The Source of Life (Root)

生命之源（根相）

                                                        ---马赛克评（吕墩墩译）

Looking at the paintings in Teng YaHong's exhibition, one feels transported to some woody  bower or dark thicket.  Tree roots struggle to crack open and penetrate rocks.  Branches  crisscross.  The view is always towards the earth as if there is fear of tripping over some  errant root obstructing the path.  There is a sense of dappled shade.  One notes a kindred  spirit with the Pre-Raphaelite Brotherhood in these works.  The P.R.B. were a group of  painters who in England of the 1850's set out to revolutionize painting and return it to a  strength and purity that existed before the time of Raphael (1483 - 1520).  They were  interested in portraying an erratic nature, often untamed, with a reckless abandon that had  been squeezed out of existence by the academic tradition.  Often times they painted out of  doors, taking inspiration directly from visual observation, as does YaHong.

看着滕亚红的画展,一时感觉跑到了那些树阴或阴凉的丛林。树根挣扎着弄破土层、穿透岩石。根系盘根错节。使人关注地面上就好像怕绊倒，因为无处不在的树根阻碍小路。存在一些有斑点的色调。有一点使人想起拉菲尔前派的作品，1850年在英格兰几个艺术家掀起了一场革命，为了寻求更纯、更有表现力的绘画形式，这种绘画在拉斐尔（1483-1520）以前就已经存在。这群艺术家追求一种难以抑制的古怪味道，带着不顾后果的狂热，其实这些东西本来出自于学术传统，本来就存在。当时他们多次到户外去写生，从视觉观察中寻求灵感，亚红现在的做法跟他们一样。

But first looks can sometimes be deceiving.  Teng's color doesn't quite jive with the scene.   Where one would believe in greens and browns  to propel this subject matter, there is a  preponderance of turquoise blues and reds.  The off key chroma suggests more bowels and  entrails than nature trail.  In Number 2 (the paintings in this series are only identified  by numbers) small disassociated branches are tubular and smooth, glistening slightly upon a  purplish ground like some left over from an anatomical dissection.  There is a slightly  visceral quality to the paint.  Thin layers of color often times dispersed by splashes of  paint thinner are overlaid with luscious strokes of pink, turquoise and flecks of white  following the contours. The works in this series of paintings become a Rorschach test of the  viewers psyche.  Do the small splotches of dispersed paint read as lichens on tree bark, or  corpuscles floating in arteries?  

但首先,外表有时是会骗人的。滕的颜色并不完全是现实的场景。一般人会相信用翠绿和褐色来画,而她却用宝石兰和红色。特殊的浓度意味着挖掘出更多内部细节而不是呈现自然色彩。在2号中(本系列的作品只用数字命名)根枝分开呈管状，发出一些光点，底子是微紫色的，景象有点像解剖的内脏。颜色多层覆盖后以调色油喷洒，又加以粉色的看上去很舒服的笔触覆盖。翠绿上有白色的斑驳以及勾线。本系列作品好像是用来作罗夏心理测试。看上去不知是地衣在树皮上,还是血球在动脉里漂浮？

Nature is not whole, here.  The branches end abruptly.  They are not broken as if by wind or  storm, but are cut with the precision of a chain saw, their circular terminations projecting  into the void.  Number 65 shows us a tree stump, its entwining roots and branches ending  short, isolating it on the canvas.  But the turquoise color also suggests an organ  surgically removed, awaiting for transplant and oxygenation to turn the blue back to red.

自然不是一切，根枝突然没了。不像是被暴风雨袭击所致,是被精密的自动链锯所锯掉，本身的自然状态没了。作品65号是一个树桩,交缠的根和分枝末端孤立地隔离。但绿松石的颜色也 显示像是有一个肢体被切除,等待移植后使皮肤颜色由蓝便红。

Teng subtitled this exhibition “Roots” and that suggests how the works are to be viewed.    We revel in her view of nature, the colors that are more felt than seen, and we give pause  to ponder how we treat the roots under our feet.  These paintings have the outward  appearance of being part of the western pictorial tradition, but they are distinctly  Chinese.  The roots of YaHong's work are deeply grounded in the history of ink painting  where depth is not suggested  by shadows as in the western tradition. Su Shi and Mi Fu,  scholars during the Northern Song Dynasty, expressed disdain for techniques that stressed  dimension, depth and proportion.  Ideal painting instead should transform feeling and mood  into visual data and Teng accomplishes that task.

Teng YaHong's view of nature, like her color sense, is deeply personal.  She shares  her  view of the world around us which even though grossly abused, still pulsates with vital  energy.  For all the cut and wounds and hurt, there appears in  Number 30, one small lone  branch of new foliage giving us hope for the future.

展览的副标题“根”暗示我们如何观赏。我们被带入她的自然景观,和颜色中,所感比所看的要多，更觉得要反思我们如何对待我们脚下的根源。

这些画虽有西方绘画的影响,但明显还是中国的。亚红的关于“根”作品深深植根于水墨画上，苏轼和米芾,在北宋的文人不重视比例和3度空间而发展了2度空间，认为理想的绘画而不是应该改变感觉和情绪的可视化这一任务。

滕亚红的自然观,表现在她的色彩上，她的色彩是很个人化的,她表达了对于周围的环境即使是被我们破坏，保护她们仍然至关重要。                                                                                           Christopher Pelley

以上是聊天历史记录  

小曼子  10:07:59

Teng YaHong

The Source of Life (Root)

生命之源（根相）

Looking at the paintings in Teng YaHong's exhibition, one feels transported to some woody  bower or dark thicket.  Tree roots struggle to crack open and penetrate rocks.  Branches  crisscross.  The view is always towards the earth as if there is fear of tripping over some  errant root obstructing the path.  There is a sense of dappled shade.  One notes a kindred  spirit with the Pre-Raphaelite Brotherhood in these works.  The P.R.B. were a group of  painters who in England of the 1850's set out to revolutionize painting and return it to a  strength and purity that existed before the time of Raphael (1483 - 1520).  They were  interested in portraying an erratic nature, often untamed, with a reckless abandon that had  been squeezed out of existence by the academic tradition.  Often times they painted out of  doors, taking inspiration directly from visual observation, as does YaHong.

