新展推薦 | 時光景象——梁劍油畫作品展

時光景象

TIME OF SCENES

梁劍油畫作品展

LIANG JIAN OIL PAINTING EXHIBITION

主辦單位 | Organizer

深圳紅立方運營管理委員會

ORGANIZER: OPERATION AND MANAGEMENT COMMITTEE OF SHENZHEN RED CUBE

展覽地點 | Venue

深圳紅立方龍崗區(qū)公共藝術(shù)館3層展廳

VENUE: 3RD FLOOR EXHIBITION HALL,LONGGANG PUBLIC ART GALLERY, SHENZHEN RED CUBE, SHENZHEN

展覽時間 | Time

2026年2月5日-3月8日

DATE: FEBRUARY 5, 2026–MARCH 8, 2026

前言

FOREWORD

梁劍的創(chuàng)作路徑，始終游走于具象的堅實與抽象的靈動之間。他善于捕捉景物在特定光線與時刻中顫動的瞬間，卻不止步于視覺的即時性。斑駁的老墻、逆光中的樹林、晨曦初露的海岸——這些在他的調(diào)色板上經(jīng)歷了微妙而深刻的轉(zhuǎn)化。筆觸層層疊加，色彩相互滲透，形成一種獨特的視覺質(zhì)地，仿佛時間本身在畫布上沉積、風化、剝落后留下的地質(zhì)層理。觀看他的畫作，我們不僅看到“什么”，更感受到“如何”看見，以及那看見的過程如何在時間長河中呈現(xiàn)。

Liang Jian’s creative trajectory has always navigated between the solidity of the concrete and the fluidity of the abstract. He excels at capturing the quivering moment of a scene under specific light and at a particular time, yet he never stops at mere visual immediacy. The mottled surface of an old wall, a forest backlit by the sun, a coastline at the break of dawn—all undergo subtle yet profound transformations on his palette. Layer upon layer of brushstrokes, colors permeating one another, form a unique visual texture, as if time itself has deposited, weathered, and eroded upon the canvas, leaving behind geological stratification. When viewing his works, we do not simply see “what” is depicted, but rather sense “how” to see, and how that very act of seeing unfolds across the expanse of time.

此次展出的作品系列，展現(xiàn)了藝術(shù)家近年來對“時光景象”這一主題的多維度探索。從早期對瞬間光色的敏銳捕捉，到近年對記憶構(gòu)造與歷史層積的沉思，他的繪畫語言日益凝練而富有哲學意味。在油畫媒介的邊界內(nèi)進行著誠懇實驗，讓油彩的黏稠感與透明度、筆觸的力度與節(jié)奏，都與所要表達的時間質(zhì)感達成內(nèi)在統(tǒng)一。畫面中那些看似偶然的流淌、滴灑與刮擦痕跡，打破了表象的完整性，卻開啟了通往更深層真實的門徑——那里，過去與現(xiàn)在共存，記憶與想象交織，悄然共鳴。

The series of works presented in this exhibition reflects the artist’s multi-dimensional exploration in recent years of the theme “Temporal Vistas.” From his early keen capture of fleeting light and color to his more recent contemplation on the structure of memory and the layering of history, his painterly language has grown increasingly distilled and philosophically resonant. Through earnest experimentation within the bounds of oil painting, he achieves an inherent unity between the viscosity and transparency of the oil medium, the force and rhythm of his brushstrokes, and the temporal texture he seeks to express. The seemingly accidental flows, drips, and scratch marks in his compositions break the integrity of surface appearances, yet open pathways to deeper truths—where past and present coexist, memory and imagination intertwine, and quiet resonances emerge.

梁劍的繪畫不提供瞬時的答案或直白的敘事，而是提供了一面面鏡子、一扇扇窗，抑或是一道道時間的裂隙。透過它們，我們或許能窺見自身記憶的構(gòu)造，感知到個體生命與更廣闊時間經(jīng)緯的隱秘聯(lián)結(jié)。每一道筆觸都是時間的印記，每一抹色彩都是光明的沉淀，在畫布這個有限的平面上，藝術(shù)家為我們展開了時間的無限景觀。

Liang Jian’s paintings do not offer instant answers or straightforward narratives. Instead, they provide mirrors, windows, or fissures in time. Through them, we may glimpse the architecture of our own memories, sensing the subtle connections between individual life and the broader warp and weft of time. Each brushstroke is an imprint of time; each hue is a sedimentation of light. On the finite plane of the canvas, the artist unfolds for us an infinite landscape of time.

