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内容概要

On Tang Puzhu’s Paintings: Große Fuge (Grand Fugue) --Wu Xing (Five Elements)

By Jia Fangzhou

English translator：Lin Hui

Tang Puzhu, the painter, has devoted himself for many years to transforming and translating his various experience and spiritual enlightenment of music into visual paintings on canvas with his paintbrush. This kind of transformation is possible and common, because for human beings the communication between visual and auditory senses is inborn and natural. Many musical works vividly present the scenery of nature, such as moonlight, sea, forests, mountains, and the change of four seasons, and when composers express their integrated visual-auditory feelings towards nature only through musical “discourse”, it is natural for the audience to re-present the scenes in their mind. Pictures at an Exhibition, the symphony composed by Musorgskiy is an example that directly makes the feelings to paintings into a musical piece. Bruckner Symphony No.7, a picturesque work, even more grandly describes the sky, the earth, light and darkness, and expresses the author’s gratefulness to Creator. Born in a family of musicians, Tang Puzhu has been immersed in the musical atmosphere since childhood, and thus constructed his own system of knowledge to appreciate and comprehend music. Accordingly, his musically-educated background has a life-long impact on him after returning to the course of painting. In addition to pursuing the musical realm in paintings, he is bound to reveal his admiration and awe to metaphysical thinking in his works because of the acquired philosophical and theological knowledge.

Tang’s Grand Fugue- Wu Xing (Five Elements) is good evidence. To understand the essential meaning of the visual power imposed by the painter, one has to bring that work back to music. It is the same in the reverse way. However, the series of Grand Fugue—Wu Xing does not simply translates musical pieces into vision, but pictorially grasps musical experience in a more macroscopic way basing on philosophic thinking. He said, “The series of Grand Fugue- Wu Xing is the second part of The Move of God’s Will, the symphonic paintings which constitute of four movements. This piece and other three chapters, Aether, Degeneration and Eternality are all created in the framework of overture/fugue featuring mutual dependence and repulsion. They are painted with the form of yin and yang that corresponds to the characteristics of fugue.” He also stated: “Based on Gestalt carrying Bach’s equal temperament, the paintings employ the interaction of the cool and warm colors to epitomize all-dimensional universe and phenomena in all realms that awes humans.” In addition, the meanings conveyed in his article, The Art of Empire— a View on the Theme of “Grand Fugue: Symphonic Paintings”, will help us grasp his works.

John Briggs, the contemporary life scientist in the 20th Century pointed out that, in Enlightenment-influenced science and culture of the past several hundred years, we always observe the world in an analytic, quantitative, symmetric and mechanic view, while chaos makes us appreciate the world with a method more closed to the artists’ way that exists for many thousand years. …..Scientists did not realize that it (chaos) is the most fundamental force of the cosmos until now. Briggs said that those words of ultimate truth, perfection and God are all rooted in this view: the universe is an integral entity. In that sense, The Divine Comedy by Dante is a grand poetic metaphor of the holy integral system.

It is necessary for human beings to call for illuminations of those chosen men bearing glory, to face the long and corrupted world of the last phase before the Christ’s return. In order to accomplish again the salvation of human soul, we should primarily resort to the guide of art which is the language of the upper regions. While The Song of Chinese, Tang’s another work clarifies the racial characteristics, the Grand Fugue—Wu Xing, as an incentive for human intelligence, aims to deliver a perception silently with the sparkling vitality of paintings to human beings. The message is that, there is one thing which is the universal truth and ultimate reason, supreme and immortal, eternally invariable and variously changing, solely and all-encompassing. There is nothing outside it and nothing is there without it; all things come from it, return to it and nothing returns to it; it is all things and it is not any thing. That is Tai Chi (the Grand Ultimate), which is perfectly presented in I (Change) — the mystical change (among the sky, the earth and men).

I hope that, through the strict selection of time, the series of the Grand Fugue—Wu Xing will match the commentary made on fugue by Briggs, the scientist mentioned before: “It seems that we are visioning the inner motion of life when listening respectfully to fugue. Like angles, artists open the gate towards infinite possibilities, self-reflection and mediation. Composed by Bach, the great master of music, the fugue becomes an organ that transfigures and transforms itself in self-repetition and reflection. It possesses harmony and conflict at the same time, not only subtly avoiding the practice of pursuing abstraction and musical notes, but also displaying to us the glory that surpasses images and symbols!”

P.s. Without the access of the original version, the words of John Briggs are all quoted and translated from the Chinese version of his book, Seven Life Lessons of Chaos: Timeless Wisdom from the Science of Change.

--Allowed by the original author and reproduced by the translator, this article is originally published in "TideMagazine", March, 2013.

