中国著名意象派画家贝家骧个展，呈现其融合中西艺术精髓的油画创作，探索东方意象与西方表现主义的交融。
A solo exhibition by renowned Chinese Imagist painter BEI Jiaxiang, showcasing oil paintings that integrate Eastern imagery and Western expressionism, exploring cross-cultural artistic fusion.
معرض فردي للفنان الصيني الشهير Bäi Jiāxiāng، يُعرض لوحاته الزيتية التي تُحمل صورة الحضارة الشرقية والتعبيرية الغربية، كي يكتشف التماس الثقافي الفني.
贝家骧 晨曦 First Light 布面油画 165×120cm 2025
意象 · 辨
——贝家骧的艺术之思
Imagery · Discernment
— BEI Jiaxiang’s Artistic Thought
在当代艺术批评的语境中，“意象”一词始终保有某种理论上的朦胧性。不同于西方现代艺术中那些轮廓分明的流派，意象主义油画更像一种潜在的倾向，其理论边界开放、耐人寻味。当把贝家骧的油画置于“意象风格”下考察时，首先需澄清该术语在东西方艺术史中的演变与张力。
In the context of contemporary art criticism, the term Imagery retains a certain theoretical vagueness. Unlike the clearly demarcated movements of Western modern art, Imagist oil painting reads more like a latent tendency: its theoretical boundaries are open and suggestive. When examining BEI Jiaxiang’s oil paintings under the rubric of an Imagistic style, one must first clarify how this term has evolved and where tensions lie within Eastern and Western art histories.
贝家骧 浮生 Fleeting Life 布面油画 165×120cm 2025
贝家骧 日影 Sunshade 布面油画 165×120cm 2025
西方现代艺术史上较为明确的意象主义（Imagism）源自20世纪初的诗歌运动，以埃兹拉·庞德、H.D.为代表，强调精确意象与语言革新。庞德所指的意象，是对事物的“直接呈现”，但这一文学范畴在西方视觉艺术中的生长与影响相对有限。与此形成对照的是中国艺术传统中“意象”观念的长久积淀：从《周易》“立象以尽意”，到刘勰《文心雕龙》中的美学论述，再至唐代张璪“外师造化，中得心源”的创作理念，已形成一套较为完备的意象观照体系。
The more clearly defined Imagism in Western modern art originates in the early twentieth-century poetry movement—represented by figures such as Ezra Pound and H.D.—which emphasized precise imagery and linguistic innovation. Pound’s notion of the image meant the “direct presentation” of a thing, but this literary category had relatively limited growth and influence within Western visual art. By contrast, the concept of imagery has a long sedimentation within Chinese aesthetic tradition: from the I Ching’s “establish an image to exhaust meaning”, through LIU Xie’s aesthetic discussions in Book Wen Xin Diao Long, to Tang-dynasty painter ZHANG Zao’s creative principle of “learning from nature externally, finding the source within the heart”. Together these form a fairly complete system of thinking about images and imagist apprehension.
贝家骧 惊鸿掠影 Haunting Glimpse 布面油画 165×120cm 2025
贝家骧 赛马 Racing 布面油画 153×145cm 2025
贝家骧的油画创作正是在这一跨文化语境中展开的。
BEI’s oil painting practice unfolds within this cross-cultural context.
承袭印象派对流动姿态与主观感知的迷恋，贝家骧以松弛而熟稔的笔触描绘心中的“所见”——从奔马的尘嚣到里弄的人烟，皆为其印象。印象派的解构让他意识到“所见”不再仅止于视觉表象：在完成印象的转写之后，他开始通过形式的微妙变形，描摹那种并非客观存在的“精神所见”。这标志着他在印象语汇中融入抽象因素的起点，他以新的形式探询新的意识边界，正如亨利·摩尔所言：观察自然对艺术家而言是生命的一部分，它扩展了形式的认知，保持形式的新鲜，并可成为创作的起点。
Inheriting the Impressionists’ fascination with fluid gesture and subjective perception, BEI renders what he “sees” with relaxed, practiced brushwork—from the dust and thunder of galloping horses to the inhabited lanes of a neighborhood—each image an impression. The deconstruction achieved by Impressionism led him to realize that the “seen” is no longer limited to optical appearance: after transcribing impressions, he began, through subtle formal deformation, to depict a “vision of the spirit” that is not an objective reality. This marks the point at which abstract elements enter his Impressionist vocabulary; he probes new forms to explore new boundaries of consciousness. As Henry Moore put it: “observation of nature is part of the artist’s life: it enlarges formal understanding, keeps form fresh, and can become the point of departure for creation.”
