美工 1982 调桃江县文化馆工作。得张哲卿、符汇河先生荐举。 1982 获准拿一半工资常年下乡从事民俗采风 1983 开始在一些报刊公开发表散文、小说、诗歌、歌曲等作品 1984 生女“弯弯” 1985 散文《蟋蟀的歌》、《照泥鳅》发表于《湖南日报》、《散文世界》杂志 1985 论文《中国传统文化衰落的必然性》发表于《美术论文集》 1985 开始美术创作。系列版画参加“立交桥版画展”。得萧洁然、李路明、黄铁山、詹鸿昌先生荐举 1986 版画《扎泥鳅》入选第九届全国版画展览 1986 在《美术》杂志发表版画《打米厂》 1986 在《画家》、《文艺生活》、《成才》、《年轻人》等杂志发表画作 1988 国家文化部授予“民间美术工作开拓着”称号 1989 就读于中央美术学院。得孟国治、寻耀华、杨先让、靳之林、吕胜中先生荐举 1990 论文《剪纸与民歌的抽象美通感》发表于《民间文学论坛》（中国文联主办） 1991 论文《长沙马王堆汉墓T形帛画主题思想辩正》发表于中国民间美术理论研讨会 1992 论文《剪纸与民歌的抽象美通感》发表于《中国民间剪纸艺术研究》文集（北京工艺出版社） 1992 论文《长沙马王堆汉墓T形帛画主题思想辩正》参加“国际马王堆学术研讨会”，得李学勤、高至
喜先生荐举 1993 论文《长沙马王堆汉墓T形帛画主题思想辩正》发表于《中国民艺学研究・第二届民间美术研讨会文集》（北京工艺美术出版社） 1993 举家迁居省城长沙。在湖南省博物馆的马王堆汉墓陈列馆内长期设立“颜新元祭祀文物藏品陈列馆”。得鲁一妹、陈松长、闻小宁、熊传薪先生帮助 1994 系列民艺藏品获“中国民间艺术一绝”大展（中国美术馆）金奖 1994 论文《长沙马王堆汉墓T形帛画主题思想辩正》参加首届楚文艺研讨会并文集出版 1995 作为编委成员、主要撰稿人之一的《湖南民间美术全集》获第二届国家图书奖提名奖 1996 调湖南美术出版社工作。得蔡皋、萧沛苍先生荐举 1996 在北京当代美术馆举办“颜新元藏湖南水陆道场画展”（由中国佛教文化研究所、古汉集团主办）得李路明、田青、吴立民、李家振、田东辉、申甲球、张仃、钱绍武先生荐举 1996 在《佛教文化》杂志发表系列图文 1986 中央电视台“书坛画苑”栏目专题报道 1996 与法国远东学院合作，开始民俗艺术分类鉴藏与研究。得华澜［法国］、范华［法国］、雷鸣等先生帮助 1996 专著《民间鬼神画》出版（湖南美术出版社） 1997 论文《马蒂斯怎样创造杰作》发表于《文化时报》 1997 散文《蟋蟀之歌》收入《画家散文》一书 1998 专著《中国现代陶艺家》一书出版（湖南美术出版社） 1998 《真情里程碑》发表于《读书》杂志和《十九世纪中国风情画》一书 1998 论文《真情里程碑》发表于《中国文化报》 1998 策划、供稿、撰文、主编的《名碑名帖软硬笔对照系列丛书》（8册）出版 1998 报告文学《黑鸟逢春》在《新创作》杂志发表 1998 编著和责编的《十九世纪中国风情画》丛书出版 1998 为《从o开始》一书作序：《高速入口・通往成功》 1999 编写《中国民间美术丛书・绝活儿》出版 1999 专著《名师点化・名师访谈》出版。得靳尚宜、杜大恺、王华祥等先生协助 1999 《十九世纪中国风情画》入选第五届全国书籍装帧艺术展 2000 论文《湖南功德画》发表于《装饰》杂志。得杭间、孙健君先生荐举 2000 论文《从生命的“原始”到艺术的“民间”》发表于《现代艺术大师学民间》一书（序言） 2000 报告文学《黑鸟逢春》在《出版广角》发表，并被收入《同步的足音》丛书（广西美术出版社） 2000 论文《南中国的一面旗帜》发表于《书屋》杂志 2001 与李路明等合作的大型油画组画《升》、《腾》，被中国银行收藏 2002 组稿、责编《世界当代艺术状态丛书》出版发行 2002 论文《抢救民间文化遗产，保护湖湘人文生态》发表于《湖湘文化论坛》一书（湖南大学出版社）。得陈飞虎先生荐举 2002 策划、组稿、责编，与谭平合作主编的《中央美术学院设计学院学生优秀作品集》丛书出版 2003 《鹃花》杂志劈专栏——《庄子湾心情澡堂》发表连载文章（次年再次连载） 2003 论文及图片《巫文化收藏了我》发表于《生活经典》杂志 2003 美术评论《从长沙窑进入》发表于《新居室》杂志 2003 论文《在传统与现代的边边》发表于《生活经典》杂志 2003 散文《花心少年时》发表于《生活经典》杂志 2003 为湖南卫视娱乐频道作长期民俗电视节目嘉宾，其节目同时以图文形式发表于杂志 2003 为《易元和画集》作序 2003 为《肖健版画作品》一书作序 2003 论文《湖南木菩萨》发表于《收藏界》杂志 2003 受邀为重点图书《张庚文集》（湖南文艺出版社）作装帧设计，该书获国家图书奖 2004 所编《梦飞》、《世界当代艺术状态》丛书参加第六届全国书装艺术展，并获优秀作品奖 2004 责编的《历史・空间・媒介》（黄建成著）获全国第六届书籍装帧艺术展整体设计优秀作品奖 2004 美术作品《雪夜归人早》参加中国出版界美术作品展，被收入《中国美术出版界美术家作品集》 2005 论文《在高等艺术学院，艺术研究院设立民俗艺术研究与设计专业方向的设想》在《美术研究》发表。