王玉平《盐烤银杏》，42x56cm，纸本水彩，2021王玉平喜欢画手边之物。这些物就在那里，按照自己的习惯方式，按照自己的功能作用摆放在那里。它们必然地出现在他的视野之内。它们就在王玉平的日常活动范围之中，构成了他的生活环境和氛围，或者说，就构成了他身体的延伸和配置。王玉平每天看到它们。或者说，每天不得不看到它们。但是，他对这些日常的可见之物充满了兴趣。他喜欢画它们。这些日常之物不是刻意地从一个非凡背景中涌现。它们既没有神秘的历史传奇，也没有材质的特殊光芒。这些日常的可用可吃之物，平凡地存活着，有时候甚至只能短暂地活着，完全没有不朽的意图和愿望。有些物，比如王玉平画了很多蛋糕面包之类的早餐，甚至还有吃了一半的早餐，它们很快就要消失了，这是它们命运的最后时刻。这些物，只是像过客一样被匆匆地抛到人世间。没有人问它们的来历也没有人悲悼它们的消亡。它们触手可及，并不珍贵。它们过于实用过于卑微过于庸常以至于人们很少将目光停留在它们身上。王玉平《印第安骑士》，42x29.7cm，木板丙烯，2019但是，王玉平则在这些平凡之物中发现了乐趣。王玉平不是将这些物推到了一个有距离的对立面，不是以客观的审察的目光来科学地对待这些物，相反，他将这些物看做是“宠”物。这是实用之物，但也是可把玩之物。一旦以“宠”物的态度去对待它们，王玉平就会根除这些物的使用功能。在这里，蛋糕和面包不是用来吃的，鞋子不是用来穿的，椅子不是用来坐的，杯子不是用来喝水的，书甚至不是是用来阅读的。相反，它们都是作为有生命的尤物来把玩欣赏的。对于王玉平来说，这些物具有一种平凡的惊奇，或者说，它们有超越功能之外的平凡情感。而物的情感恰恰是以它的平凡性为根基的。正是因为平凡，这些情感并不激荡。正是因为平凡性，它也不是宏大和幽深的纪念之物，不是具有博物馆性质的景观之物；王玉平也并不是拜物教式的赋予这些物以辉光，他并不将它们神圣化；这些物既不是古物，也不是圣物，也不是奇异之物；它也不是充满激情之物，不是像梵高或者表现主义者那样，将物的内在之力暴露出来，或者让这些物进行强烈的动荡和摇晃；相反，这些物不夸张，不激进，不耀眼也不暴躁。王玉平赋予他们温和的内敛的情感。物，泛起的是情感的涟漪。王玉平《对坐》，42x59.5cm，木板丙烯、油画棒，2019如何让这些物获得一种情感的涟漪呢？王玉平以轻快的跳跃色彩来涂绘物。他几乎不用黑白色，也很少使用稳重厚实的色彩，他试图消除物任何的凝重感。他在物上绘制的色彩丰富多样。这多样的色彩夹杂着粉色或红色的喜庆、欢快和轻松，这些喜庆的色彩在画面上愉快地跳跃，这些色彩的跳跃让物在说话，让物有一种活泼感，一种喜悦感，一种放松感，一种轻快感。这是没有悲剧感的物，甚至是没有苦涩命运感的物。这样的物没有严酷的神话学，只有可爱的神话学。同时，也正是因为色彩的多样性，它们看起来斑驳和蓬松，色彩之间透出了大量的空隙，仿佛还有空间需要填充，还可以在这些空的物中自由呼吸。这样色彩彼此穿插和跳跃，它们产生出了空的空间。这些空间既没有被强烈的密度所压缩和填充，也没有被严谨的厚密的外部色彩所牢牢地覆盖。因此，这些物显得非常松软，它有各种各样的出口。它们不仅有一种内在的松软，它们外在的边线也模糊不清：物的边沿有时候被画的背景吞噬了，或者说延伸到背景中自然地消失了；有时候边沿有一种模糊的重影或者一种错落的不规范的厚厚的线——王玉平很少画清晰的轮廓线，很少用这些线将物严密地包裹住从而将物和外界严格地区分开来。也即是说，他不让物有一个硬的轮廓，或者硬的体积，或者硬的质地。物既不硬朗，也不坚强。相反，他让物变得松弛，松软，让物有弹性，有柔情，让物不仅跳跃，还能透气。王玉平的物，仿佛藏着一颗心。他不画那些硬的物，比如铁器等金属器具。他喜欢画帽子，画蛋糕，画烟蒂，画沙发，画书，画桌布，这些物都是软的，是可以揉搓，按压，摆弄和撕扯的，也就是说，他们不仅能够经受画笔的涂抹，也能够经受身体和手的反复抚弄。他也画一些桌椅和瓷器物，一些盘子和杯子。这些桌椅都被各种色彩斑驳的布匹包住了，毫无生硬感；而那些杯盘自身的圆弧形则削弱了它们的僵硬感。王玉平同样也给这些杯盘涂上了各种各样的色彩，这既能掩饰材质的硬度，也使得杯盘变得柔和。同样的，这些桌子椅子，这些杯盘器具同样获得了它们的弹性，同样能够和身体发生柔软的摩擦。王玉平《早餐-3》，29.7x42cm，木板丙烯，2020这样，王玉平的物就有独一无二的品质：他力图画出物的内在空间，而不是物试图占据的现实空间；他力图画出物的内在质地，而不是物的外在材料；他力图画出物内在的柔软，而不是物外在的轮廓；他力图画出物的自我感觉，而不是画出物的姿态部署。也就是说，他力图画出物的内心，而不是物的外壳。他画出这些物并不是要让它们因为外在的光芒，外在的传奇而被永恒记住，而是为了抓住它们的瞬间状态，即人的目光停留在它们身上的那一刻的独特的瞬间感受。正是这一瞬间时刻，物仿佛焕发出一种奇迹；也正是这一瞬间时刻，物注定要消失要毁灭。但正是对它的感受，正是对它的内心的柔软感受，正是这一奇妙的偶然时刻，成为王玉平的画布的永恒。王玉平力图让这些感受的瞬间性获得永恒。这是对物的一种全新的态度。人们曾经用各种方式来区分物。在夏尔丹的绘画中，人们曾经看到了厨房中的用具：罐子，刀具，灶台等等，这些旧物和它置身其中的空间一样，仿佛穿越了漫长时间，仿佛还可以一直传承下去。物不仅和它所处的空间，还和一个家族的命运始终缠绕在一起。但是，相反的，在荷兰17世纪静物画中，那些杯盘刀具则是全新的，物仿佛是刚刚出炉的，它们拥挤在桌上，有强烈的炫耀感，它们闪亮发光。无论是夏尔丹的物还是荷兰的静物画，物的时间痕迹都通过材质的新旧得以体现出来。物必须放在流逝的时间中来衡量。王玉平《浮世绘的小人书-10》，31x41cm，纸本水彩，2016王玉平《浮世绘的小人书-12》，31x41cm，纸本水彩，2016而王玉平的物，不是通过新与旧来衡量的；它没有时间感，或者说，它的瞬间性摧毁了它的时间纵深。物本身是由一个蓬松和透气的空间来确定的。同样，他和莫兰迪的物也不一样，在莫兰迪那里，物有自己一个无限的世界，物有自己的宇宙，物在沉默中拥有全部世界的奥秘。但是，在王玉平这里，物既没有坎坷的命运，也没有世界的奥秘。物只有自身的柔情，只有自身的可爱，只有此地的世俗性。物的此时此刻的具体性完全关闭了通向超验世界之道。但这样的世俗之物也不是安迪.沃霍尔的商品，在安迪.沃霍尔那里，物是标准化的，物被大量的堆砌、重叠和复制。安迪.沃霍尔有无数的物，但是没有一件有个性的具体之物。而在王玉平这里，尽管这些物也都是商品，都是以商品的方式生产出来的，也通过商品消费的方式进入王玉平的生活世界的，但是，王玉平有一种奇怪的能力将这些商品的标准化风格抹掉，他消除了它们出厂时生硬的工业主义特征。他甚至画出了物的地域特征。这些物仿佛不是从工厂里面出来的，而是从市井中来的。这所有的物，包括那些杯子和盘子，都奇特地具有某种手工主义风格。不仅如此，你甚至在这里看到了物的地域主义风格——如果不是民族主义风格的话。王玉平的物看起来就像是老北京的物，或者说，它们只属于老北京的物。哪怕它们的的确确来自现在，来自全球各地，来自标准化的工业生产。但这些物还是不可思议地打上了地域主义的印记。即便是那些外文书，即便是那些最没有地方感的面包蛋糕，它们好像都来自同一个地方，来自同一个文化角落，来自同一个人。这些物被王玉平抹上了各种各样的色彩，是不是也意味着被王玉平抹上了各种各样的记忆？抹上了王玉平的青少年经验记忆？绘画中，我们真的会有这样的疑问：一个人如果和一件物呆在一起，真的会将他的背景，他的气质，他的爱好，他的经验和他的记忆，传染给这件物吗？或者说，物真的具有一颗“心”吗？王玉平《小茶壶》，23x31cm，纸本水彩，2013
English Version
Soft Memories of Objects
Wang Min’an
