北京｜董冰心：烟波蓝

墨方荣幸宣布，我们将于2025年11月1日推出艺术家董冰心的个展“烟波蓝”，集中展出艺术家最新创作的“家宴”与“人物”两个系列的作品。这也是董冰心在墨方的首次个展。展期将持续到2025年12月7日。

家宴

高脚碗镶嵌于我的记忆中，是一年里最重要的仪式。16岁离家来到北京读书后，只有放假的时候才能回家，因此这两次假期弥足珍贵。寒假又逢过年，是一年之中最重要的节日。年三十那天，从起床开始全家人就为晚上的“分岁酒”做准备，忙忙碌碌一整天，直到高脚碗摆放上桌，这顿饭才算真正地开始。

在温州人心中，高脚碗不仅仅是盛放食物的容器，更是温州人世代相传的文化符号与情感纽带。这组以温州高脚碗为主题的系列作品，是我年少时代的情感记忆。

高脚碗也常见于温州女子的嫁妆中，随着女子出嫁组成新的家庭，每逢大年三十才被郑重地拿出使用。在温州人的年夜饭—— “分岁酒”这一最重要的盛宴中，高脚碗扮演着不可或缺的角色。无论是色彩、造型、数量、摆放的食物还是摆放的形状，都寄托着期盼与祝福。在温州文化中，红色象征着红火与吉祥，寓意日子蒸蒸日上；高脚造型寓含“步步高升”的愿望；而“碗”在温州话中与“稳”谐音，代表着安稳与稳妥。

高脚碗通常以十个为一套的形式出现，用于年夜饭时盛装十道冷盘，在桌上摆成一个圆形，寄托着“十全十美 ”的圆满期盼；每道菜上摆放的一片红萝卜片（方言称“红菜头”）则有“红彩头”、“鸿运当头”的意思，进一步强化了喜庆氛围与吉祥寓意。

本系列作品通过描绘高脚碗及其承载的各式地道温州年味，试图展现的不仅是一件器物的形态之美，画作中呈现了碗中盛放的诸如寓意事业“稳当横行”的螃蟹 、寓意“年年有余 ”的鱼鲞、寓意“红红火火”的火龙果、寓意“事事如意”的番茄、寓意“百里挑一”的鸭舌、寓意“有头有尾”的虾干等，透过视觉，感受到温州的饮食文化和对团圆、吉祥、幸福等美的追求。一代代人心中那份温暖年味与家庭记忆的再现，透过这些红色的高脚碗，在时代变迁中依然传承着情感与仪式。

人物

潮湿的雨季，是一场慢性纠缠。在我的记忆里，温州这座南方小城，一年之中有大半的时间都在下雨，毛毛雨很细，怎么也下不完。从南风天到梅雨季，再从台风天到仲秋，雨水串联起了温州的四季。不比北方的骤雨，温州的雨是轻柔的，缓缓洒落，下下停停。温州城也时常陷入一种微凉的氤氲中，潮湿的空气里混杂着泥土、青草的腥香和老墙木缝中渗出的霉味，水滴托着长长的轨迹从墙角坠落，高高低低。雨歇时分，云隙中忽然撒下的阳光更是把湿漉漉的屋瓦、巷弄与水面染成碎金般的颜色——那是一种格外悱恻又短暂的美丽。

我以工笔为媒介，将那些被雨水浸透、被时光揉皱的记忆片段,收拢于笔下。试图展现一场在湿润中静静发酵的显微叙事。

小时候，我和爸爸妈妈还有爷爷奶奶住在城郊的村子里，村子不大巷子很窄，房与房之间的距离也很近，小走几步路就能串门。

电视机是我少年时期的魔幻窗。很长一段时间，写完作业就蹲在电视机前面，每到傍晚时分，窗外的雨声淅淅沥沥，巷子深处，电视里的对白与厨房炒菜的声音交织缠绕。我内心深处的浪漫，大抵萌芽于这样的背景音里。

我的画作试图以朦胧的色调与恍惚的场景，重建那一片氤氲着水汽与电波的精神原乡。那是一个在经济腾飞与影像浪潮交叠之下, 悄然生长出的乌托邦。它既属于我私人的记忆，也属于这一整代人的共鸣。

绢布上那些被我反复勾勒、渲染与揉搓的线条，每一道都蓄着未干的潮意。它们不仅是墨与色的痕迹，更是弥漫在生命底处的湿润记忆。这种潮湿，也不只是物理上的附着，更是渗入岁月的肌理、生命的褶皱，是我们这一代人共同的精神记忆。并在我生命中不断蒸发又不断凝结，最终化作一场下不完的雨，笼罩着所有来不及的告别与远去的时光。

Home Feast

The stemmed bowl is embedded in my memory as the most important ritual of the year. After leaving home at 16 to study in Beijing, I could only return during holidays, making these two breaks particularly precious. The winter vacation coincides with the Chinese New Year, the most significant festival of the year. On New Year’s Eve, the entire family would start preparing for the “New Year’s Eve feast” from the moment we woke up, bustling all day long. It wasn’t until the stemmed bowls were placed on the table that the meal truly began.

