FENG XIAO-MIN
馮 驍 鳴 INSPIRED 靈 韻 RESONANCE
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FENG XIAO-MIN
馮 驍 鳴 INSPIRED 靈 韻 RESONANCE
IN MY LIFE, IF I DON’T HAVE PAINTING, IT’S AS IF THE SOUL IS GONE. 在 我 的 生 命中 ， 脫 離 了 繪 畫 ， 猶如失去了靈魂一般。
FENG XIAO-MIN 馮驍鳴
Feng Xiao-Min in his studio in Paris Š Michel Lunardelli 2018
PREFACE 前言
It gives us great pleasure to present 2019’s opening solo exhibition featuring works of Feng Xiao-Min.
我們很高興能在2019年到來之際為大家獻上馮驍鳴的個 展。
Over a decade of successful exhibitions in Hong Kong, 2019 marks a significant year for Opera Gallery Group as we celebrate our twenty-fifth anniversary. We are very honoured to have this opportunity to bring forth this very special exhibition with Feng Xiao-Min to celebrate the joyous occasion. Feng Xiao-Min’s aesthetics of East meets West through his artistic language pair up very well with Opera Gallery’s global and cross cultural heritage as a gallery.
奧佩拉畫廊在香港已經十餘年了，同時2019年也是奧佩 拉成立二十五年的慶典。我們很榮幸值此機緣向諸位呈 現馮氏的個展來慶祝奧佩拉的生日。馮驍鳴的藝術語言結 合了東西方的美學，與我們國際化與跨文化的傳統不謀而 合。 希望馮驍鳴在香港的首個個展能夠向大家呈獻一場藝術的 盛宴。
We take great pleasure in presenting Feng’s first ever show in Hong Kong with you.
Gilles Dyan Chairman and Founder, Opera Gallery Group
Gi lles D yan 奧 佩 拉 集 團 董 事長及創始人
Sharlane Foo Director, Opera Gallery Hong Kong
符莎玲 奧 佩 拉 香 港畫廊總經理
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Feng Xiao-Min in his studio in Shanghai
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AN ETHEREAL WORLD Gérard Xuriguera, art historian and critic
一 個 空 靈 的世 界 傑拉德·古西格拉, 著名藝術評論家
Although long established in Paris, Feng Xiao-Min appreciates that his painting owes much to his geo-cultural roots, particularly in the field of calligraphy - into which he was initiated at the age of six – just as he is perfectly aware of the position occupied by his practice between two opposing worlds: the West and the Far East. In other words, a position between legendary Chinese wisdom and the turbulence of European painting; a position which has led him to profit from these two different experiences, creating a unique aesthetic that combines action, line and the complicity with the natural world which is so fundamental to the Asian spirit. After studying art in China, and then at the prestigious École Nationale Supérieure des Beaux-Arts in Paris, he abandoned the medium of ink for oil, acrylic and colour, refusing to completely renounce the demands of appearance. This is in effect, the foundation of his pictorial quest, and above all, a pretext for imagining space and bringing it to life by the very simplest of means. The result is an agglomeration of signs and symbols, diluted within an environment that is sometimes diaphanous and shimmering, sometimes solar or crepuscular, often haloed by vaporous areas and fine tonal gradations, revisiting the spirit of the great Chinese landscape painters. Nevertheless, his work does not present abstraction stricto sensu, but rather “paysagisme abstrait” (literally, abstract landscapism) – the term employed by Michel Ragon when referring to Zao Wou-Ki. And this highly personal “paysagisme” is above all, a reality lived internally, reverberating as a plethora of suggestions, with the variations emerging both on the surface and in deeper aspects – tufts
儘管定居巴黎多年，馮驍鳴卻深知自己的畫作根植於地域 文化，尤其是在他自6歲起苦練至今的書法方面，因為他 清醒地意識到，自己的藝術創作遊走於東方和西方兩個截 然不同的天地。換而言之，他置身於博大精深的中華文化 傳統與歐洲繪畫的嬗變無常之間，令他得以從兩者汲取豐 富經驗，從中提煉出可供自己所用的審美理念，技法遊刃 有餘，筆觸張弛有度，此外更“道法自然”，一切皆與他心 中深藏的亞洲之魂密不可分。 他曾就讀於中國的美術學院，隨後前往法國巴黎國立高等 美術學院深造，告別了潑墨渲染，從此專攻油畫與色彩， 拒絕放棄對流於表象的追求。表象是其繪畫追求的聯合根 基，更是構想空間的理由，以最為簡單可行的方式付諸實 踐。由此創作出以符號與象徵相結合的主題，層層渲染在 煙霧迷濛並閃爍珠貝光澤的畫布上，猶如暮靄晨曦，通常 以繚繞蒸騰的筆觸或細膩層疊的漸變色調勾勒邊緣，以全 新手法演繹中國水墨山水畫卷。 然而，這並非狹義上的抽象風格，而是一種“抽象山水”， 一如米歇爾·拉貢（Michel Ragon）對趙無極作品的評價。這 種 極具個性化特質的“山水”，首先是一種內心的現實，通過 一系列浮於表面或沉寂於心靈深處的暗示投射而出；絞 纏糾結的野草，雜亂的荊棘叢，隱沒的小徑，樹木叢生的 密林，荒蕪的河岸，蔚藍晴空或陰雲密布，難以分辨的 結構，暗晦模糊的邊界，夏季景緻景致或冬季晨霧瀰漫的 清晨……從似曾相識的回憶中，從出塵與冥想的渴望中覺 醒。 造型始終以似連非連的筆觸巧妙勾勒，簡略一如寫意，自 成一格，虛實難辨。這位擁有深厚書法功底的畫家，運筆 輕重有別，或緩或急，用色濃淡相宜。靈動嫻熟的技法不
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Feng Xiao-Min in his studio in Paris
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of wild grasses, beds of sparse undergrowth, wandering paths, scrubby trees, deserted beaches, blue or overcast skies, unidentifiable structures, distant gates, summery impressions and misty winter mornings…All recalling past memories, desires for escape or contemplation. Always skillfully distilled into fragmentary touches, the form is sometimes reduced to the merest outline, but emanates from its own sources, with no distinction between positive and negative spaces. The arc of the artist’s hand leaves a trace – now economical, now dense – on the canvas, manipulating the rhythm of the work through its movement. Supple and distant, the gesture repeats, prolongs and synthesizes the tropisms of the body as it reacts to its environment. Colour demands its rights but is filtered and cast in the heart of a diaphanous or highly modulated substance that transfigures the artist’s field of intervention.
斷重複，成為身心合一的延伸與結合體。用色鮮明，卻猶 如經細細過濾或從透明物質中流淌而出，極為微妙的色彩 變化令藝術家的手筆得以升華。 而在不影響整體協調的前提下，構圖進一步拓展，更顯磅 礴大器，或取材於路之盡頭，或向廣袤無垠延伸，或烘托 皎潔月色下的朦朧景緻，或點綴稀疏瘦削的林木，不然便 是籠罩於熠熠生輝的光芒之中，天地共一色。 馮驍鳴的作品如行雲流水，厚積薄發，在凝聚活力與引人 冥想之餘，更流露出一種儒雅之美，一種精緻細膩，一種 難能可貴的卓越天賦。
At other times – which in no way alter the overall coherence of the work – the compositions are still further refined, opening to present a path that ends suddenly or extends to infinity, landscapes that appear lunar or which are barely punctuated by a handful of emaciated bushes or sprinkled with a scintillating luminosity in which earth and sky are one. In addition to a confirmed mastery and patiently earned authority, the works of Feng Xiao-Min demonstrate a great deal of grace, delicacy and a rare talent for transcendence. Gérard Xuriguera is an international famous contemporary art critic. He was the art
杰拉德·古西格拉是國際著名的當代藝術評論家，他是1988年漢城奧運會和1992年巴塞羅那
curator for 1988 Seoul Olympics and 1992 Barcelona Olympics and also the art curator
奧運會的藝術策展人，並於2007年擔仼法國大皇宮雕塑展的藝術策展人， 出版了許多藝術著
for the Grand Palais Sculpture Exhibition in 2007. He has published many art books.