得殷双喜先生荐举 2005 论文《在中央美术学院设立“民俗文化与设计应用”课目的建议》在《美术研究》发表 2005 开始“嵌人名顺口诗文”造句并书法创作 2005 为《艺术家风格丛书・盛景华2/2》作序 2005 为《艺术家风格丛书・许金芝》撰文 2005 为《符竹书画集》作序 2006 论文《在高等艺术学院艺术研究院设立民俗艺术研究与设计专业方向的设想》转载于《美术》杂志 2006 在中央美术学院设计学院给研究生授课。得潘公凯、谭平、王敏、许平先生荐举 2006 受《清华美术》主编之邀为《清华美术》特约组稿。得杜大恺先生荐举 2007 儿子、女儿分别获中央美术学院硕士、学士学位并从此走向社会独立生活。得谭平、王敏、戴士和、孙为民、孙景波、邹跃进、宋协伟、吕品晶、颜惠卿、刘向涛、刘静姝等人帮助和赞助 2007 为莫立唐画展作序《莫老，莫——老！》。发表于展览和《湖南日报》 2007 举办夫人刘雪纯个人画展。得方力均、蒋祖煊、郭学仁、阮国新、霍红、李立民、杨荣波等人协助 2007 艺术评论《我的老婆刘雪纯》 发表于《画刊》 杂志。得靳卫红先生荐举 2007 被聘为中国艺术研究院博士研究生导师。得王文章、张晓凌、孙健君、田青、吕品田先生荐举 2007 编辑的《民间美术观念》（吕品田著）出版 2007 本年度十月十日调北京航空航天大学新媒体艺术学院任教。得龙全、怀进鹏、王文章、田青、杜大恺、戴士和、王敏、陈飞虎等人荐举 2008 在《美术观察》发表艺术评论。得陆军先生帮助 2008 编辑的《民间美术观念》（吕品田著）获“中华优秀出版物”奖 2008 专著《中国当代“新民间”艺术》出版 （江西美术出版社）。得傅廷煦、陈政、朱金宇等人荐举 2008 专著《湖湘文库・湖湘民间绘画》（国家“十一五”出版工程项目）出版（湖南美术出版社）。得张天明、张光华、郭天民、汪华、李小山、邹建平等人荐举 2008 创办北京“庄子湾“画廊（北京酒厂国际艺术园）。得张方白、梁长胜先生帮助 2009 编辑的《民间美术观念》（吕品田著）获全国原创图书“三个一百” 奖 2009 专著《湖湘文库・湖湘民间木雕》（国家“十一五”出版工程项目）出版（湖南美术出版社；与龙全先生合作） 2009 在北航艺术馆和北京酒厂国际艺术园“庄子湾”画廊主办“国风新语・颜新元当代艺术新民间实验展”。得蔡劲松、龙全、莫骄等人荐举
联系方式：13911708708
yanxinyuan@buaa.edu.cn
deyueliang@yahoo.com.cn
http://zhuangziwan.blog.artron.net
http://yanxinyuan.ycool.com
Traditional Chinese Style and Modern Interpretation
Yan Xinyuan Contemporary Art “New Folk Art” Experimental Exhibition
Date: Feb.22-Mar.12 2009
Opening: Feb.22 2:22pm (Beihang Gallery)
Address: 1. Beihang University Beihang Gallery
2. Zhuang-Zi-Wan Gallery, Beihuqu Anwaibeiyuan Chaoyang District Beijing
Organizers:
Beihang Gallery | Beihang University School of Art&Design | Jiangxi Fine Arts Publishing House | Hunan Fine Arts Publishing House
Preface
Experiments have made me comprehend that, in China, the cultural “domestic demand” of the whole society can be activated only when the aboriginality of fork art is activated. Enrichment of the soul can moderate the extravagance of man towards money, materials and energy, and therefore the source of inspiration, disposition, ability and wisdom of the artists will never dry up, for folk-custom is forever the fertile soil of the “literati” and of the “royal court”.
