四川美术学院院长 庞茂琨
Pang Maokun, The head of Sichuan Fine Art Institute
庞茂琨，1963年生于重庆，1985年四川美术学院油画系毕业，1988年获硕士学位并开始任教于四川美术学院油画系。现为四川美术学院院长、教授，重庆画院院长，重庆美术家协会副主席，中国美术家协会理事，中国美术家协会油画艺委会副主任，中国油画学会理事 。
1974～2016年 庞茂琨肖像
Photo of Pang Maokun 1974--2016
1983年的庞茂琨的作品《苹果熟了》一举成名，成为现实主义风格的代表性人物。之后在从事四川美术学院学术教育上卓有建树、也在油画创作上，不断对自己的手法、材料和方法提出质疑，2010年创造出带有戏剧性和挑战性的系列：《沉溺》 、《光耀》 、《巧合》等，打破绘画语言的秩序，颠覆约定俗成的符号隐喻。
香脸轻匀,黛眉巧画宫妆浅 双蝶绣罗裙。
东池宴,初相见。朱粉不深匀,闲花淡淡香。
细看诸处好,人人道,柳腰身。昨日乱山昏,来时衣上云.....
——《洛神赋》曹雪芹
庞茂琨 Pang Maokun
沉溺之一 Indulgence No.1
布面油画 Oil on canvas
110×150cm 2011
庞茂琨 Pang Maokun
沉溺之三 Indulgence No.3
布面油画 Oil on canvas
110×150cm 2011
每首诗有独特的画面，每幅画有观者自己的解读，庞茂琨的沉溺之四仿佛是在描述一位“柳腰身”的女性在画黛眉，裸女与石头所构成的空间让人有无尽的遐想。柔软的身躯和坚硬的石头成为强烈的对比。由于这些图像与片段化的场景脱离了原来的语境，当它们出现在同一个画面时，势必会造成在时间、空间，以及视觉心理上的错位感，而此刻，图像自身所具有的意义就会弥散开来，彼此冲突，于是，一种新的绘画叙事方式得以形成。显然，这种“景观化”的表达已由一种典型的后现代主义的叙事方式所主宰，即作品的叙事是不符合人们的日常视觉经验的，其内在逻辑是冲突的、矛盾的。毋庸置疑的是，“凝视”的力量远远大于“观看”，因为它能反映出艺术家对当下问题所保持的敏锐洞察力，蕴含着艺术家关照现实时的精神深度。从这个意义上讲，重要的不是图像本身，而是艺术家对某种类型的图像所进行的选择。但不管是那类图像，现实主义都是其底色。
庞茂琨 Pang Maokun
沉溺之四 Indulgence No.4
布面油画 Oil on canvas
160×200cm 2011
华艺国际2017年春季拍卖会拍品
“关键是凝视，那是一种发自内心的审视，一种自我反省，一种向外探求。有趣的是，在这凝视的目标下，庞茂琨着重表达的是一系列的女性。在他的大量作品中，女性占据了显著的位置，从早期描绘彝族女性到后期描绘城市女性，尽管对象的身份有了重大变化，但隐含其间的一种观望，一种凝视，一种反省，却一直主宰着艺术家的思维。”— 杨小彦
庞茂琨 Pang Maokun
邂逅之二 Encounter No.2
布面油画 Oil on canvas
180x260cm 2010
庞茂琨 Pang Maokun
镜花缘之六 Romance of Mirrored Flower NO.6
布面油画 Oil on canvas
160x120cm 2014
当今，信息爆炸每秒产生上百万图片，轰炸我们的眼球，这正是在考验艺术家能否创造出新的画面，让观者有不同的体验，并与艺术家一起感同身受艺术魅力的时刻。庞茂琨的作品冲突而强有力的戏剧张力，让我们重新思考。画面中的视觉联系，因个人思维的变化和时代的变迁而改变，超越了图示所直接阐释的意义。
庞茂琨工作室照片 Photo of Pang Maokun’s studio
庞茂琨工作室照片 Photo of Pang Maokun’s studio
Pang Maokun| Gazing at Spectacles
Born in 1963 in Chongqing, Pang Maokun graduated from Oil Painting Department of Sichuan Fine Arts Institute in 1985 and received his master degree in 1988. He is the head of Sichuan Fine Arts Institute, the Vice Chairman of Chongqing Artists Association and the committee member of China Oil Painting Society.
In 1983, his work Apples are Ripe was a great success and he became one of the leading painters of realistic paintings in China. During the following years, he was not only successful in teaching at Sichuan Fine Arts Institute, but also trying to apply some new methodologies and techniques to his paintings. In 2010, he created a dramatic and challenging painting series: Indulgence, Glory, Coincidence, etc. His works broke down the painting’s formal compositions, overturned the conventional metaphor of still-life images in paintings.
Every poem has a unique scene, and every painting generates different interpretations from the viewers. Pang Maokun’s Indulgence No. 4 seems to describe an image of which a skinny lady is drawing her eyebrows. The soft skin and the hard stone became a contrast and they created an intimate space that led to viewers’ reverie. Because this scene rarely happens in the real life, it dislocated our vision, time and space as painted on the same canvas. This illogical scene was spread into multiple meanings and reformed a new narrative to describe paintings. Obviously, a classic description of postmodernism dictates this spectacle-oriented expression, thus its inner logic is conflicting and contradictory based on our daily visual experience. There is no doubt that ‘gazing’ is a more powerful action than ‘observing’ since it reflects a highly sensitive insight and an in-depth concern to reality coming from the artist. The spectacle itself is no longer vital compared to the selection of the spectacle, however all spectacles rely on realism.
Gazing to his work is the key to inner self-examination, an introspection, but it is also an extrospection of exploration. Interestingly, Pang Maokun is focusing on the portrayal of a range women. From earlier work on Yi nationality’s women to later work on modern women, there is no doubt that women has taken a significant part of his work. Even there is an obvious alternation on different identity, this spiritual self-examination dominates his conception.-Yang Xiaoyan
Nowadays, information is booming our eyes with millions of images produced in a second. It has been a huge challenge for an artist to create a brand new experience to viewers. Whether they can experience the charm of art as the artist’s personal favor is also a great difficulty. The strong conflict and theatrical tension revealed on his work make us to rethink. It’s not hard to find that visual connection has been altered to beyond its physical explanation as the ideas and time are advancing.
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