作。
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Feng Xiao-Min in his studio in Paris
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INFINITE VISION Dr. Henry Périer
無盡意象 亨利·佩里爾博士
Feng Xiao-Min is the first artist from Shanghai that I had ever met in France. I have always thought that the universality of his vision would establish him, over the years, as the worthy successor of Zao Wou-Ki (deceased in 2013) and Chu TehChun. By coincidence, I am writing these lines only a few days after the disappearance of Chu Teh-Chun. Therefore, the great and renowned seniors are no longer present, but, Feng Xiao-Min, who knew them well, has learned their lessons. As we know, in the history of art, all the artists have masters. It is rare though, that these have existential paths that resemble to those of their admirers. Zao Wou-Ki, Chu Teh-Chun and Feng Xiao-Min have all three left their native China to come to settle down in France. Born in 1959, the youngest of the three has this additional particularity, and maybe this superiority, to have studied at the prestigious École Nationale Supérieure des Beaux-Arts de Paris (National School of Fine Arts of Paris). As many Chinese artists of the end of the 20th century, he would have been contaminated by the virus of the Western painting. But having definitively affirmed his support on calligraphy, he has not. He delivers a world vision to us, a visual memory on which he ties an abstract landscape. Chinese artists always have a perpetual otherworldliness drawn from that millennial culture that the Middle Kingdom offers to its children. This double heritage in which the painter, who shares his time between Paris and Shanghai, participates in is the style that he has forged over time. From these two sides, he has opened a path to himself
馮驍鳴是我在法國結識的第一位來自上海的藝術家。我始 終認為他那廣闊的視野和對藝術的無盡追求，將隨時間的 跨越，成為一位繼趙無極（2013年逝世）和朱德群之後 純粹的接班人。也是機緣巧合，我在朱德群先生僅去世幾 天之後寫下這段文字。雖然這二位偉大和卓越的先輩已與 世長辭了，但馮驍鳴在與二位藝術大師的密切交往中得益 非淺。 就我們所知，藝術史上所有的藝術家都有先導。然而藝術 家與他們的先導很少會有相同的人生軌跡。 趙無極、朱德群和馮驍鳴都是離開故土中國，赴法定居。 不同的是，或許也是一種優勢，生於1959年的三人中最 年輕的馮驍鳴曾在久負盛名的法國巴黎國立高等美術學院 學習。馮驍鳴原本可以象許多20世紀末的中國藝術家一 樣，被西方繪畫的熱潮所侵蝕。但是，由於他得到書法藝 術的內在支撐，他沒有選擇這條路。今天，他給我們展現 的是一種宇宙般的視覺觀和通過視覺記憶來創作的抽象山 水繪畫。 對中國藝術家來說，華夏文明世代傳承的永恆的哲學不 可避免的存在於這流傳千年的文化中。 馮驍鳴具有東西 方文化雙重背景，這對他最終形成的繪畫風格有着深刻影 響，這是一種屬於他的、令人憶起莫奈最佳的風景畫的 獨特圖式。這位中國藝術家那特有的對自然的溺愛，激發 出作品中對自然的開闊描繪，並藉助色彩豐富了畫面的視 角。 馮驍鳴打破了時間和空間的界域，帶着內心的熱忱去描繪 一個微微波動的流體宇宙。這些作品浸潤在極具張力、又 率性揮灑的色彩間，維持着一種隱秘。
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Feng Xiao-Min in his studio in Paris
Feng Xiao-Min in his studio in Paris
with landscapes reminiscent of the best choices of Monet’s paintings. The Chinese artist’s privileged and significant connivance with Nature induces a work that claims its subjects openly. It develops with chromatic supports that multiply the perspectives. The artist, with a shady fervor, in a fluid universe hemmed with secret shivers, abolishes the frontiers of time and space. These paintings, where a random distribution of colours plays to the control of gestural expansion, keep their secret. Driven by a will to return what he has in the deepest of his being, to act while freezing it in time, he takes us out of this world, and the void that separates us from the piece finally becomes the reality of the unforgettable experience that he offers us.
試圖向我們展示最本真的他自己，並將之凝固懸停於時 間，他帶我們暫離現實世界， 而橫亘於我們和作品之間 的虛空最終化為作品帶來的難忘體會。 一幅抒情而宏大的、和時間交融的、材料和光源完美結合 的繪畫，這就是馮驍鳴用嫻熟的才華展示給我們的充滿神 秘感的畫面空間。
A lyrical and cosmic painting, Art of Time and Fusion, of Matter and Light, fills with mystery a pictorial space that Feng Xiao-Min masters with the full maturity of his talent.
Henry Périer is a French art critic, curator, and the biographer of Pierre Restany. He
亨利·佩里爾是著名藝評家和策展人，皮埃爾·雷斯塔尼 （Pierre Restany） 的傳記作者，研究
is a specialist of Chinese Modern Art, curator of the Year of China in France in 2004
中國現代藝術。他在法國馬賽當代藝術博物館策展了2004“中國年”歷史回顧展，有39位藝術
for the historic exhibition at the Musée d’Art Contemporain de Marseille (Modern Art
家參與，還策展了2009年巴黎東京宮趙半狄熊貓時裝秀，也是2013－2014巴黎市立現代美術
Museum of Marseille) with the participation of 39 artists, curator of the Tokyo Palace
館曾梵志回顧展的學術顧問。
Zhao Bandi fashion show in 2009, and scientific advisor of the Zeng Fanzhi retrospective at the Musée d’Art Moderne de la Ville de Paris (Modern Art Museum of the city of Paris) in 2013-2014.
