蔡 蔚 Cai Wei
The Sanya
三亚日记
DIARIES
出品人 / 张维 Producer / Zhang Wei
1
2
3
4
三亚日记 The Sanya Diaries
抽 象 The Abstract Series
三亚记忆 The Sanya Memory
5
6
目录 CONTENTS
夏可君：《诗性记忆的摇篮》
008
Xia Kejun ：The Cradle of Poetic Memory 《三亚日记》系列作品
016
Works of The Sanya Diaries 《抽象》系列作品
082
Works of The Abstract Series 《三亚记忆》系列作品
114
Works of The Sanya Memory 蔡蔚简历
130
Resume of Cai Wei 张维：出品人语
132
Zhang Wei: Words of Producer
7
诗性记忆的摇篮 ——关于蔡蔚的三亚绘画 夏 可 君
大海和岛屿，一直还是中国艺术的一块处女地，一直还有待开拓，随着当代艺术开始关注自然，大海就成为 隐秘拯救的元素，传统文化的内陆地缘性没有触及大海及其岛屿，当代中国绘画也没有触及自然的元素性与大海 的深广性，而对出生于三亚也长于三亚的画家蔡蔚而言，大海和岛屿就是自己的躯体，海风就是自己的呼吸，大 海不是在外面震荡，而是在自己的生命之中涌动，海岛就是自己生命节奏的摇篮，大海的节奏在绘画的平面上自 发地生长，作为一个土生土长的三亚人，三亚湾的大海和岛屿赋予了蔡蔚独特的生命体检与生活经验，也给他的 绘画艺术带来了独特的绘画语言。
三亚的阳光与沙滩，自由自在的游人，生生不息的海底世界与错综蓬勃的热带雨林，等等，都召唤艺术家的 表现，渴望留在永恒的记忆之中，蔡蔚的作品听从了这个召唤。
于是有了真正代表三亚气质的《三亚日记系列》，这是对大海之“阳光”的挥洒书写，那些沙滩上的人物如 同墨影，蔡蔚准确捕获了瞬间流动与消逝的光影，这是带有海洋与海鲜气息的光影。蔡蔚就是在海边在岛上书写， 以水墨之写意的笔触来传达人物的那种新鲜，每天早晨都要写书法，从中可以看出他运笔的微妙性与控制，他尤 为喜欢王铎，以此笔法来描绘那些海滩上游客们闲散的躯体，那就是另一种味道。
一旦一个人面对大海，整个身体就会放松下来，似乎可被风所吹透，似乎身体如同身上的沙子在抖落，蔡蔚 捕获了这个离散的瞬间，面朝大海，身体会开花，一旦激发出笔墨之舞的气格，画上的躯体如同水花溅射，鲜活， 不是写实，但也并非抽象，而是虚虚实实，蔡蔚对人物形态虚实关系处理得很微妙，在简化中准确捕捉，形体被打散， 线条也随之散落，但总体上人体结构却依然完整，形态轻松愉快，而且性感，线条充满音乐节奏和舞蹈的魅力， 躯体散散落落，如细沙落下，这是人脱去伪装之后，更为轻松自如，在大海面前无所掩饰，坦荡自然，坦露自身， 渴望被海风吹透，蔡蔚异常准确地捕获了这一个个迷人的瞬间，那个体生命恣意而爽快的身姿，那性感的气息， 都烙印在了画面上。
8
蔡蔚如此富有表现性的绘画也并非对西方抽象表现主义的模仿，而是对身体与大海元素性之间隐秘关系的感 触，这是生活的气息，是自然的丰富性在滋养艺术。
是大海滋养了蔡蔚的想象，绘画上笔触的到来就是大海以及大海的植物自行来到了画面上，似乎那是大海的 波浪、珊瑚虫，还有鱼群，在梦幻的交织中，转换为一条条无尽涌动的色带，融入在大海的光明之中，蔡蔚把大 海的各个元素融合起来，但经过了书写性笔触的转换，不是在画，而是在自然地书写，是契合大海节律的绝爽涂写。 这就有了蔡蔚的第二个系列《抽象系列》。蔡蔚的作品传递了最真实最浓郁的海洋气息和热带植物气息，也就是 最本质的南方“岛”的气息，这种南方“岛”的气息已经进入三亚人蔡蔚的血液，他的生命。
蔡蔚对岛屿元素性的提取过程有着艺术内在转换的谜，这也是他独特的视觉模式的建构过程：把大海的波浪、 植物与鱼群置于一片波光潋滟的闪烁中，不是写实，而是带有幻觉地抽取，宛若一条条色带或光带，这些光带中 闪烁着斑斓的颜色。这些色带继续变形，彼此交错，似乎是大海涌动的声音在画面上回响，它们一直保持涌动， 画家要找到的是它们交错的节奏，色带彼此交织的旋律，因此蔡蔚似乎不是在作画，而是谱曲，在以色彩绚烂的 线条捕获大海永无止息涌动的喧嚣以及那水纹的合唱。
熟悉大海诗歌与文学性的画家，似乎在把文学中的美人鱼转换为柔美舞动的色带，这些色带带有一种美人鱼 梦幻一般的身姿，这是唯美视幻之中才可能看到的美。这些色带的编制交织成网状，一直在游动，带有大海的气息， 有时绚丽，这是阳光下的大海，有时也是黑夜中大海的波动，一片暗涌。蔡蔚画出了大海内在的节奏，在不断涂 写的快爽中，大海蔓延到生命的气息之中。
蔡蔚的抽象绘画就有着内在发生的原理，并非随意抽象，中国抽象的问题一直过于模仿西方的几何抽象，即 在于没有找到抽象的来源，而蔡蔚把抽象返回到自然，又从自然之中开始抽象，自然的运动在幻觉的想象中，经
9
过书写性笔触的节奏化赋予，这是真正有着活力的抽象，蔡蔚找到了自己的道路。
《抽象系列》是对海岛之“元素性”的歌咏，蔡蔚用错综复杂的色带多维度表现了它们的多样性和神秘性， 它们的生命力和自由性。这种生命力和自由性既生动又饱满，似乎能从画布上跑出来，和我们融为一体。这些线 条似乎能无限延伸，进入宇宙的循环，死亡又再生。
作为“三亚记忆第一人”，大海对于蔡蔚，就有着多重的记忆：首先是“童年的记忆”，他还清楚记得三十 多年前的三亚海滩，与现在日渐缩小的沙滩全然不同，还有着坟地与树木，几乎没有人烟，只有一片的荒芜，这 荒芜养育了蔡蔚的目光，让他一直余留着孩提时代的这种单纯，那种寂寥。其次是“大海的记忆”，那是童年没 有人烟的大海，是纯然的寂静，是大海显露自身的存在，艺术仅仅只要使之存在起来。再其次，则是“诗性的记 忆”，这是唐诗宋词中的月夜，海上的月夜有着不一样的清辉，虚薄而浩淼，还不同于古诗中的月亮，尤其是蔡 蔚喜欢凌晨看海上的月亮：宁静水面上月亮的光影让人迷醉，如梦似幻，这就有了《三亚记忆系列》。不仅仅如此， 蔡蔚还有着对往来游客的铭记，“海边状态的记忆”，捕获游客们闲适的姿态，这是《三亚日记系列》的靓爽的 书写。最后，还有对三亚岛屿植物与大海元素性的最初记忆，这是自然本身恩慈的记忆，也是最更深层次的唤醒。 就有了他的《抽象系列》。在城市化进程日新月异、故土不断消失的当下，蔡蔚以一个艺术家的敏感和本真，用 他的作品记录着他的爱与乡愁，对自然的信任和理解。前面我们讨论了他的日记与抽象系列，现在我们还有必要 观照他的记忆系列。
对于大海几十年的观察与诗意地沉思，让蔡蔚发明了专属于自己的一套独特艺术语汇与技法： 《三亚记忆系列》 作品上，画面上部是大片单色的背景，这是夜晚大海的背景色，其中回响着寂寥与静默。而在月影与光影的交错 中，恍惚之光轻轻地晃过，似乎把月光融入了画面。画面上岛屿礁石的形状，凭着感觉的逻辑表现出来，时而怪异， 有着超现实的梦幻；时而被掩映起来，被夜色所遮盖。而岛屿间的层次有着独特的结构，或者是左右敞开，让出
10
中间的水道，或者是前后的掩映，似乎是为了保护月色不被干扰。暗厚的礁石层次对比上，温暖处暗示出人间烟火， 但彼此掩映，只是以松软之笔轻轻拂过，暗示出月夜下的颜色，略带妩媚，这是想象中的幻景？但又有着暗涌的 水波，有着海洋气息的吹拂。树丛与树影篷松，柔软而虚薄，透出梦一样的气息。画面上岛屿入海口的区分是显 目的，宛若中国传统山水画上的水口，这是画家为了把观看的目光向远处引导，深远和平远在大海的绘画上再次 得到了重新的表现。画家一定对中国传统山水画，比如倪瓒的“一河两岸”的构图有着心领神会，如此简洁明净 的构图把观众带入了大海幽静的深处。而绘画的基本色调，都是以夜色为主的暗色，焕发出蓝色和暗紫色的微光， 透出微茫而温润的诗意。