In the 35 years of my art career, I had only one dream, - against the world wind, I picked up the “old folk” treasure that was blown down under my very nose, and waited for it to ferment, to release heat, and to reincarnate in the next life. I wouldn’t have practiced brush and ink in vain for a long time if only I could communicate and be possessed by its spirit.
My infatuation to our national “folk-custom” is arranged by fate, and it is fate that allows me to discern the weirdness and oddity of the land of the living:
It seems that a country stored with the most plentiful treasuries of art and design resources like China has to borrow from foreigners all of its aesthetic visions and advocacies, the teaching materials of the most shopping-rush goods are translated from European and American countries, and the most popular fashion is to imitate the kind of appearance and style of westerners as much as possible. Many artists are busying themselves in packing up something novel and the image in their skull of a certain wealthy “Laowai (foreigner) coming from faraway can never be brushed away. As posterities in succession have no chance to expect the future “excavation” of the folk-customs and national treasures, they could only fall down on their knees to the fashions and vogues in reality. The earth that was degenerated to also an “integrated” monotony and insipidity by the mighty machine civilizations has lost much blood that is resourceful, tasteful, moderate and interesting…
But then again, multi-cultural exchange and fusion cannot avoid it. Essentially, multi-cultural exchange and fusion has also no harm but benefits. For instance, artists like Picasso and Matisse et al, had opened the gate of modern art of the world with keys of “folk-custom” and “primitivity”, and the fidgetiness of mankind towards machine civilization has therefore been released. They learn from us, and yet do not abandon their own matrix, but when it comes to me, why there are so much painstaking worship and blind faith in foreign things betrayed in the speeches and deportments of my countrymen?