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Feng Xiao-Min and Zao Wou-Ki in Zao’s studio © Dong Ming
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GAZING BETWEEN THE EAST AND THE WEST Pan Jialai, art critic
東 方 與 西 方 的顧 盼 潘嘉來, 著名藝術評論家
Two Chinese names shine on the international art scene, Zao Wou-Ki and Chu Teh-Chun. In recent years, the name of another Chinese artist is attracting the attention, that is Feng Xiao-Min. European paintings of the second half of the 19th century brewed a historical turn, young artists were tired of the boundaries and rules of Classicism. They wanted individual liberation and creative freedom. Their gaze was turned towards the East where they discovered Eastern art through Japanese painting. They drew inspiration from there, hence why we can see Chinese porcelain and scrolls as well as Japanese prints in the works of Van Gogh or at Monet’s home. They opened up a new era with what people would call Impressionism. Meanwhile, the Orthodox School that have dominated Chinese painting for the last three hundred years has lost its vitality, much the same, due to its sternness. With the dream of artistic revival in their hearts, Chinese artistic pioneers, including Lin Fengmian and Xu Beihong, ventured far to Europe to study art in the West, invigorated by the Renaissance. In 1948, Lin Fengmian’s student Zao Wou-Ki came to Paris. In 1955, Chu Teh-Chun came to Paris. In 1988, Feng Xiao-Min came to Paris, and he had the chance to meet his two elders, Zao and Chu, in the capital of art where they would share a part of their path as artists. These three Chinese artists who have came from China to Europe gaze between the East and the West with light in their eyes. Their shared contribution is for leading the way to merge Eastern spirituality and Western romanticism that enlarged the horizon of pictorial language,
在世界畫壇有兩個熠熠生輝的華人名字——朱德群、趙無 極，近年來，另一位華人藝術家的名字散發出的耀眼光彩 吸引了人們的注目，他就是馮驍鳴。 19世下半葉，歐洲繪畫界正在醞釀一場歷史性的轉向， 一批年輕的藝術家厭倦了古典主義的泥古傾向和教條束 縛，要求個性解放和創作自由。他們不約而同地將目光投 向東方，通過日本繪畫發現了東方藝術，並從中汲取能 量，由此我們在梵高作品和莫奈故居里能夠看到中國瓷 器、捲軸畫和日本的“浮世繪”版畫。他們開創了一個全新 的時代，被人們稱之為——印象派。與此同時，三百年來 佔據中國畫壇主流地位的“四王”畫派，陳陳相因，崇古不 化失去了藝術生命力。懷揣着藝術復興的夢想，中國的藝 術探路者不遠萬里來到歐洲，向經受了文藝復興洗禮的西 方藝術學習，其中就有林風眠、徐悲鴻。 1948年，林風眠的學生趙無極來到巴黎。1955年，朱德 群來到巴黎。1988年，馮驍鳴來到巴黎，並有幸與趙無 極、朱德群兩位長者在藝術之都相遇，引以為畫友和藝 途的同路人。三位黃皮膚、黑眼睛、黑頭髮的藝術家，從 中國來到歐陸，在東西方之間顧盼生輝。他們的共同貢獻 是，在繪畫創作中開創性地融匯了東方的靈性圖景與西方 的浪漫色彩，拓展了繪畫語言的邊際，讓西方世界看到了 華人藝術家的充沛創造力和卓越才華，並以華人藝術家的 身份在國際畫壇確立了自己的重要角色和歷史地位。 同樣是具有東方文化背景的藝術家，如果說趙無極畫面的 壯麗可追溯到唐宋山水畫，朱德群的清新秀美來源於明清 花鳥畫，那麼，馮驍鳴繪畫的靈奇、清韻與發端於北宋， 經由趙孟頫、董其昌發揚光大的中國傳統文人畫有着內在 的緊密相關性。
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Feng Xiao-Min and Zao Wou-Ki in Zao’s studio © Dong Ming
Feng Xiao-Min in his studio
showing the West Chinese artists’ limitless creativity and spectacular talent. They have truly established themselves as important and historical Chinese artists on the global art scene.
文人畫追求平淡天真，追求韻致，強調詩畫一體，以陶寫 性靈為主旨，畫家以詩人般的慧眼和童貞一樣純凈的心靈 方式去對待所繪之物。這些構成了馮驍鳴繪畫最基本的藝 術傾向。
Even though they are all artists with an Eastern background, if Zao Wou-Ki’s paintings are grandiose such as Tang and Song Dynasty landscape paintings and Chu Teh-Chun’s freshness and subtlety originate from Ming and Qing Dynasty flower and bird paintings, then Feng Xiao-Min’s exalting and cadenced style is closely related to the Northern Song Dynasty traditional literati painting tradition that prospered under Zhao Mengfu and Dong Qichang.
馮驍鳴繪畫的精神來源，或者說哲學背景是東方智慧的源 頭之一—道家，他曾將中國經典《道德經》翻譯成法文。 莊子主張通過“心齋”獲得“物我為一”的虛靜狀態，《天 道》說：“夫虛靜恬淡寂寞無為者，萬物之本也。”馮驍鳴 在畫面中所呈現出的空靈、靜氣與道家思想是一體的，即 陰陽合而萬物生，達此心物冥一的境界要求心靈擺脫慾望 與心知的束縛。徐復觀說：“達到心齋與坐忘的歷程，正 是美的關照的歷程” 體現的是“ 道” 層面的修為。
Literati painting aspires to be bland and pure in essence, and seeks to unify poetry and painting in representing the spirit. The painter sees through the eyes of a poet and examines his subject with a child’s heart. This is the basis of Feng XiaoMin’s painting.
馮驍鳴繪畫的結構圖式來源於中國書法的蒙養，他在青少 年時期就系統接受了中國傳統書法的教導。在畫面的營構 上突顯了以物觀物的圖式符號，從書法中抽離出“味象”要 素，講究以“意”造“境”，以“筆簡形具”為特徵，崇簡就是 直達事物本質的能力。畫面整體並不追求某個個別形體的 準確與否，而是強調該形體在整個畫面中的作用與位置所 產生的意象效果。在他的畫面中經常出現符號化的突起筆 劃，石濤將天地萬物形象最基本的因素歸結為“一畫”，認 為“一畫者，眾有之本，萬象之根”馮驍鳴繪畫中的書法用 筆，一方面起到畫面平衡的作用，同時也增加了繪畫的音 樂性。通過實境與虛境的營構，在符號化的過程中生成心 中之象，引發視覺空間向心靈空間的升華。正如藝術評論 家傑阿•蘇里格埃所說：馮驍鳴“通過運動張力，促使畫 面上的符號及形體處於持續動感的狀態，達到超越具象和 抽象的空幻界域” 於天地之外，別構一種靈奇。
The spiritual source of Feng Xiao-Min’s painting, or philosophical background, is one of the origins of Eastern wisdom – Taoism. He had once translated Tao Te Ching into French. Master Zhuang suggested to clear one’s mind to become one with the world in a state of tranquil meditation. Zhuangzi’s chapter The Way of Heaven states: “Vacancy, stillness, placidity, tastelessness, quietude, silence, and doing-nothing are the root of all things. ” (James Legge) What Feng Xiao-Min expresses on his canvases, calm and sublime, is coherent with Taoist philosophy. His works show a
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Feng Xiao-Min and Chu Teh-Chun in Chu’s studio © Dong Ming
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balanced world full of vitality where the heart and the subject is one. They ask one to be devoid of desire and confinement. Xu Fuguan said that the experience to become one with the way and attain forgetfulness is to experience beauty, which reflects efforts on grasping Tao.
馮驍鳴繪畫的色彩觀來自印象派對色彩的貢獻，歐陸的純 靜天空，大片的麥田和薰衣草。或許還有來自中國江南 的煙雨涳濛、朝霞夕照。色彩是他畫作的魂靈，通過色彩 馮驍鳴揭示出了人的內在精神性，並賦予了色彩全新的意 義。
The composition of Feng Xiao-Min’s paintings comes from his knowledge of Chinese calligraphy that he studied systematically in his youth. His pictorial composition emphasizes on objects as pictorial signs as he extracts aesthetical elements from calligraphy. The idea is to use simple but formalist traits to evoke the spirit that suggests the ambience, to go down to the bare essentials of all things. The entire canvas is not about the pursuit in the accuracy of individual forms. However, the artist emphasizes on the effect produced by the function and positions taken by forms. We can often observe in his paintings symbolized pronounced strokes. The painter Shi Tao concluded that the basic element to representation was “One Stroke”, stating that “Now the One-stroke is the origin of all things, the root of all phenomena.” Feng Xiao-Min’s calligraphic strokes in painting are balancing acts on one hand, at the same time they add musicality to his works. Structuring between the real and the illusory, he translates the image in his mind through symbolisation, to transcend from the visual to the spiritual. Like Gérard Xuriguera says, Feng Xiao-Min achieves a state of continuous dynamism with the symbols and forms on the canvas through kinetic tension which surpasses intangible realm of figurative and abstraction. Outside the world, he constructs something extraordinary.
