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EXHIBLTION
繁华不再，古韵犹存
二十世纪以来的中国，由于受到西方文化的冲击，自身的传统价值开始土崩瓦解。在知识界和艺术界，要么是“打倒孔家店”，彻底否定传统；那么是西风东进，借西方文化来改造自己的传统。总之，传统被等同于落后，一时间成了人人弃之的糟粕。然而，近世以来，随着国际环境的变化，尤其是中国经济的崛起，中国人对自身的传统，开始了重新审视与重新发现，由此也诱发了回归于传统的文艺思潮。艺术家仝凌飞就是在这股思潮中脱颖而出的。
仝凌飞，毕业于山东艺术学院版画系，接受过严格而系统的现代美术教育，读书期间打下了深厚的造型基础。不过，虽然仝凌飞完整地掌握了现代造型语言，但却心系于传统，始终对传统中国画的墨笔方式与造境方式情有独钟。所以，仝凌飞毕业之后，并没有随波逐流，选择搞所谓前卫艺术，以某种表面的创新来证明自己的当代性，而是潜下心来，以一种完全回归于传统的姿态，一方面改自己名号，如取字七郎，号平湖丘生、北窗阁主人等等；另一方面身体力行地回到文人画的历史，尤其是深入到早期的宋元传统之中，去寻找意韵超
然、隽雅灵动的古意。由此，仝凌飞在绘画中另辟蹊径，形成了自己古意盎然的语言方式，为中国当代艺坛提供了一种独特的文人视觉经验。
仝凌飞的绘画，主要以山水为主，但没有沿着明清山水画的路径，去追求所谓“意超象外”的视觉效果，而是上溯到宋画的传统，取绢布上作画的表达方式，特别强调其精致、写实之功，以精细的钩勒、严谨的刻画，来表现人对山水世界的理解与敬畏之心；同时，在造境方式上，取奇峰异岭、耸苍滴翠为题材，加以虚实相生的构图，更是带给人一种高深回环、大山堂堂的气势。毫无疑问，仝凌飞的这种艺术追求，是在努力接近于“文人画”的孕育之源，即厚重、博大、宽广的精神起点。而他的这种探索与挖掘，不仅旨在为“文人画”溯本求源，更为重要的是，也为当代艺坛拓展了精神和视觉的维度。
杨卫
2018年5月2日
前言
Preface
In China, Since the 20th century, From the impact of western culture, its own traditional values began to collapse. In the intellectual and artistic world, it is either " Stop the Confucian ", which is a total negation of traditions; So that is the west wind turns to east, using western culture to transform their own traditions. In short,Chinese tradition is equated with backwardness, and for a while it becomes the drosses that everyone abandons. However, since recent years, with the changes of international environment, especially the rise of China's economy, Chinese people have started to re-examine and rediscover their own traditions, which has also led the trend of return of the traditional literary and artistic. It is in this trend that the artist Tong Lingfei stands out.
Tong Lingfei graduated from the School of Printmaking of Shandong university of Art and received strict and systematic modern art education. However, although the Tong Lingfei has completely mastered the modern modeling language, it is rooted in the tradition and has a special preference for the ink style and creation style of traditional Chinese painting. Therefore, after the graduation, He chose to pursue the so-called avant-garde art instead of going with the tide and proving its contemporary nature with some superficial innovation. Instead, it went down to the heart and returned to the tradition completely. On the other hand, He personally went back to the history of literati painting, especially went deep into the early Song and Yuan dynasties traditions to find the ancient meaning of detached and elegant charm. In this way, the Tong Lingfei has found a new way in his paintings, forming his own ancient and vigorous language style, and providing a unique visual experience of literati for the contemporary art in China.
Tong LingFei’s paintings, especially focus on landscapes, but not along the path of the landscape painting in the Ming and Qing dynasties, but back to Song dynasty painting tradition, expression his painting on silk, with particular emphasis on its delicate, realistic, to use elaborate hook, rigorous, to represent people's understanding of landscape of the world and the heart of fear; At the same time, on the way of creating the environment, taking strange peaks and different mountains as the subject matter, and the composition of virtual and reality, it is more of an imposing manner that brings people a profound echo and grand mountains. There is no doubt that the artistic pursuit of the festival is the source of the cultivation of "literati painting", namely the profound a huge and broad spiritual starting point. His exploration and excavation not only aims at tracing the origin of "literati painting", but also, more importantly, expands the spiritual and visual dimensions for the contemporary art..
Yang Wei
2 May 2018