Wang Yuping likes to draw things at hand. These things are just being there, placed there as their habitual ways and own functions. They inevitably appeared in his field of vision. They are within the scope of Wang Yuping's daily activities and constitute his surroundings and atmosphere, or in other words, the extension and configuration of his body. Wang Yuping sees them every day, or should we say, he has no way but to see them every day. Even so, he’s still full of interests in these everyday visible things. He likes painting them. These everyday objects do not deliberately emerge from an extraordinary background. They have neither mysterious historical legends nor special radiance of materials. These daily usable or edible things exist in an ordinary way, sometimes only for a quite short period, without any intentions or desires of being immortal. Some of them, such as many cakes and pieces of bread and even a half-eaten breakfast, will soon disappear. These are the last moments of their fates. They are just hurriedly thrown into the world like passers-by. No one asks about their origins, and no one mourns their demise. They are within easy reach and not precious. They are so practical, so humble and so mediocre that people’s eyes rarely rest on them.王玉平《椅子》，42x29.7cm，木板丙烯，2019However, Wang Yuping found joy in these ordinary things. He didn’t push them to a distant opposite, nor did he treat them scientifically with the eyes of objective inspection. On the contrary, he regarded them as 'pet' things. They are practical, but they are also something to play with. Once being treated with the attitude of 'spoilt things', Wang Yuping would eradicate the functional use from these objects. Here, cakes and bread are not for eating, shoes are not for wearing, chairs are not for sitting, cups are not for drinking water, and books are not even for reading. Instead, they are all considered and appreciated as living stunners. For Wang Yuping, these things are having an ordinary surprise or ordinary emotions beyond their functions.The emotions atthings are exactly based on their ordinariness. It is precisely because of the ordinariness that these emotions do not stir. And also becauseof being ordinary, it is neither a grand and profound memorial nor a landscape with the nature of a museum. Wang Yuping did not give these things a glow in the form of fetishism.He didn’t sanctify them. These things are neither ancient nor sacred, nor strange. It is not something full of passion, not like Van Gogh or Expressionists, to expose the internal power of things, or to make them violent turbulence and shaking; On the contrary, these things are not exaggerated, radical, dazzling or irritable. Wang Yuping endows them with gentle and restrained feelings. Things are rippling in the emotions.王玉平《花帽子-1》，29.7x42cm，木板丙烯，2019王玉平《花帽子-3》，29.7x42cm，木板丙烯，2019How to make these things get an emotional ripple? Wang Yuping painted objects with light jumping colors. He hardly uses black and white, and rarely uses stable and thick colors. He tries to eliminate any sense of solemnity. His paintings on objects are rich in colors. These various colors are mixed with pink or red festivities, cheerfulness and lightness. These festive colors jump happily on the picture. These color jumps make things talk and make things have a sense of liveliness, a sense of joy, a sense of relaxation and a sense of lightness. This is a thing without a sense of tragedy, or even a thing without a bitter sense of destiny. Such things have no harsh mythology, only lovely mythology. At the same time, because of the diversity of colors, they look mottled and fluffy. There are a lot of gaps between colors, as if there is still space to fill, and they can breathe freely in these empty things. In this way, colors intersperse and jump with each other, and they produce an empty space. These spaces are neither compressed and filled by strong density, nor firmly covered by rigorous thick external colors. Therefore, these things appear very soft. It has all kinds of exports.