在巴黎藝術界，人們已經習慣將朱德群、趙無極和馮驍鳴 三個名字聯繫在一起，一方面是因為他們共同的東方文 化背景，更為重要的是他們藝術路向的相關性。馮驍鳴的 藝術成就越來越受到國際主流媒體和收藏界的青睞，菲 利浦畫廊創始人菲利浦·史泰博說：“他是我們尋找的東 西方藝術里最重要的一位，他會成為後世所敬仰的一個名 字。” 馮驍鳴是值得人們期待的。
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Feng Xiao-Min in his studio in Paris
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The colour palette present in Feng Xiao-Min’s painting is inspired by the contribution of Impressionism’s use of colours – pure sky, fields of wheat and lavender that we see in Europe. Perhaps some of it comes from the Jiangnan region of China, its foggy atmosphere, dawn and dusk. Colour is the soul of his work. Feng Xiao-Min tries to illustrate an inner psychological state with colours, which gives them new meaning. In the Paris art world, people are use to associate the names of Chu Teh-Chun, Zao Wou-Ki and Feng Xiao-Min. For one, they share the same Eastern cultural background. Most importantly, their artistic paths are related. Feng Xiao-Min’s artistic achievement is increasingly sought after by press and collectors worldwide.Philippe Staib states knowingly that “he is one of the most important artists that we are looking for bridging Eastern and Western art, he will become a name admired by future generations.” He is worthy of our expectation.
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Feng Xiao-Min in his studio
MASTER OF COLOURS Fan Di’an, President of Chinese Central Academy of Fine Arts
色彩的大師 范迪安, 中央美術學院院長
In his early years, Mr. Feng Xiao-Min received a figurative art education in China, giving him a sturdy foundation in modeling skills. After going to Paris to develop as an artist, he was deeply influenced by Western artistic styles and thought from the modern period onwards, which launched him on a path of exploration where Chinese and Western art would meet in a complementary way. You can see the cultural underpinnings of both East and West in his paintings. He absorbed the visual integrity of modern abstract painting, with its full, pure colours, filled with the thick fragrance of the universe. At the same time, he uses a colour application technique similar to Chinese painting that uses water and colour to create transformative effects that are subtly blended. By injecting Northern Song Dynasty Chinese Pingyuan (flat and far) style perspective into landscape painting, he creates a faraway, insouciant mood that exalts the living natural world and expresses Chinese philosophy’s deep awareness of the universe. As an artist who has lived in France, Feng Xiao-Min is an exemplar that follows in the footsteps of his predecessors Zao Wou-Ki and Chu Teh-Chun.
馮驍鳴先生早年在中國接受了具象主義的藝術教育，奠定 了紮實的造型功底。去往巴黎深造之後，他受到西方現 代以來的藝術風格和思想意識的熏染，展開了中西方藝術 兼容貫通的探索之路。在他的繪畫作品中，可以看到東西 方兩種文化因素的支撐。他吸收了現代主義抽象繪畫的視 覺整體性特徵，色彩單純而飽滿，充盈着宇宙間氤氳的氣 息。同時，他用類似中國畫“渲染”的方法將水與色進行微 妙的融合幻化，將中國北宋山水畫的“平遠”構圖融入風景 的描繪之中，營造出悠遠淡逸的意境，體現了對自然生命 的詠嘆，更是東方哲學中宇宙意識的表達。在旅法藝術家 的行列中，馮驍鳴先生可謂是趙無極、朱德群等藝術前輩 之後的又一位傑出代表。
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WORKS 作品 集
Previous UNTITLED (無題) N° 28.10.18, 2018 acrylic on canvas 布面丙烯油彩 130 x 195 cm | 51.2 x 76.8 in
MISTY SPRING (朦朧之春) N° 12.10.18, 2018 acrylic on canvas 布面丙烯油彩 130 x 195 cm | 51.2 x 76.8 in
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COMPOSITION N° 28.9.18 (第 28.9.18 構圖), 2018 acrylic on canvas 布面丙烯油彩 146 x 114 cm | 57.5 x 44.9 in
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COMPOSITION N° 23.9.18 (第 23.9.18 構圖), 2018 acrylic on canvas 布面丙烯油彩 90 x 97 cm | 35.4 x 38.2 in
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COMPOSITION N° 20.9.18 (第 20.9.18 構圖), 2018 acrylic on canvas 布面丙烯油彩 97 x 162 cm | 38.2 x 63.8 in
TRIBUTE TO ZAO WOU-KI (向趙無極致敬) N° 6.9.18, 2018 acrylic on canvas 布面丙烯油彩 130 x 97 cm | 51.2 x 38.2 in
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CONTEMPLATION (禪) N° 30.8.18, 2018 acrylic on canvas 布面丙烯油彩 97 x 130 cm | 38.2 x 51.2 in
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MAGIC OF THE NATURE (大自然的魅力) N° 12.8.18, 2018 acrylic on canvas 布面丙烯油彩 81 x 65 cm | 31.9 x 25.6 in
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LIGHT OF HAPPINESS (幸福之光) N° 8.8.18, 2018 acrylic on canvas 布面丙烯油彩 65 x 81 cm | 25.6 x 31.9 in
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COMPOSITION N° 6.8.18 (第 6.8.18 構圖), 2018 acrylic on canvas 布面丙烯油彩 80 x 80 cm | 31.5 x 31.5 in
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THE HARMONY (和諧) N° 2.8.18, 2018 acrylic on canvas 布面丙烯油彩 80 x 80 cm | 31.5 x 31.5 in
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MORNING DEW (晨露) N° 18.7.18, 2018 acrylic on canvas 布面丙烯油彩 162 x 130 cm | 63.8 x 51.2 in
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GREAT FORTUNE (鴻運高照) N° 5.6.18, 2018 acrylic on canvas 布面丙烯油彩 97 x 130 cm | 38.2 x 51.2 in
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WITH FORM AND WITHOUT FORM (有無相間) N° 28.5.18, 2018 acrylic on canvas 布面丙烯油彩 130 x 162 cm | 51.2 x 63.8 in Provenance Private collection, USA 美國私人收藏
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PEACEFUL (幽靜) N° 21.5.18, 2018 acrylic on canvas 布面丙烯油彩 130 x 162 cm | 51.2 x 63.8 in
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SWEET DAWN (曙光) N° 28.4.18, 2018 acrylic on canvas 布面丙烯油彩 150 x 150 cm | 59.1 x 59.1 in Provenance Private collection, France 法國私人收藏