画面看似幽静，其实有着暗涌与静谧之间的张力，在掩映与敞开之间，在隐藏与保护之间，似乎拒绝现代人 那种粗暴的观看与随意的游走，而是在塑造一种新的观看，那是谁在看？这夜间的凝视，这大海的夜梦，似乎只 有诗人才是合格的观者，这个诗人在冥想与静默中观看，甚至是梦中的幻视，因为这是月光在引导目光！画家有 时候似乎相信这是上帝在看，是某种天空的神圣在显灵，是那更高的目光，那天路，在引导着天地的交融。
这种对大海之诗意的元素性自然的发现，在中国当代艺术中还是罕见的！不同于印象派对太阳光及其色彩的 表现，蔡蔚的作品是经过抽象洗礼之后的月夜，这是虚薄的月色，是夜晚的诗学，是一种暗光的自然性，这是来 自于大海的永恒之幽光，暗绿，暗紫，灰蓝，灰绿，灰紫，玫瑰紫，夜绿或黛绿，这是蔡蔚独有的色感，让人沉静。
既然是月夜，画家描绘出了月亮的不同光晕和色晕，明确描绘了月圆的不同时间与色泽，让色彩融入幽光之中， 在对波光的描绘上，虚薄的气息融入海水，这是虚薄之光，幽秘之光，有着水墨的意韵，尤其是石头后面的幽光 散发出浓郁的夜晚的诗性。而那轮孤月，或明月高悬，衬托出硕大寂寥的背景，似乎我们来到了世界的尽头，在 月光下，万物安眠而恬静。在对海的遥远记忆中，那记忆中的海水与远山被弱化，被虚化，恍然一片，仅仅剩下 一片恍惚的梦境，神秘而沉静，这是静谧的海水融入了静谧的光，这硕大的寂寥让人略微感伤，但依然充满了慰藉。
蔡蔚在画面上创造了一种夜景的诗学，这是与他喜欢阅读现代诗歌相通的，这是一种夜梦，洁净又洁静。这 夜景的蔚蓝散发出暖黄的光，幽黄与黛蓝在夜色中异常甜美，这是自然内在元素性的呼吸，其中有着自然的神圣 之美！
月亮是大海的抚慰者，如同诗人陈东东所言：“把灯点到石头里”，在蔡蔚，则是把灯点到大海里。
对于任何一个来到三亚的客人，如果在离开时，拥有一幅蔡蔚的作品，而不是拍摄的照片，这将是带走一片 蔚蓝的海水，带走一弯清澈的明月，带走一份独特的大海的记忆，那阳光的明媚，那不老的净爽将在他的梦中永 恒荡漾。
11
The Cradle of Poetic Memory On Cai Wei’s Paintings about Sanya By Xia Kejun
Sea and island have been virgin land for Chinese art which is to be developed. As to contemporary art, since nature begins to be paid attention to, the sea becomes the secret element of saving. Inland regionalism of traditional culture hasn’t referred to the sea and island, and contemporary Chinese paintings haven’t referred to the element of nature and the depth and width of the sea. However, for the artist Cai Wei who was born and grew up in Sanya, the sea and island are his body and sea breeze is his breath; the sea does not shock outside, but surges in his life; island is the cradle of his life rhythm and the rhythm of the sea grows spontaneously on the painting plane. Cai Wei is a native of Sanya. The sea and islands of Sanya Bay not only give him unique life and livelihood experience, but also bring a unique painting language for his painting art. The sunshine and beaches, the free visitors, the lifelong submarine world, the intricate and flourishing tropical rain forests and others in Sanya all call on the artists, hoping to be kept in the memory forever. Cai Wei’s works follow the call. Thus, “The Sanya Diary Series” which really represents the temperament of Sanya came out. It is the free description of “sunshine” over the sea. People on the beaches are like shadow figures. Cai Wei accurately captures the instantaneous flow and evanescent shadow which is endowed by the sea and seafood flavor. Cai Wei writes on the beach or in island. He conveys the freshness of figures through his freehand brushwork. Every morning he practices calligraphy, which indicates that his writing skill is pretty delicate and controllable. He likes Wang Duo very much, so he describes the idle tourists on the beach with Wang Duo’s writing style, which is another kind of taste. Once a person faces the sea, his whole body is relaxed, as if it could be blown by the wind and it was dropping like the sand. Cai Wei captures this discrete moment. Only when facing the sea, will the body blossom. Once the inspired writing style is aroused, the bodies in the paintings sputter like the spray. They are fresh and unrealistic, but they are not abstract. Instead, they are real as well as false. Cai Wei can deal with the real and false states of the figures very delicately. He accurately captures while simplifying. The form is scattered, so the lines are also scattered, but the overall structure of the human body is still intact with relaxed and happy expression, very sexy. The lines are full of music rhythm and charm of dance; the bodies are scattered about like sand dropping. It