唐浦珠簡介

唐浦珠

祖籍金陵

1999年于法國巴黎國立美術學院"賓戈斯教授古典材料技法繪畫造型"研究班畢業，获硕士学位。现中國藝術研究院建築學專業在職博士

1996年在深圳藝術品拍賣行任職藝術總監

1995年任教于四川廣播電視大學藝術史與美學

油畫個展：

2010 "璦 泧-致托斯卡納大師們” 義大利馬薩Eloisa漢學協會

2007“Güdng -唐浦珠新作” 德國柏林Wille畫廊

2001 “唐浦珠油畫作品展”， 北京“一然”畫廊

1998“秘術復原的嘗試”“博漢堂”国际藝術沙龍

藝術群展：

2007覆轍.輝煌” 德國紐倫堡Strategie研究中心

“自東方的啟示” 德國柏林WILLE藝術機構邀請展

“全球華人2006藝術創作展” 臺灣

2006“人文的中國” 法國巴黎中法友好協會

“中法七士” 中法文化交流協會邀請展

“新銳藝術” 北京

(香港)嘉浩集團2006秋季藝術拍賣

2005 “宇宙的呼吸”北京華粹藝術中心

“中國現今藝術--10人聯展” 義大利 羅馬

2004 “漢堡唐人街百年”紀念邀請展 德國

2003 中國嘉德2003廣州夏季拍賣會

“源”雕塑、油畫雙人展 北京華粹藝術中心

“中國當代藝術大展”，北京大陸藝術家畫廊

2002“炎黃藝術中心邀請展” 北京炎黃藝術館

“上苑藝術家工作室開放展” 北京上苑

“中國當代人體繪畫藝術” 北京

“上苑藝術家赴澳作品展” 澳門科教文中心

2001“侍機而待” 德國慕尼黑BEGBRAUKEILER中心

2000“賓戈斯研究班中法巡迴觀摩展” 北京.巴黎

1995“意象的遺跡”雙人展 新加坡中華藝術宮

“技法--從原材料開始”復古繪畫 重慶市博物館

1989“反學院體系”四人展 重慶民俗博物館

作品發表：

台灣全球華人藝術創作年鑒《華表》

《中華英才》 《中國之翼》 等

Güdng TangPuZhu Curriculum Vitae

Birth: Nanjing

Working and living in Beijing Since 2000

1999

Graduated from" Abraham Pincas Classical Material Technique Seminar" Paris National Academy of Fine Arts

1997

Art director for "China Sound" audio and video technology research institute

1996

Art director for shenzhen art auction houses

1995

Art history/aesthetic teaching in Sichuan Radio and Television University

1994

Graduated from Southwest University

Major in Oil painting/music command

Solo exhibition:

2010 " Jade comfort - Salute to the Toscana " Italy massa Eloisa sinology association

2007 "Gudng - 'wishes the tripod with two handles gerben. TangPuZhu" work "the German Berlin Wille gallery

2001 "TangPuZhu oil painting exhibition", Beijing "Yi Ran" gallery

1998 "occult rehabilitative try" "bo han hall" art salon

Group exhibitions:

2007

"mistakes. Brilliant "nuremberg, Germany Strategie research center

"Since the enlightenment of the east" Berlin Wille invitational exhibition art institutions

"The global Chinese 2006 art exhibition" Taiwan

2006 "humanistic Chinese" in Paris, France method friendship association

"In seven and method" in legal culture exchange association invitational exhibition

"New art" Beijing

(Hong Kong) jia hao group 2006 autumn art auction

2005 "The Universe breathing" Beijing HuaCui art center

"The Chinese now art - 10 people exhibition" Italy

2004 Dusseldorf academic invitational exhibition Germany

2003 Chinese fine heart 2003 Guangzhou summer auction

"Source" sculpture, oil painting double exhibition Beijing HuaCui art center

"Chinese contemporary art exhibition", Beijing mainland artists gallery

2002 "Yanhuang art center invitational exhibition" Beijing Chinese museum of art

"The garden artists studios open exhibition" Beijing to go to court

"Chinese contemporary human body painting art" Beijing

"The garden artists to Macao exhibition" macau KeJiaoWen center

2001 " Preparatory to seek appropriate time " Munich Begbraukeiler center

2000 "bin gose seminar domestic tour viewing exhibition" Beijing. Shanghai, etc

1995 "Imagery of The Relics" double exhibition chengdu (Singapore) of the palace

"Techniques - from raw materials start" chongqing museum

1990 "the new performance - literati painting" southwest university exhibition hall

1989 "Reverse College System" four exhibition chongqing folk custom museum

作者简介

镂空之魅 [P38]阿斯顿·马丁——鹏程百年 [P42]杰弗瑞·S·派克：每个字都是写个上帝的信 [P74]黄扉：声音与视觉的感官盛宴 [P80]秘书——领导的“七种武器” [P102]一代宗师——逝去的武林，远去的侠义 [P108]唐卡：藏地瑰宝 [P136]唐浦珠：《大赋格——五行》系列 [P144]杜宝印：阴郁的童年 [P148]胭脂巴黎——巴黎丽都夜总会 [P156]永恒的家具艺术 [P160]探索非凡之路——玛姆香槟 [P164]长安终“南”山 [P174]人文沉香 [P58]股票——历经四个世纪的风中游戏 [P84]老画中的智慧 [P18]消息 [P20]资讯 [P26]流行 [P30]

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