拉卜楞寺局部

31×1080cm

2006

水墨藝術的至高境界，在于以極簡載體，載無盡意蘊。徐善循的《紙上清音》系列，跳出了傳統風景繪畫寫實描摹的桎梏，不執著于復刻山川建筑的具象形貌，以紙筆為媒介，以筆墨為情志，構筑出獨屬于自我的水墨天地。整套作品褪去繁復雕琢，摒棄浮華視覺，于素紙黑白之間，沉淀出安靜、通透、悠遠的藝術氣場，讓觀者在筆墨留白處，觸摸到藝術最本真的溫度與力量。

The supreme realm of ink wash art lies in conveying boundless implication through minimal carriers. In his Pure Resonance on Paper series, Xu Shanxun breaks free from the shackles of realistic depiction inherent in traditional landscape painting. Rather than rigidly replicating the tangible forms of mountains, rivers and architectures, he builds a unique ink art world with paper and brush as his medium and brush and ink as his emotional expression. Stripped of elaborate embellishment and superficial visual vanity, the entire series settles into a tranquil, transparent and profound artistic aura on plain paper and in black-and-white tones, allowing viewers to touch the most authentic warmth and power of art amid the blank spaces and ink textures.

拉卜楞寺局部

31×1080cm

2006

拉卜楞寺局部

31×1080cm

2006

筆墨的節奏韻律，是這一系列作品的核心風骨。徐善循深耕傳統筆墨技法，將書法的筆意融入繪畫之中，筆下線條靈動而不失沉穩，舒展而暗藏力道?；蜉p線疏描，婉轉飄逸，如清風拂林；或重筆拙寫，沉厚蒼勁，如磐石臥地。他不刻意雕琢物象輪廓，而是以線條的虛實、緩急、聚散，提煉自然萬物的神韻肌理，園林的清幽、古建的雅致、山水的空靈，皆消融于寫意的筆墨之間，不再是刻板的景物復刻，而是經過審美萃取的藝術意象。

The rhythmic cadence of brushwork forms the core spirit of this series. Deeply rooted in traditional ink techniques, Xu integrates calligraphic verve into his paintings. His lines are agile yet poised, unrestrained yet subtly powerful. Delicate and sparse strokes flow gently like breeze sweeping through woods, while bold and unrefined brushstrokes appear solid and steadfast like prone boulders. Instead of meticulously carving out figurative outlines, he distills the textural charm of all natural things through the void and solidity, urgency and slowness, convergence and divergence of lines. The serenity of gardens, the elegance of ancient architectures and the ethereality of landscapes all melt into freehand brushwork. What unfolds on the canvas is no longer rigid scenery reproduction, but artistic imagery refined by aesthetic perception.

片石山房

42×570cm

2006

墨色的層次暈化，賦予了作品豐盈的意境與呼吸感。在創作中，他善用水墨交融的微妙變化，積墨見厚重，破墨顯靈動，淡墨鋪就空靈底色，濃墨點醒畫面氣韻。干濕錯落的墨色變化，消解了畫面的僵硬邊界，讓方寸紙面生出虛實相生的空間意境。偶有簡約淡彩點綴其間，溫潤含蓄、恰到好處，不奪筆墨本韻，只為豐富畫面層次，讓冷寂的黑白水墨，生出溫潤鮮活的人間意趣，盡顯東方水墨獨有的包容與雅致。

The layered gradation of ink endows the works with abundant artistic conception and a sense of vitality. The artist excels at capturing the subtle interplay of water and ink. Accumulated ink delivers a sense of solemn thickness, while broken ink exudes nimbleness and vitality. Light ink lays out an ethereal base tone, and dense ink invigorates the artistic vitality of the畫面. Alternating dry and wet ink tones dissolve rigid boundaries, generating a layered artistic conception of alternating void and solidity within the limited space of paper. Occasional subtle light color embellishments are modest and well-proportioned, never overshadowing the essence of ink charm. They merely enrich the dimensionality of the works, infusing the tranquil black-and-white ink world with warm and vivid mortal charm, and fully embodying the unique tolerance and elegance of oriental ink art.