12
turns out that people are more relaxed, natural and magnanimous without any cover in front of the sea after they put off the disguise. They reveal themselves, eager to be blown by the sea breeze. Cai Wei especially accurately captures the charming moments, so the postures which represent the unrestrained and frank life and the sexy breath are imprinted in the pictures. Cai Wei’s paintings are so expressive not because he imitates Western Abstract Expressionism, but because he expresses his thoughts and feelings about the secret relationship between the body and the sea. It is the atmosphere of life. The rich nature nourishes the art. It is the sea that nourishes Cai Wei’s imagination. His painting inspiration comes from the sea and the sea plants. It seems that the sea waves, corals and fish groups convert into endless surging ribbons in the dreamlike interweaving, and then integrate into the light of the sea. Cai Wei integrates the various elements of the sea by converting the writing-style brushwork. However, he doesn’t paint, but naturally writes, scrawling freely based on the sea rhythm. Thus, the second series “The Abstract Series” came out. Cai Wei’s works convey the realest and richest atmosphere of the ocean and tropical plants, namely the atmosphere of the most essential southern “island”. This kind of atmosphere of southern “island” has entered the blood and life of Cai Wei, a native of Sanya. The process that Cai Wei elementally painted the island contains the mystery of innate artistic transference, and it’s also a process for him to construct his unique visual model. He put the waves, plants and fish groups of the sea into a piece of twinkling light. This is not painting realistically but extracting illusorily. They look like color bands or light bands with many colors twinkling. These color bands continue to become deformed and interlaced, seeming to be sounds of the surging sea that resonates on the picture. They keep surging, and the painter is looking for their interlaced rhythm and their interlaced melodies. Therefore, Cai Wei seems to be composing music instead of painting. He’s capturing the noises of the surging sea and the chorus of the water waves. As a painter who is familiar with poetry about the sea and literariness, he seems to be transferring the mermaid in literature into color bands that dance around softly with the fantastic body figure of a mermaid. Only in aesthetic visional illusory can such beauty be seen. These color bands interlock into a net that keeps flowing with a feeling of the sea. Sometimes it’s bright like the sea in the sunlight, but sometimes it’s like invisible waves of the sea in the dark night. Cai Wei has painted the innate rhythm of the sea and endowed the sea with a feeling of life while he was painting successively and quickly. Cai Wei’s abstract painting contains the principle of innate creation instead of casual abstractness. China has always