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Previous POETRY (詩情) N° 17.4.18, 2018 acrylic on canvas 布面丙烯油彩 130 x 195 cm | 51.2 x 76.8 in
UNTITLED (無題) N° 2.4.18, 2018 acrylic on canvas 布面丙烯油彩 81 x 65 cm | 31.8 x 25.5 in Provenance Private collection of Ms. Xu Huizhao, Shanghai 上海徐蕙照女士私人收藏
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COMPOSITION N° 29.3.18 (第 29.3.18 構圖), 2018 acrylic on canvas 布面丙烯油彩 65 x 81 cm | 25.5 x 31.8 in Provenance Private collection, China 中國私人收藏
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COMPOSITION N° 8.12.17 (第 8.12.17 構圖), 2017 acrylic on canvas 布面丙烯油彩 150 x 150 cm | 59.1 x 59.1 in
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SPRING FULL OF EARTH (春滿大地) N° 28.11.17, 2017 acrylic on canvas 布面丙烯油彩 150 x 150 cm | 59.1 x 59.1 in Provenance Hkri Taikoo Hui collection, Hong Kong Sukhothai Hotel, Shanghai 香港興業太古匯收藏 上海素凱泰酒店
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UNTITLED (無題) N° 12.8.17, 2017 acrylic on canvas 布面丙烯油彩 195 x 130 cm | 76.8 x 51.2 in Provenance Private collection, Paris 巴黎私人收藏
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COMPOSITION N° 5.8.17 (第 5.8.17 構圖), 2017 acrylic on canvas 布面丙烯油彩 195 x 130 cm | 76.8 x 5.2 in
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COMPOSITION N° 28.7.17 (第 28.7.17 構圖), 2017 acrylic on canvas 布面丙烯油彩 97 x 195 cm | 38.2 x 76.8 in
BOUNDLESS PICTURE (大像無邊) N°22.7.17, 2017 acrylic on canvas 布面丙烯油彩 130 x 195 cm | 51.2 x 76.8 in Provenance Private collection, Paris 巴黎私人收藏
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COMPOSITION N° 8.5.17 (第 8.5.17 構圖), 2017 acrylic on canvas 布面丙烯油彩 195 x 97 cm | 76.8 x 38.2 in State order BRICS collection 2017, Xiamen 2017年廈門金磚國家會議特定作品
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AURORA (晨曦) N° 1.5.17, 2017 acrylic on canvas 布面丙烯油彩 80 x 80 cm | 31.5 x 31.5 in Provenance Private collection, Paris 巴黎私人收藏
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WINTER ALPS (阿爾卑斯之冬) N° 30.4.17, 2017 acrylic on canvas 布面丙烯油彩 80 x 80 cm | 31.5 x 31.5 in Provenance Private collection, Singapore 新加坡私人收藏
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Previous GOLDEN AURORA (金色的晨曦) N° 28.4.17, 2017 acrylic on canvas 布面丙烯油彩 130 x 195 cm | 51.2 x 76.8 in Provenance Private collection, Singapore 新加坡私人收藏
GOLDEN FUTURE (金色的未來) N° 12.4.17, 2017 acrylic on canvas 布面丙烯油彩 130 x 195 cm | 51.2 x 76.8 in Provenance Private collection, Taiwan 台灣私人收藏
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Previous COMPOSITION N° 15.12.16 (第 15.12.16 構圖), 2016 acrylic on canvas 布面丙烯油彩 97 x 130 cm | 38.2 x 51.2 in
COMPOSITION N° 28.7.16 (第 28.7.16 構圖), 2016 acrylic on canvas 布面丙烯油彩 162 x 97 cm | 63.8 x 38.2 in
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MELODY OF NATURE (自然的旋律) N° 8.4.16, 2016 acrylic on canvas 布面丙烯油彩 81 x 65 cm | 31.9 x 25.6 in Provenance Private collection of Mr. Jean-Christophe Reymaud, France 法國Jean-Claude Reymaud先生私人收藏
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COMPOSITION N° 20.1.15 (第 20.1.15 構圖), 2015 acrylic on canvas 布面丙烯油彩 195 x 130 cm | 76.8 x 51.2 in
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COMPOSITION N° 20.5.13 (第 20.5.13 構圖), 2013 acrylic on canvas 布面丙烯油彩 114 x 146 cm | 44.9 x 57.5 in
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COMPOSITION N° 10.7.12 (第 10.7.12 構圖), 2012 acrylic on canvas 布面丙烯油彩 162 x 97 cm | 63.8 x 38.2 in
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Previous COMPOSITION N° 9.3.10 (第 9.3.10 構圖), 2010 acrylic on paper laid on canvas 布面綜合材料（紙、畫布、丙烯） 89 x 130 cm | 35 x 51.2 in
COMPOSITION N° 2.3.09 (第 2.3.09 構圖), 2009 acrylic on paper laid on canvas 布面綜合材料（紙、畫布、丙烯） 105 x 95 cm | 41.3 x 37.4 in
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Previous BLUE RHAPSODY (藍色狂想曲), 2009 acrylic on paper laid on canvas 布面綜合材料（紙、畫布、丙烯） 190 x 294 cm | 74.8 x 115.7 in Triptych
LIFE (生命), 2009 acrylic on canvas 布面丙烯油彩 130 x 162 cm | 51.2 x 63.8 in
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UNTITLED (無題), 2008 acrylic on paper 紙面丙烯油彩 100 x 96 cm | 39.4 x 37.8 in
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DREAM II (夢 II), 2006 acrylic on paper laid on canvas 布面綜合材料（紙、畫布、丙烯） 50 x 30 cm | 19.7 x 11.8 in
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Feng Xiao-Min Š Michel Lunardelli 2018
BIOGRAPHY 生平
Born in 1959 in Shanghai, Feng Xiao-Min is a French-Chinese artist. His passion for art was clear from a very young age. He grew up in a family of intellectuals, and did quality schooling in China. His mother is from a family of bankers. Feng’s father lead and opened Feng Xiao-Min’s mind to art. After graduating from Fine Arts studies in China, he moved to France in 1988 and enrolled at the École Nationale Supérieure des Beaux-Arts in Paris. Feng was later invited to teach at the same prestigious institution from 1997 to 2000. After that, he decided to give up teaching to focus entirely on his art. Feng has published numerous books on paintings and calligraphy. And some of his paintings had been chosen to be integrated into French school manuals. Today, his artworks are collected and exhibited in various private and public collections, including galleries, museums and foundations, in France and abroad. Feng frequently exhibits at international art fairs and biennales and was commissioned to create a work for the 2017 BRICS summit.