The skin of folk-customs that produces culture, arts and spiritualism has lost its originally attached corporal and favor, while the various types that support the cultural appearance look like hair that runs short of nutrient as they fall off, dissipate, and buried by wind……
In the jubilance of endless inflation and naked desire for materials, we are intoxicated by it as to show off for the various kinds of “fashions”, and yet, it is very likely that history is carrying us silently towards an era without a cultural identity!
Yes, people can even recognize from the map the territorial domain of China that our ancestors have defended desperately, but can the current spiritual and cultural heritage handed over to the posterities by our generation still reveal the a good many lofty spirits and qualities of the Chinese race?
At times, it is the great waves that beat me; and at times, it is me who drifts along with the winds and waves. I, in solitariness, with grandiose aims but puny abilities, and imagining myself as the favorite of my beloved, am always left behind the others.
My each meeting with the nobles who help me and my lucky and good companionship each time for collection of folk customs, cultural heritages, and requests for instructions, and also my two or three times of encounters with them in the editorial rooms, academic institutions and between paintings and calligraphies, coupled with the advices and supports from teachers, friends, and relatives from far away today, spending a lot of times and money on traveling, every time when I recall these, I just couldn’t stop my tears of heartfelt thanks trickling down from my very face.
In this art studio, I present to you of water paintings and calligraphies by Yan Xinyuan, for the ugly daughter-in-law will have to see her parents-in-law in the end. This is also the first time that of art items are gathered together for sharing with the public as they are drawn out from more than 17,000 pieces of collections of ancient folk customs and cultural relics.
There will be two exhibition areas for spontaneous opening in the present exhibition. One is the Beihang Art Gallery, and the other is the “Zhuangzi Bay (Zhuangziwan)” Gallery, located in the art garden area of the Wangjing Wine Factory, Beijing. A set of huge personal portrait of the Yuan and Ming dynasties in the “Zhuangzi Bay” Gallery, with its brightness and touch of harmony, can certainly be called a superb art work in the traditional colored paintings. The sets of portrait depict the senior civil and military generals of the Han, Tang, Song, and Yuan dynasties. For inquiry about the direction, please call the young female artist with the name Wan Wan at 010 – 52023912.
In a formal notice by Director Cai Jingsong, I was told that the exhibition is scheduled to be open on 22nd of February. With a thrill of heartbeat, I remembered that, on this very day thirty years ago, it had already been decided who would be my wife! It is lot or luck. Therefore, my decision of the date of exhibition to express my appreciation to the guests may not be bad, for I can invite my signora to come to the Beihang Exhibition Hall at 2:22 p.m. each day to sing a love song from the mountain areas of those years. It says: danshenhan mao poniang; jiahua maode yehuaxiang; taiyangjie luotu yeluoxi; zhebiande shanpo wangjian nabiande shanpo; jiewu menqian yishuchun; dangchu hebu xuecaifeng; jiaolianjie shengde bairuyan; jiaolianjie zoulu ba baishanzi zhe; gehe gegang gangge gegangwan; liuyue zongzi mitangduo (general meaning: a bachelor is greedy for a young woman for wife; a home flower is more fragrant than a wild one; the sun sister sets and darkness casts away the sunlight; the mountain slope of this side echoes the mountain slope of the other; in front of the door of sister’s (wife) house, there is a tree that foretells the spring; why don’t learn to be a dressmaker in the first place; sister Jiaolian’s skin is as white as cliff; sister Jiaolian shades her white fan when walking; separated by rivers, separated by ports, and ports are separated from each other and from harbors; the glutinous rice dumpling of June is saturated with sweet and honey……
If you also want to sing a song to express your wild feelings, the old Beijingers in the Spring month will certainly be very happy to listen.
Yan Xinyuan
Zhuangziwan Gallery, Beijing
22 January, 2009
Tel：13911708708
yanxinyuan@buaa.edu.cn
deyueliang@yahoo.com.cn
http://zhuangziwan.blog.artron.net
http://yanxinyuan.ycool.com