To the people of Wenzhou, the stemmed bowl is more than just a container for food; it is a cultural symbol and emotional bond passed down through generations. This series of works, centered on the Wenzhou stemmed bowl, captures the emotional memories of my youth.

Stemmed bowls are also commonly found in the dowries of Wenzhou women. As they marry and start new families, these bowls are solemnly brought out only on New Year’s Eve. In the Wenzhou New Year’s Eve feast—the most important banquet known as the “New Year’s Eve feast”—the stemmed bowl plays an indispensable role. Whether it’s the color, shape, number, the food placed inside, or the arrangement, everything carries hopes and blessings. In Wenzhou culture, red symbolizes prosperity and good fortune, representing a thriving life; the stemmed shape conveys the wish for “steady advancement”; and the word for “bowl” in the Wenzhou dialect is a homophone for “stability,” symbolizing safety and security.

Stemmed bowls typically come in sets of ten, used during the New Year’s Eve feast to hold ten cold dishes arranged in a circle on the table, embodying the hope for “perfection.” A slice of red radish (called “red vegetable head” in the local dialect) placed on each dish signifies “good fortune” and “auspicious luck,” further enhancing the festive atmosphere and symbolic meaning.

Through depictions of stemmed bowls and the authentic Wenzhou New Year dishes they hold, this series seeks to showcase not only the beauty of the object’s form but also the cultural significance of the food within. The paintings feature dishes such as crab, symbolizing “steady progress” in career; dried fish, representing “abundance year after year”; dragon fruit, embodying “vibrancy and success”; tomatoes, signifying “everything going as wished”; duck tongue,symbolizing “being the choicest pick”; and dried shrimp, symbolizing “completeness from start to finish.” Through visual means, the works evoke Wenzhou’s culinary culture and its pursuit of values like reunion, auspiciousness, and happiness. They are a recreation of the warm New Year atmosphere and family memories cherished by generations, with these red stemmed bowls continuing to transmit emotions and rituals across changing times.

Figures

The rainy season is a slow, lingering entanglement. In my memory, Wenzhou, this southern city, is shrouded in rain for most of the year—a fine, incessant drizzle. From the humid southern winds to the plum rain season, and from typhoon days to mid-autumn, rain connects the four seasons of Wenzhou. Unlike the sudden downpours of the north, Wenzhou’s rain is gentle, falling softly with pauses in between. The city often sinks into a cool, misty haze, with moist air carrying the scent of soil, green grass, and the mustiness seeping from old walls and wooden cracks. Water droplets trace long paths as they fall from corners, high and low. During breaks in the rain, sunlight spilling through the clouds casts a golden hue over the damp rooftops, alleys, and water surfaces—a particularly poignant and fleeting beauty.

Using fine brushwork as my medium, I gather these fragments of memory, soaked by rain and wrinkled by time, under my brush. I aim to present a micro-narrative quietly fermenting in the dampness.

As a child, I lived with my parents and grandparents in a village on the city’s outskirts. The village was small, with narrow alleys and houses close together, making it easy to visit neighbors just a few steps away.

The television was the magical window of my youth. For a long time, after finishing homework, I would crouch in front of the TV. As evening fell, the sound of rain outside would patter softly, while dialogues from the TV intertwined with the sounds of cooking from the kitchen. The romance deep within my heart likely sprouted from such background noises.

My paintings seek to reconstruct that spiritual homeland, steeped in mist and electromagnetic waves, through hazy tones and dreamlike scenes. It is a utopia that quietly grew amidst economic boom and the wave of visual media, belonging both to my personal memories and to the collective resonance of an entire generation.

Every line on the silk, repeatedly outlined, layered, and textured, holds a lingering dampness. They are not merely traces of ink and color but moist memories permeating the depths of life. This dampness is not just a physical presence but something seeping into the texture of time and the folds of life—a shared spiritual memory of our generation. It continually evaporates and condenses within my life, eventually transforming into an endless rain, enveloping all the farewells left unsaid and the distant moments of the past.

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