馮驍鳴 (小敏，1 9 5 9 年) ，是法籍華裔畫家, 生於上海的 一個知識分子家庭，外祖父阮葭仙是銀行家。 馮驍鳴自幼就對藝術有着濃厚的興趣，尤其酷愛書法和繪 畫。在國內的藝術院校畢業后, 他於1 9 8 8 年定居法國， 並進入了巴黎國立高等美術學院。在法國及海外的眾多畫 廊都有他的傑出作品展出。自1997年到2000年，他作為 客座教授，在法國巴黎國立高等美術學院繪畫技巧專業授 課。之後，他決定放棄教學把全部精力集中於他的繪畫創 作。 法國多家出版社還出版了許多有關他的繪畫和書法的美術 畫集.他的部分作品還被選入法國教委的教課書中。 現在他的作品被世界眾多的私人和公共所收藏，包括畫 廊、博物館、基金會等。他的作品經常在國際藝術博覽會 和雙年展上展出。2017年中國廈門金磚五國峰會向馮驍 鳴特定了一幅作品。
S E L E CT E D E X H I B I T I O N S
2019
“Feng Xiao-Min Inspired Resonance”, Opera Gallery, Hong Kong / catalog of the exhibition
2018
“Asia Abstract”, collective exhibition in Hong Kong, Opera Gallery, Hong Kong / catalog of the exhibition Philippe Staib Gallery presented Feng’s artworks at the Taipei Art Fair (Art Taipei), Taipei, Taiwan / catalog of the exhibition Philippe Staib Gallery presented Feng’s artworks at the Shanghai Art Fair, Shanghai, China / catalog of the exhibition “Blossoming: Gallery Collection”, Gin Huang Gallery, Taipei, Taiwan
2017
Taipei International Ink Painting Exhibition, National Palace in Memory of Dr. Sun Yat-Sen, Taipei, Taiwan / catalog of the exhibition “The Master of Colors”, solo exhibition at the Jing’an Sculpture Park Art Center, Shanghai, China / catalog of the exhibition Solo exhibition, Philippe Staib Gallery and Sophia.C Art Gallery, Xin Zhu, Taiwan Philippe Staib Gallery presented Feng’s artworks at the Taipei Art Fair (Art Taipei), Taipei, Taiwan / catalog of the exhibition Philippe Staib Gallery presented Feng’s artworks at the Shanghai Art Fair, Shanghai, China / catalog of the exhibition “Regent Fantasy”, Gin Huang Gallery, Taipei, Taiwan
2016
Philippe Staib Gallery presented Feng’s artworks at the Busan Art Fair (Art Busan), Busan, South Korea / catalog of the exhibition “From France to Korea – World Contemporary Artists from France”, exhibition at the Seoul Olympic Museum (SOMA Art Museum), Seoul, South Korea / catalog of the exhibition Philippe Staib Gallery presented Feng’s artworks at the Shanghai Art Fair, Shanghai, China / catalog of the exhibition Philippe Staib Gallery presented Feng’s artworks at the Taipei Art Fair (Art Taipei), Taipei, Taiwan / catalog of the exhibition Philippe Staib Gallery presented Feng’s artworks at the Kaohsiung Art Fair (Art Kaohsiung), Kaohsiung, Taiwan / catalog of the exhibition
2015
“The Masters of Shapes and Colors” Exhibition with Antoine Poncet, Yishu 8 and Philippe Staib Gallery, Beijing, China / catalog of the exhibition Philippe Staib Gallery presented Feng’s artworks at the Taipei Art Fair (Art Taipei), Taipei, Taiwan / catalog of the exhibition Philippe Staib Gallery presented Feng’s artworks at the Shanghai Art Fair (Art Shanghai), Shanghai, China / catalog of the exhibition Philippe Staib Gallery presented Feng’s artworks at the Kaohsiung Art Fair (Art Kaohsiung), Kaohsiung, Taiwan / catalog of the exhibition 2014-2015 “Dans les yeux de Gérard Xuriguera”, Yohann Gallery, Paris
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主要展览
2019
“馮驍鳴 靈韻”，香港奧佩拉畫廊，香港 / 展覽圖錄
2018
“亞洲抽象”聯展, 香港奧佩拉畫廊, 香港 菲利普-斯旦伯畫廊在台北國際藝術博覽會上展出馮驍鳴的作品 / 展覽圖錄 菲利普-斯旦伯畫廊在上海藝術博覽會上展出馮驍鳴的作品 / 展覽圖 “遍地開花” – 畫廊典藏展, 田奈藝術畫廊, 台北, 台灣
2017
台北國際水墨大展, 台北國父紀念館中山畫廊, 台灣 / 展覽圖錄 “色幻之夢”-上海菲利普-斯旦伯畫廊和上海靜安雕塑公園藝術中心聯合舉辦馮驍鳴個展,靜安雕塑公園藝 術中心, 上海, 中國 / 展覽圖錄 台灣新竹蘇菲亞. C 藝術空間, 菲利普-斯旦伯畫廊個展 菲利普-斯旦伯畫廊在台北國際藝術博覽會上展出馮驍鳴的作品 / 展覽圖錄 菲利普-斯旦伯畫廊在上海藝術博覽會上展出馮驍鳴的作品 / 展覽圖 “奇幻晶華”, 田奈藝術畫廊, 台北, 台灣
2016
上海菲利普-斯旦伯畫廊在韓國釜山藝術博覽會上展出馮驍鳴的作品 / 展覽圖錄 法國世界當代藝術家美術展, 韓國漢城奧林匹克美術館 (S oma Art Muse um) / 展覽圖錄 上海菲利普-斯旦伯畫廊在上海藝術博覽會上展出馮驍鳴的作品 / 展覽圖錄 上海菲利普-斯旦伯畫廊在台北藝術博覽會上展出馮驍鳴的作品 / 展覽圖錄 上海菲利普-斯旦伯畫廊在台灣高雄藝術博覽會上展出馮驍鳴的作品 / 展覽圖錄
2015
“形與色的大師” 安東尼- 篷塞 – 馮驍鳴雕塑繪畫雙人展, 北京“藝術8”藝術空間, 上海菲利普畫廊, 北京 藝術8 /展覽圖錄 上海菲利普-斯旦伯畫廊在台北藝術博覽會上展出馮驍鳴的作品 / 展覽圖錄 上海菲利普-斯旦伯畫廊在上海藝術博覽會上展出馮驍鳴的作品 / 展覽圖錄 上海菲利普-斯旦伯畫廊在台灣高雄藝術博覽會上展出馮驍鳴的作品 / 展覽圖錄 2 0 1 4 - 1 5 年 “在Gér a rd Xu rig u era的眼光里”, Yohann Gal l e ry，巴黎
2014
時間節點 – 中國1 9 8 0 年代的水墨景觀展, 上海喜瑪拉雅美術館 / 展覽圖錄 法國巴黎奧佩拉畫廊集團在他們的摩納哥畫廊, 香港畫廊, 迪拜畫廊和總部巴黎畫廊同時展出馮驍鳴的作品
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2014
“A fragment in the Course of Time – Landscape of Chinese Ink Art in 1980s”, Shanghai Himalayas Museum, Shanghai, China / catalog of the exhibition Opera Gallery presented Feng’s artworks at Opera Gallery Dubai, Opera Gallery Hong Kong, Opera Gallery Paris and Opera Gallery Monaco Solo exhibition at Galerie Image of China, Singapore Philippe Staib Gallery in Shanghai presented Feng’s artworks at the International Art Fair China / catalog of the exhibition 2013-2014 “Rencontre” at the Goldenberg Gallery, Paris, France / catalog of the exhibition
2013
“Intersection”, Linz Gallery, Paris, France “Dessins – traits et encre”, organized by the Linz Gallery in Paris, France Purple Roof Gallery in Shanghai presented Feng’s artworks at the Asian Galleries Art Fair, Shanghai, China Purple Roof Gallery in Shanghai presented Feng’s artworks at the International Art Fair, Shanghai, China / catalog of the exhibition