贝家骧 乱明霞 Turbulent Dawn 布面油画 165×120cm 2025
然而，面对主流意义上的抽象艺术，贝家骧始终保持谨慎距离。与受音乐、哲学等广泛影响的抽象主义不同，他的灵感仍深植于可视的物质世界。即便在形式上进行夸张的实验以强化精神特质，他的作品仍维系着与客体表象的联系。这一选择非关高下评判，更像是贝家骧在绘画的诸多支流之间，作出的浪漫而固执的坚守。
Yet BEI keeps a cautious distance from the mainstream Abstract art. Unlike abstract movements heavily influenced by music, philosophy, and other disciplines, BEI’s inspiration remains rooted in the visible material world. Even when he experiments with formal exaggeration to amplify spiritual qualities, his works maintain a connection to the appearance of objects. This choice is not a value judgment but rather a romantic, stubborn fidelity BEI shows among the many tributaries of painting.
贝家骧曾言“用心在画”，这一状态接近中国画论中的“心手相应”。在其创作中，理性控制与直觉表达保持着微妙平衡，笔触既显情感的直接流露，又是形式的有意识建构。这一创作状态与梅洛-庞蒂的知觉现象学相互呼应——绘画并非世界的复制，而是通过身体与世界的对话，将“不可见”转为“可见”。
BEI has said he has been “painting with heart”, which is a state close to the Chinese painterly notion of “heart and hand responding to one another”. In his work, rational control and intuitive expression maintain a delicate balance; the brushwork is at once a direct outflow of feeling and a consciously constructed formal element. This creative condition resonates with Merleau-Ponty’s phenomenology of perception—painting is not a replication of the world but a making-visible of the invisible through the body’s dialog with the world.
贝家骧 流年 Flowing Years 108×100cm 2025
贝家骧 岁月静好 Tranquil Years 布面油画 165×120cm 2025
简言之，贝家骧的油画既非完全落入西方现代主义谱系，也非中国传统绘画的直线延续。它更像来自东方的旅人，拾得一块被印象派撼动的古典之石：走过后印象派，与野兽派攀谈，路过表现主义，又在与抽象主义打过照面后，继而踏上了一条尚未命名的路径——姑且称之为“意象派”。这一路径的理论定位仍需在多重对话中逐步确立，但其关于主体与客体、传统与现代、东方与西方之间的思辨与圆融，正使其成为一个日益丰盛的跨文化范例。
In short, BEI Jiaxiang’s oil painting does not fall wholly within the Western modernist lineage, nor is it a straight continuation of Chinese traditional painting. It resembles an Eastern traveler who has found a classical stone shaken by Impressionism: passing through Post-Impressionism, conversing with Fauvism, brushing past Expressionism, and encountering Abstract art, he then embarks on an as-yet-unnamed path—provisionally called “Imagism”. The theoretical placement of this path must still be established through multiple dialogues, but its reflections and reconciliations concerning subject and object, tradition and modernity, East and West are making it an increasingly rich cross-cultural exemplar.
贝家骧
1953年出生于上海，祖籍江苏苏州。
1976年，贝家骧毕业于当时上海最高艺术学府上海师范大学艺术系，并留校任教。1984年毕业于中国顶级艺术学府中央美术学院第一期研修班。1984至1991年间于上海师范大学美术系任副教授，后第一批被破格评为副教授的年轻教师。
1991年贝家骧移居澳洲。他频繁进出墨尔本博物馆对世界大师作品进行临摹学习，并专注于思索将中国传统文人画精神注入西方当代油画的创作中，为当代油画赋予新的精神与内涵。其间，作品曾荣获澳大利亚罗贝尔美术展油画金奖，坎贝尔美术展优秀奖等。
BEI Jiaxiang，Renowned contemporary artist in Chinese imagist painting。
BEI was born in Shanghai in 1953 and hails from Suzhou。
In 1991, BEI immigrated to Australia. During his time there, he frequently visited the Melbourne Museum to study the works of world-renowned masters and focused on infusing the spirit of traditional Chinese literati painting into contemporary Western oil painting, with the hope of adding new spiritual and conceptual depth to contemporary oil painting. While in Australia, BEI’s works received accolades such as the Gold Award at the Robell Art Exhibition and the Excellent Award at the Campbell Art Exhibition.