看着滕亚红的绘画展览,一个感觉传递一些木本,树阴或黑暗的丛林。树根和岩石的穿透交错。视图总是朝 着地球好像有绊倒了一些恐惧错误的根在阻碍着道路，有一种斑驳的阴影。这让人记起一个家族精神与这 些作品的拉菲尔前派的兄弟会。P.R.B.被一群在英格兰的画家1850年着手改革的绘画并返回它之前存在的 强大力量和纯度的拉斐尔(1483 - 1520)。他们难以抑制的塑造一个古怪的自然,放弃了被挤出存在的学术 传统经常在，户外绘画，和亚红一样直接从视觉观察启发。

But first looks can sometimes be deceiving.  Teng's color doesn't quite jive with the scene.   Where one would believe in greens and browns  to propel this subject matter, there is a  preponderance of turquoise blues and reds.  The off key chroma suggests more bowels and  entrails than nature trail.  In Number 2 (the paintings in this series are only identified  by numbers) small disassociated branches are tubular and smooth, glistening slightly upon a  purplish ground like some left over from an anatomical dissection.  There is a slightly  visceral quality to the paint.  Thin layers of color often times dispersed by splashes of  paint thinner are overlaid with luscious strokes of pink, turquoise and flecks of white  following the contours. The works in this series of paintings become a Rorschach test of the  viewers psyche.  Do the small splotches of dispersed paint read as lichens on tree bark, or  corpuscles floating in arteries?  

但首先,外表有时是会骗人的。滕的颜色并不完全是现实的场景。一般人会相信绿色和褐色来推动这个主 题,有一个优势是土耳其玉色和红色。跑调浓度显示更多的肠子和内脏通往自然景观的小径。在2号(本系 列的作品只是确认通过数字)小分支管状剥离,并平滑,闪闪发光的稍上略带紫色的地面像一些遗留下来的 一个局部解剖。有一个稍微发自肺腑的油漆质量。薄层的颜色通常分散的色斑涂料稀释剂覆盖着甜美的中 风的粉红色,绿色和白色的斑点后的轮廓。本系列作品的绘画成为罗夏测试的观众心理。做小的分散的条 纹解读为地衣在树皮上,还是小体在动脉漂浮？

Nature is not whole, here.  The branches end abruptly.  They are not broken as if by wind or  storm, but are cut with the precision of a chain saw, their circular terminations projecting  into the void.  Number 65 shows us a tree stump, its entwining roots and branches ending  short, isolating it on the canvas.  But the turquoise color also suggests an organ  surgically removed, awaiting for transplant and oxygenation to turn the blue back to red.

自然不是,在这里。树枝突然结束。他们不像如果被风或暴风雨袭击,但却被精密链锯所砍掉，循环终止预 测进入空白。65号向我们展示了一个树桩,交缠的根和分支的结局,孤立隔离在画布上。但绿松石的颜色也 表明一个器官，手术切除,等待移植和氧化蓝回红。

Teng subtitled this exhibition “Roots” and that suggests how the works are to be viewed.    We revel in her view of nature, the colors that are more felt than seen, and we give pause  to ponder how we treat the roots under our feet.  These paintings have the outward  appearance of being part of the western pictorial tradition, but they are distinctly  Chinese.  The roots of YaHong's work are deeply grounded in the history of ink painting  where depth is not suggested  by shadows as in the western tradition. Su Shi and Mi Fu,  scholars during the Northern Song Dynasty, expressed disdain for techniques that stressed  dimension, depth and proportion.  Ideal painting instead should transform feeling and mood  into visual data and Teng accomplishes that task.

Teng YaHong's view of nature, like her color sense, is deeply personal.  She shares  her  view of the world around us which even though grossly abused, still pulsates with vital  energy.  For all the cut and wounds and hurt, there appears in  Number 30, one small lone  branch of new foliage giving us hope for the future.

滕副标题为这次展览“根”,表明作品是如何被视觉观赏的。我们陶醉在她的自然里,比看到的颜色,更觉 得我们要暂停思考我们如何对待我们脚下的根源。

这些画有向外外观的西方绘画传统的一部分,但它们明显是中国的。亚红的根的作品深深植根于水墨画的 历史但这种深度影子不建议在西方的传统上。苏轼和米芾,在北宋学者,对技术,强调表示蔑视维度,深度和 比例。理想的绘画而不是应该改变感觉和情绪可视化数据，滕完成这一任务。

滕亚红自然的观点,喜欢她的颜色感觉,深入的个人喜欢她的颜色感觉,。她的分享对我们周围的世界,即使 严重虐待,仍然闪烁着至关重要能量。出现在30号的作品剪切和创伤和伤害,有一个小的分支的新叶子给了 我们对未来的希望。