2012
International Contemporary Ink Painting Exhibition, National Palace in Memory of Dr.Sun Yat-Sen, Zhongshan National Gallery, Taipei, Taiwan / catalog of the exhibition Purple Roof Gallery in Shanghai presented Feng’s artworks at Shanghai Contemporary, Shanghai, China / catalog of the exhibition Purple Roof Gallery in Shanghai presented Feng’s artworks at the International Art Fair, Shanghai, China / catalog of the exhibition
2011
“Dialogue des Civilisations”, Cité Internationale des Arts, Paris, France “Le Carré Rive Gauche” – Artco France Gallery, Paris, France “Artistes Marseillais/Artistes Chinois/Correspondances?” – Alcazar, Marseille, France / catalog of the exhibition Purple Roof Gallery in Shanghai presented Feng’s artworks at Shanghai Contemporary, Shanghai, China / catalog of the exhibition Purple Roof Gallery in Shanghai presented Feng’s artworks at the International Art Fair, Shanghai, China / catalog of the exhibition “Convergence in the Lion City” Galerie Image of China, Singapore / catalog of the exhibition
2010
Purple Roof Gallery in Shanghai presented Feng’s artworks at the International Art Fair (Art Beijing), Beijing, China / catalog of the exhibition Contemporary Watercolour Exhibition between Shanghai and Hong Kong / catalog of the exhibition (as part of the Hong Kong Biennale), Yun Feng Gallery in Hong Kong / catalog of the exhibition Purple Roof Gallery in Shanghai presented Feng’s artworks at the International Art Fair, Shanghai, China / catalog of the exhibition
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新加坡如意軒畫廊個展, 新加坡 上海菲利普-斯旦伯畫廊在上海藝術博覽會上展出馮驍鳴的作品 / 展覽圖錄
2013
法國巴黎利茲畫廊“藝匯巴黎” “墨與線”, 巴黎利茲畫廊主辦, 巴黎 上海羅浮紫畫廊在上海亞洲畫廊藝術博覽會上展出馮驍鳴的作品 上海羅浮紫畫廊在上海國際藝術博覽會上展出馮驍鳴的作品 / 展覽圖錄 2013年-14年 法國巴黎歌騰貝格畫廊（與法蘭西藝術院院士，前主席，雕塑家安東尼-蓬塞雙人展）/ 展覽圖錄
2012
2 0 1 2 國際水墨大展, 台北國父紀念館中山畫廊, 台灣 / 展覽圖錄 上海羅浮紫畫廊在“上海當代”藝術博覽會上展出馮驍鳴的作品 / 展覽圖錄 上海羅浮紫畫廊在上海國際藝術博覽會上展出馮驍鳴的作品 / 展覽圖錄
2011
法國巴黎國際藝術城中法藝術家 “對話文明” 藝術作品展 法國巴黎左岸畫廊藝術節 – 法國巴黎藝高畫廊 法國馬賽市立圖書館藝術中心 “中國藝術家/馬賽藝術家/有共識嗎？” / 展覽圖錄 上海羅浮紫畫廊在“上海當代”藝術博覽會上展出馮驍鳴的作品 / 展覽圖錄 上海羅浮紫畫廊在上海國際藝術博覽會上展出馮驍鳴的作品 / 展覽圖錄 新加坡如意軒畫廊“藝匯獅城”, 新加坡 / 展覽圖錄
2010
上海羅浮紫畫廊在“藝術北京”國際藝術博覽會上展出馮驍鳴的作品 / 展覽圖錄 香港-上海當代水墨名家邀請展/展覽圖錄 ( 香港藝術館雙年展系列), 香港雲峰畫苑 上海羅浮紫畫廊在上海國際藝術博覽會上展出馮驍鳴的作品 / 展覽圖錄 上海羅浮紫畫廊在“上海當代”藝術博覽會上展出馮驍鳴的作品 / 展覽圖錄 法國藝高藝術公司在上海國際藝術博覽會上展出馮驍鳴的作品 / 展覽圖錄 浙江美術館中法藝術家 “對話文明” 藝術作品展, 中國杭州 / 展覽圖錄 上海思南公館中法藝術家 “對話文明” 藝術作品展
2009
“水墨當下” – 上海新水墨藝術大展, 上海多倫現代美術館 / 展覽圖錄 上海羅浮紫畫廊在上海國際藝術博覽會上展出馮驍鳴的作品 /展覽圖錄
117
Purple Roof Gallery in Shanghai presented Feng’s artworks at Shanghai Contemporary, Shanghai, China / catalog of the exhibition Artco France in Paris presented Feng’s artworks at the International Art Fair, Shanghai, China / catalog of the exhibition “Dialogue des Civilisations”, Zhe Jiang Museum, Hangzhou, China / catalog of the exhibition “Dialogue des Civilisations”, the Si Nan Exhibition Center, Shanghai, China 2009
Contemporary Watercolour Exhibition, Duolun Museum of Modern Art, Shanghai, China / catalog of the exhibition Purple Roof Gallery in Shanghai presented Feng’s artworks at the International Art Fair, Shanghai, China / catalog of the exhibition 2008-2009 International Contemporary Watercolour Biennale, National Palace in Memory of Dr. Sun Yat-Sen, Taipei, Taiwan / catalog of the exhibition
2008
Artco France in Paris presented Feng’s artworks at the International Art Fair of Beijing, Beijing, China / catalog of the exhibition Contemporary Watercolour Exhibition between Shanghai and Kiev (exhibition organized by the Academy of Fine Arts and Sciences of Ukraine and the Association of International Culture of Shanghai) / catalog of the exhibition Purple Roof Gallery in Shanghai presented Feng’s artworks at the International Art Fair, Shanghai, China / catalog of the exhibition
2007
Solo exhibition at 82 Gallery, Paris, France Exhibition at Frédéric Moisan Gallery, Paris, France Ariane Bomsel Gallery in Paris presented Feng’s artworks at the International Art Fair, Shanghai, China / catalog of the exhibition
2006
Châteauroux Museum, Châteauroux, France / catalog of the exhibition Ariane Bomsel Gallery in Paris presented Feng’s artworks at the China International Gallery Exhibition, Beijing ,China / catalog of the exhibition TQ Gallery in Shanghai presented Feng’s artworks at the International Art Fair, Shanghai, China / catalog of the exhibition Solo exhibition at Ifa Gallery, Shanghai, China Solo exhibition at Tian Qing Gallery in Shanghai, China / catalog of the exhibition
2005
Solo exhibition at 82 Gallery, Paris, France “Le Mur du Son”, Musée Cinquantenaire, Brussels, Belgium / catalog of the exhibition Grand Palais, Hong Kong (Cultural exchange between Hong Kong and Shanghai) / catalog of the exhibition Academy of Fine Arts, Shanghai, China (Cultural exchange between Hong Kong and Shanghai) / catalog of the exhibition
