申亮《畫書系列》
中國藝術家申亮長期進行之創作項目——「畫書系列」，可以視作其臨摹古畫的趣味體現與延伸。他將注意力投注在海量收集來的數百本舊圖書和刊物上，並在這些古書中，發現其書皮中具有與老紙相似的歷史感和時間感，因此將圖像摹於老書的封面封底，藉由老書的氣質，體現「傳統」的韻味；申亮對原有書籍的表面進行了趣味十足的二次繪畫，更加入竄改、調侃、反諷、戲謔、幽默等元素，將之引入「當代」。在呼應書籍封面本身圖像和版式的同時，也通過大量挪用中國宋元繪畫史中的現成圖像加以即興的發揮來組構新畫面和新意涵。此時的畫書，是塗鴉，也是繪畫，更是裝置（現成物）。
五個桃 Five Peaches
The long-term project Painted Book Series that Shen Liang has been working on, could be regarded as the expression and extension of its interest in imitating Chinese ancient paintings. He focused on hundreds of old pictures, books, and magazines that he has collected. and found out that these old book covers contain a sense of history and time which is similar to the old paper, so the artist paints copied-like images on the front and back covers of these old books, reflecting a sense of "traditional" by the temperament of the old books. Shen paints on top of the surfaces of the original publications with fascinating results, by adding elements such as imitation, sarcasm, irony, and humor to introduce it into the "contemporary". Not only did he echo the image and layout of each book cover, but also by appropriating many readymade images from the Song and Yuan and adding spontaneous embellishments of his own, he produced new pictures with new meaning. The painted book at this time, is graffiti, a painting and moreover, an installation (ready-made).
菩薩也累啊 Buddha is Tired
煎蛋眼 Fired Eggs Eyes
透過申亮的作品，可以見得一方面「塗鴉」以癲鬧的方式去回應傳統所謂「墨戲」的筆墨情趣。另一方面藝術家通過東方的「塗鴉」對於價值和意義的「覆寫」，處理、融合「高與低；雅與俗」彼此矛盾的二者之間的關係。而戲謔，則一方面挑戰了僵化的價值與教條，另一方面卻又展現出對於價值和教條的熟稔。因此「塗鴉」以一種破格的方式在僵化窒息的教條中，重新建構起一個充滿趣味的想像世界。與此同時，這想像的遊戲也覆寫了眼前這印刷品的意義，成為一個穿越無聊的真實，抵達想像和趣味彼端的通道。
Mischievously, Shen interprets the lighthearted and elegant “ink play” of traditional Chinese painting by scribbling, and deploys the Eastern tradition of defacing books to subvert values and meanings, thus extending his skillful strategy of revealing connections and contradictions between high and low culture. And humor challenges doctrines and rigidly held values, yet also points out familiarity with those same doctrines and values. Eastern defacement, therefore, uses a rule-breaking strategy to construct a delightful world of imagination on the foundation of traditional values. Furthermore, as the gesture subverts the printed material on which it is applied, it also becomes a portal whisking readers away from dull reality and to a world of playful imagination and delight.
個展 Solo Exhibition 山水也霓虹 Neon Landscapes 2017
西岸藝術與設計博覽會 West Bund Art & Design 2017
最後，中國傳統文化的涵養，可以說透過申亮個人時而戲謔、時而嚴肅的詮釋，以嶄新的面貌走入當代人的文化生活，並以傳統筆墨繪畫的覆面，直指當代藝術的塗鴉以及自身的混合藝術實踐。
So, we can say that through Shen Liang’s personal interpretation, sometimes playful and sometimes serious, the cultivation of Chinese traditional culture has entered modern people’s life with a brand new outlook.
JINGART 藝覽北京博覽會 2018
ART021上海廿一當代藝術博覽會 ART021 Shanghai Contemporary Art Fair 2018
Art Chengdu 國際當代藝術博覽會 Art Chengdu International Contemporary Art Fair 2018
ART021上海廿一當代藝術博覽會 ART021 Shanghai Contemporary Art Fair 2019
關於藝術家
申亮，1976年生於遼寧，中央美術學院油畫系第三工作室碩士畢業。作品曾受美國西雅圖美術館、澳大利亞白兔美術館、中國美術館、中央美術學院美術館等典藏。曾於德國法蘭克福與柏林、美國紐約、韓國首爾與北京等地舉辦個展。
Shen Liang, born in Liaoning Province China,1976, graduated from Central Academy of Fine Arts, Beijing, China. His work is in collection of Seattle Art Museum, U.S.A., White Rabbit Gallery, Australia, The National Art Museum of China, and CAFA Art Museum, China. He has also had solo exhibitions in Berlin and Frankfurt, Germany, New York, U.S.A, Seoul, South Korea, and Beijing, China.
倩女幽魂 A Chinese Ghost Story
淨身拜師圖 Cleaning and Apprentice to a Master
蟲腦 Worms Brain
淒美圖 Poignant Landscape
眼神圖 Eyes
為無名高地增加一米 Add One Meter to an Anonymous Mountain