寫景之二十二

18×25cm

2008

寫景之二十三

18×25cm

2008

相較于技法的純熟，作品最動人的內核，是藏于筆墨深處的精神獨白?！都埳锨逡簟窂奈纯桃鈹⑹隆⒖桃馐闱椋菍撟髡邔ψ匀坏捏w悟、對時光的感知、對本心的堅守，盡數藏于筆墨方寸之間。外在的山水物象逐漸弱化，內在的心境與哲思成為畫面主角，一花一木、一石一檐，皆是自我心境的投射。這種創作表達，是外師造化、中得心源的當代演繹，讓傳統水墨擺脫程式化束縛，擁有了直擊人心的精神力量。

Beyond consummate craftsmanship, the most touching essence of the works lies in the spiritual monologue hidden in every stroke and wash. Pure Resonance on Paper avoids deliberate narration and emotional dramatization. It encapsulates the artist’s perception of nature, comprehension of time, and adherence to inner authenticity within the confined space of paper and ink. External landscape imagery fades into the background, while inner state of mind and philosophical reflection take center stage. Every flower and grass, every stone and eave serves as a projection of the artist’s inner world. This creative interpretation offers a contemporary embodiment of the ancient aesthetic principle of learning from nature externally and nurturing the mind internally, freeing traditional ink art from stylized constraints and endowing it with penetrating spiritual power.

寫景之七

18×25cm

2010

寫景之一

18×25cm

2010

于喧囂的當代藝術語境中，徐善循的《紙上清音》是一場溫柔的筆墨歸返。他扎根東方美學沃土，兼融現代審美思維，以純粹的筆墨語言，消解傳統與當代的壁壘。一紙清音，半墨悠然，這些沉靜的筆墨作品，既是對傳統寫意精神的傳承新生，也是藝術家安放本心、對話自然的精神居所，讓每一位觀者，都能在黑白虛實之間，洗盡心緒浮躁，聽見歸于本真的生命清音。

Amid the noisy context of contemporary art, Xu Shanxun’s Pure Resonance on Paper represents a gentle return to the essence of ink art. Rooted in the fertile soil of oriental aesthetics and integrated with modern aesthetic concepts, he dissolves the barriers between tradition and modernity through pure ink language. Graceful and serene, these tranquil ink works not only inherit and revitalize the spirit of traditional freehand brushwork, but also serve as a spiritual haven where the artist settles his heart and converses with nature. They enable every viewer to cleanse inner impetuosity amid the interplay of black, white, void and solid, and perceive the pure resonance of life that returns to its original essence.

Artist

藝術家簡介

徐善循

Xu Shanxun

1960年12月生，1982年畢業于東北師范大學美術學院。歷任吉林省美術家協會副主席、吉林市美術家協會主席、吉林省青聯委員、吉林市青年美術家協會主席；北華大學藝術學院院長，教授,校學術委員；上海理工大學藝術設計學院院長，教授，校學術委員；滬江美術館館長。現居上海潛心研究中國繪畫藝術。2019-2024年被聘任教育部藝術基金評審委員；2020-2024年教育部學位中心論文評審專家；上海市教委高校優秀共產黨員稱號。

Born in December 1960, he graduated from the School of Fine Arts, Northeast Normal University in 1982. He has successively served as Vice Chairman of Jilin Artists Association, Chairman of Jilin City Artists Association, Member of the Jilin Youth Federation, and Chairman of Jilin City Young Artists Association.

He once held the posts of Dean, Professor and Member of the Academic Committee at the College of Art, Beihua University, as well as Dean, Professor and Member of the Academic Committee at the College of Art & Design, University of Shanghai for Science and Technology. He also served as Curator of Hujiang Art Museum. Currently residing in Shanghai, he devotes himself to the in-depth research of traditional Chinese painting.

From 2019 to 2024, he was appointed as a reviewer for the Art Fund of the Ministry of Education of the People's Republic of China. Between 2020 and 2024, he worked as a thesis reviewer for the Academic Degrees & Graduate Education Development Center of the Ministry of Education. Additionally, he was awarded the title of Outstanding Communist Party Member among university faculty by the Education Commission of Shanghai Municipal Government.