2004
118
2003-2004 Carnavalet Museum in Paris, France (exhibition with the photographer Marc Riboud) / catalog of the exhibition
2 0 0 8 -0 9 年 – 第二屆台北當代國際水墨雙年展, 台北國父紀念館 / 展覽圖錄
2008
法國藝高藝術公司在北京國際藝術博覽會上展出馮驍鳴的作品 / 展覽圖錄 上海-基輔當代水墨名家藝術展( 烏克蘭國家藝術與科學院和上海市對外文化交流協會主辦) / 展覽圖錄 上海羅浮紫畫廊在上海國際藝術博覽會上展出馮驍鳴的作品 / 展覽圖錄
2007
法國巴黎8 2 畫廊個展 法國巴黎弗德里克-姆瓦藏畫廊三人展 法國巴黎艾利安龐賽爾畫廊在上海國際藝術博覽會上展出馮驍鳴的作品 / 展覽圖錄
2006
法國夏多羅市博物館“音障”現代藝術展 / 出版圖錄 法國巴黎艾利安龐賽爾畫廊在北京國際畫廊博覽會上展出馮驍鳴的作品 / 展覽圖錄 上海田青畫廊在上海國際藝術博覽會上展出馮驍鳴的作品 /展覽圖錄 法國藝法畫廊上海成立個展 上海田青畫廊朵雲軒個展 / 展覽圖錄
2005
法國巴黎8 2 畫廊個展 比利時布魯塞爾五十周年博物館“音障”現代藝術展 / 出版圖錄 上海-香港水墨畫交流展, 香港大會堂, 上海中國畫院畫廊(上海市對外文化交流協會主辦) / 展覽圖錄
2004
2003-04年 – 法國巴黎加納瓦萊博物館“明天的上海”雙人展(和法國著名攝影家馬克-呂布先生同展) / 出版圖錄
2003
法國巴黎香榭麗大街格拉利奇賓館畫廊個展 / 出版畫集 法國大巴黎地區夏昂東市阿爾代畫廊個展 上海美術館雙年展系列 – 安亭新鎮博物館收藏展 / 展覽圖錄
2002
法國巴黎水墨繪畫及素描沙龍( 和趙無極等被特邀參展) / 展覽圖錄
2001
法國大巴黎地區夏昂東市阿爾代畫廊個展
1998
比利時布魯塞爾, 奧朗吉爾城堡藝術展
1993
法國大巴黎地區里乎麗上塞納市藝術沙龍 法國巴黎愛維阿畫廊三月沙龍
1992
法國巴黎秋季沙龍, 巴黎大皇宮 / 展覽圖錄
119
2003
Solo exhibition at Galerie de l’Hôtel Claridge on the Champs-Élysées, Paris, France / catalog of the exhibition Solo exhibition at Actée Gallery, Charenton le Pont (Paris), France Invited by the Shanghai Museum of Fine Arts as part of the Shanghai Biennale. The artwork exhibited on this occasion is now part of the collection of the Anting Museum of Modern Art in Shanghai. Invited by the city of Weimar (Germany) for the same collection / catalog of the exhibition
2002
Salon du Dessin et de la Peinture a l’Eau, Espace Auteuil, Paris (guest of honour), France / catalog of the exhibition
2001
Solo exhibition at Actée Gallery, Charenton le Pont (Paris), France
1998
Château de L’Orangeraie, Brussels, Belgium
1993
Salon d’Art, Livry-sur-Seine, France Everarts Gallery, Paris, France
1992
Victor-Duhamel Museum, Mantes-la-Jolie, France Salon d’Automne at the Grand Palais, Paris, France / catalog of the exhibition
120
1981
1981-85 Shanghai Cultural Center, Shanghai, China
1977
Shanghai Museum of Fine Arts, Shanghai, China / catalog of the exhibition
法國孟特拉朱里市, 雨果杜阿曼博物館現代美術展
1981
1 9 8 1 -8 5 年 – 上海市文化宮美術展
1977
上海美術館學生書法美術展 / 展覽圖錄
121
INDEX
UNTITLED (無題) N° 28.10.18, 2018
p.28-29
COMPOSITION N° 20.9.18 (第 20.9.18 構圖), 2018
p.36-37
LIGHT OF HAPPINESS (幸福之光) N° 8.8.18, 2018
p.44-45
G R E AT FO RT U N E ( 鴻運 高 照 ) N ° 5.6.18, 2018
p.52-53
MISTY SPRING (朦朧之春) N° 12.10.18, 2018
p.30-31 WITH FORM AND WITHOUT FORM (有無相間) N° 28.5.18, 2018
TRIBUTE TO ZAO WOU-KI (向趙無極 致敬) N° 6.9.18, 2018
COMPOSITION N° 6.8.18 (第 6.8.18 構圖), 2018
p.54-55
p.46-47
p.38-39
PEACEFUL (幽靜) N° 21.5.18, 2018
p.56-57
COMPOSITION N° 28.9.18 (第 28.9.18 構圖), 2018
p.32-33
CONTEMPLATION (禪) N° 30.8.18, 2018
p.40-41
THE HARMONY (和諧) N° 2.8.18, 2018
p.48-49
SWEET DAWN (曙光) N° 28.4.18, 2018
p.58-59
COMPOSITION N° 23.9.18 (第 23.9.18 構圖), 2018
p.34-35
MAGIC OF THE NATURE (大自然的魅 力) N° 12.8.18, 2018
p.42-43
122
MORNING DEW (晨露) N° 18.7.18, 2018
p.50-51
作品列表
COMPOSITION N° 28.7.17 (第 28.7.17 構圖), 2017
p.74-75
POETRY (詩情) N° 17.4.18, 2018
p.60-61 SPRING FULL OF EARTH (春滿大地) N° 28.11.17, 2017
AURORA (晨曦) N° 1.5.17, 2017
p.80-81
p.68-69
BOUNDLESS PICTURE (大像無邊) N°22.7.17, 2017
p.76-77
UNTITLED (無題) N° 2.4.18, 2018
p.62-63
WINTER ALPS (阿爾卑斯之冬) N° 30.4.17, 2017
p.82-83
UNTITLED (無題) N° 12.8.17, 2017
p.70-71
GOLDEN AURORA (金色的晨曦) N° 28.4.17, 2017
COMPOSITION N° 29.3.18 (第 29.3.18 構圖), 2018
p.84-85
p.64-65
COMPOSITION N° 8.5.17 (第 8.5.17 構圖), 2017
p.78-79
GOLDEN FUTURE (金色的未來) N° 12.4.17, 2017
p.86-87 COMPOSITION N° 8.12.17 (第 8.12.17 構圖), 2017
COMPOSITION N° 5.8.17 (第 5.8.17 構圖), 2017
p.72-73
p.66-67
123
COMPOSITION N° 9.3.10 (第 9.3.10 構圖), 2010
COMPOSITION N° 15.12.16 (第 15.12.16 構圖), 2016
p.100-101
p.88-89
UNTITLED (無題), 2008
p.108-109
COMPOSITION N° 20.1.15 (第 20.1.15 構圖), 2015
p.94-95
COMPOSITION N° 2.3.09, (第 2.3.09 構圖), 2009
p.102-103
COMPOSITION N° 28.7.16 (第 28.7.16 構圖), 2016
COMPOSITION N° 20.5.13 (第 20.5.13 構圖), 2013
p.96-97
p.90-91
DREAM II (夢 II), 2006
p.110-111 BLUE RHAPSODY (藍色狂想曲), 2009
p.104-105
LIFE (生命), 2009
MELODY OF NATURE (自然的旋律) N° 8.4.16, 2016
p.106-107
p.92-93 COMPOSITION N° 10.7.12, (第 10.7.12 構圖), 2012
p.98-99
124
125
Feng Xiao-Min in his studio in Paris
126
127
Published by Opera Gallery to coincide with the exhibition Feng Xiao-Min Inspired Resonance, January 2019. All rights reserved. Except for the purpose of review, no part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publishers.
Opera Gallery would like to thank the artist for his trust.
Cover: Poetry (詩情) N° 17.4.18, 2018
Coordinator: Lou Mo Authors: Fan Di’an, Pan Jialai, Henry Périer, Gérard Xuriguera Translator: Lou Mo Photographers: Dong Ming, Michel Lunardelli Calligraphy: Feng Xiao-Min Designer: ISAL PARIS Printer: The Green Pagoda Press Limited
W Place, 52 Wyndham Street, Central, Hong Kong + 852 2810 1208 | hkg@operagallery.com
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