部分作品

PART OF ART WORKS

梁劍《起舞》

100cm×130cm 布面油畫 2013

梁劍《舞影2》

60cm×80cm 布面油畫 2025

梁劍《龍騰盛世》

60cm×80cm 布面油畫 2019

梁劍《清風》

50cm×60cm 布面油畫 2017

梁劍《山之歌》

60cm×100cm 布面油畫 2019

梁劍《客語系列-1》

60cm×100cm 布面油畫 2019

梁劍《悠然的天空2》

50cm×70cm 布面油畫 2022

梁劍《繁花2》

180cm×180cm 布面丙烯 2022

梁劍《云端》

60cm×80cm 布面油畫 2025

梁劍《綠洲》

60cm×80cm 布面油畫 2023

梁劍《竹影晨光》

60cm×80cm 布面油畫 2025

梁劍《風起云涌時3》

60cm×80cm 布面油畫 2023

梁劍《舞影1》

60cm×80cm 布面油畫 2025

梁劍《晨曦》

60cm×80cm 布面油畫 2019

梁劍《喀什風情-高臺民居》

60cm×80cm 布面油畫 2023

梁劍《晨暮》

60cm×80cm 布面油畫 2017

梁劍《秋意》

60cm×80cm 布面油畫 2018

梁劍《秋分》

60cm×80cm 布面油畫 2019

梁劍《圣山系列——秋》

50cm×60cm 布面油畫 2020

梁劍《尋》

200cm×200cm 布面丙烯 2022

梁劍《圣山系列11》

30cm×40cm 布面油畫 2021

梁劍《遠方的歌聲》

60cm×80cm 布面油畫 2024

梁劍《繁花》

180cm×180cm 布面丙烯 2022

梁劍《云上的歌聲》

60cm×80cm 布面油畫 2024

梁劍《草原牧歌》

50cm×60cm 布面油畫 2024

關于藝術(shù)家

ABOUT ARTIST LIANGJIAN

梁 劍

Liang Jian

1977年生于廣東，2004年畢業(yè)于英國肯特大學藝術(shù)與設計學院并獲藝術(shù)碩士學位?，F(xiàn)為中國美術(shù)家協(xié)會會員、廣東省美術(shù)家協(xié)會理事、粵港澳大灣區(qū)美術(shù)家聯(lián)盟漆畫藝委會副主任、深圳市美術(shù)家協(xié)會副主席、深圳市龍崗區(qū)文聯(lián)副主席、深圳市青年美術(shù)家協(xié)會副會長。作品多次參加國內(nèi)外美術(shù)作品展，并被專業(yè)藝術(shù)機構(gòu)及私人收藏。

Born in Guangdong in 1977, Liang Jian graduated from the School of Art & Design at the University of Kent, UK, in 2004 with a Master of Arts degree. He is currently a member of the China Artists Association, a council member of the Guangdong Provincial Artists Association, Deputy Director of the Lacquer Painting Art Committee of the Guangdong-Hong Kong-Macao Greater Bay Area Artists Alliance, Vice Chairman of the Shenzhen Artists Association, Vice Chairman of the Shenzhen Longgang District Federation of Literary and Art Circles, and Vice President of the Shenzhen Young Artists Association. His works have been exhibited in numerous art exhibitions both domestically and internationally and are held in the collections of professional art institutions and private collectors.

梁劍的油畫風景顯現(xiàn)出一種游離于東西方繪畫精神之間的創(chuàng)作，既沒有模仿西方也沒有簡單地植入傳統(tǒng)中國元素。如何運用西方繪畫語言表現(xiàn)風景的同時找到自我的表達方式——這是梁劍常常思考的問題。因而，他不斷地在風景寫生實踐中探索與積累，尋找自己的繪畫樣式。他堅持以室外捕獲色彩和營造氣氛的創(chuàng)作手法，逐漸形成了跳躍、自為的藝術(shù)特征。這么多年來，梁劍不間斷與大自然的深入接觸，作品雖多為寫生之作，卻并非景物的真實再現(xiàn)，而是對自然景象進行了理想化的處理與提煉，形成了自己的心像，并在藝術(shù)的共鳴狀態(tài)中寄托出自我的情感。

Liang Jian's oil landscape paintings reveal a creative practice that drifts between the artistic spirits of Eastern and Western painting—neither imitating Western styles nor merely inserting traditional Chinese elements. How to employ the language of Western painting to depict scenery while discovering one's own mode of expression is a question Liang often contemplates. Consequently, he continuously explores and accumulates experience through plein air painting practice, seeking his own distinct pictorial style. Adhering to the method of capturing color and atmosphere directly from nature outdoors, he has gradually developed a vibrant and self-contained artistic character. Over the years, through sustained and profound engagement with the natural world, Liang’s works, though largely painted from life, are not literal reproductions of scenery. Instead, they represent an idealized processing and refinement of natural views, forming his own inner vision and projecting his personal emotions through a state of artistic resonance.

創(chuàng)于2014，相伴已成為習慣

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