王玉平《东洋画论-2 》，31x41cm，水彩，2014They not only have an internal softness, but also their external edges are blurred: the edges of objects are sometimes swallowed up by the painting background, or extend into the background and disappear naturally; Sometimes there is a vague ghosting or a scattered irregular thick line on the edge - Wang Yuping rarely draws clear outline lines and rarely uses these lines to tightly wrap things, so as to strictly distinguish things from the outside world. In other words, he doesn't let things have a hard outline, or a hard volume, or a hard texture. Things are neither strong nor strong. On the contrary, he makes things loose and soft, makes things elastic and tender, and makes things not only jump, but also breathe. Wang Yuping's objects seem to hide a heart. He doesn't draw hard objects made from metal. He likes to draw hats, cakes, cigarette butts, sofas, books and tablecloths. These things are soft and can be rubbed, pressed, manipulated and torn. In other words, they can not only withstand the smearing of brushes, but also the repeated touches from bodies and hands. He also painted some tables, chairs and porcelain objects, some plates and cups. These tables and chairs are covered by various colors of cloth, no hardness; The circular arc shapes of those cups and plates weaken their stiffness. Wang Yuping also painted these cups and plates with various colors, which can not only hide the hardness of the material, but also make the cups and plates soft and fluffy. Similarly, these tables, chairs, cups and plates also obtain their elasticity and can also have soft friction with bodies.王玉平《茶杯、浮世绘》，206x240cm，布面丙烯、油画棒，2018-2021In this way, Wang Yuping's things have unique qualities: he tries to draw the inner space of things, not the real space they try to occupy; He tries to draw the internal texture of things, not the external material of things; He tries to draw the inner softness of things, not the outer outline of things; He tries to draw the self-feeling of things, not the posture and deployment of things. In other words, he tries to draw the inner part of things, not the shell of things. He drew these things not to make them be remembered forever because of the external light and external legend, but to grasp their instantaneous state, that is, the unique instantaneous feeling of the moment when people's eyes stay on them. It was at this moment that things seemed to glow with a miracle. It is also at this moment that things are destined to disappear and destroy. But it is the feeling of it, the soft feeling of its heart, and this wonderful accidental moment that has become the eternity of Wang Yuping's canvas. Wang Yuping tries to make the instantaneity of these feelings eternal.This is a new attitude towards things. People used to distinguish things in various ways. In Chardan's paintings, people have seen the utensils in the kitchen: cans, knives, stoves, etc. These old things, like the space in which they are placed, seem to have passed through a long time and can be passed on all the time. Things are always intertwined with not only the space they are in, but also the fate of a family. However, on the contrary, in the 17th century still life paintings in the Netherlands, those cup and plate knives are brand-new, as if they had just been baked. They are crowded on the table, have a strong sense of showing off, and they shine brightly. Whether it is Chardonnay's objects or Dutch still life paintings, the time traces of objects are reflected through the old and new materials. Things must be measured in the passage of time.王玉平《烟蒂-1》，29.7x42cm，木板丙烯，2020Wang Yuping's things are not measured by the new and the old; It has no sense of time, or its instantaneity destroys its depth of time. The object itself is determined by a fluffy and breathable space. Similarly, he is different from Morandi's things. In Morandi, things have their own infinite world, things have their own universe, and things have the mystery of the whole world in silence. However, in Wang Yuping, there is neither a rough fate nor the mystery of the world. Things have only their own tenderness, only their own loveliness, and only the secularity of this place. The concreteness of things at this moment completely closes the way to the transcendental world. But such secular things are not Andy Warhol's goods. In Andy Warhol, things are standardized, and things are stacked, overlapped and copied in a large number. Andy Warhol has countless things, but there is no specific thing with personality. In Wang Yuping's place, although these goods are also commodities, produced in the form of commodities, and enter Wang Yuping's life world through commodity consumption, Wang Yuping has a strange ability to erase the standardized style of these commodities, and he eliminates their stiff industrialism when they leave the factory. He even painted the regional characteristics of things. It seems that these things came not from the factory, but from the marketplace. All these objects, including those cups and plates, have a strange handcraft style. Not only that, you caneven see the regionalism style of things here - if not the nationalist style. Wang Yuping's objects look like those of old Beijing, or they only belong to old Beijing. Even if they do come from now, from all over the world and from standardized industrial production. But these things are still incredibly marked with regionalism. Even those foreign language books, even those bread cakes with the least sense of place, seem to come from the same place, from the same cultural corner and from the same person. These things are painted with all kinds of colors by Wang Yuping. Does it also mean that they are painted with all kinds of memories by Wang Yuping? Smeared with Wang Yuping's youth experience and memory? In painting, we really have such a question: will a person really infect a thing with his background, his temperament, his hobbies, his experience and his memory? Or do things really have a 'heart'?王玉平《虚岁60-3》，200x480cm，布面丙烯、油画棒，2019-2021
Salt Roasted Ginkgo - Wang Yuping
王玉平，1962 年生于北京，现任教于中央美术学院油画系第四工作室。1983 年考入中央工艺美术学院陶瓷系，1985 年考入中央美术学院油画系， 1989 年毕业于中央美院油画系。
Wang Yuping, born in Beijing in 1962, graduated from oil painting department, Central Academy of Fine Arts (CAFA) in 1989. Currently works in the No.4 Studio of the Oil Painting Department, School of Fine Art, CAFA.
海报设计：刘瑞雪
图文编辑：于畅
翻译：高雨萌