been overly imitating the geometric abstract of Western countries and hasn’t found the source of abstract. However, Cai Wei has returned the abstract to the nature and started the abstract in nature, integrating the movement of nature with the illusory imagination. By virtue of endowing rhythm by painting strokes, Cai Wei has found his way because this is abstract that contains true vigor. “The Abstract Series” is “elemental” singing for the sea and island. Cai Wei has presented their diversity, mystery, vitality and freedom with intricate color bands in multi dimensions. Such vitality and freedom are so
13
lifelike and full that they seem to be able to come out of the painting cloth and integrate with us. These lines seem to be extendable without limit and can enter the recycle of the universe, reviving after death. As “first person with memories in Sanya”, Cai Wei has many levels of memories about the sea: The first level is “childhood memories”. He can still remember that Sanya beaches over 30 years ago were completely different from the shrinking ones today. There were also graveyards and trees in a piece of aridity with few residents. The aridity has cultivated Cai Wei’s sight and left him with the purity and loneliness in childhood. The second level is “sea memories”. It was a sea without residents in his childhood. It was purely tranquil and the embodiment of the sea itself. Art is aimed at preserving it only. Another level is “poetry memories”. This is a moonlight night in Tang and Song poetry. The moonlight night on the sea has different radiance because it’s illusory, thin and vast. Particularly, Cai Wei likes to watch the moon on the sea in early morning because it’s different from the moon in poetry: the light and shadow of the moon on the still water surface is so illusory and intoxicating that I created “The Sanya Memories Series”. Besides, Cai Wei also remembers tourists who came and went clearly in his “seaside situation memories”, in which he captures the leisurely postures of tourists. This is a relaxed and beautiful painting of “The Sanya Diary Series”. At last, he also painted the elemental primary memories of islands, plants and sea of Sanya. This is the memory of the gratitude of nature itself as well as awakening in a deeper level. Then he created “The Abstract Series”. Under the circumstances that the urbanization process is progressing successively and the territory of his homeland is disappearing constantly, Cai Wei records his love and homesickness and his trust and understanding of nature in his works with his sensitiveness and real nature. In “Moonlight Series”, the upper half of the painting is a large monochrome background – the colour of the sea in the evening, solitary and serene. The shadow of the moon and shadow of the light are interleaved, they seem to blend in the painting. The shape of rocks is presented by feelings, sometimes monstrous and surreal, sometimes covered in darkness. The rocks have a unique structure, open wide towards left and right, giving way to the water channel in the middle. The exposure to moonlight gives a contrast to the thick, dark rocks and the warm-toned parts of the painting
14
indicating the world of life, leading on to a watery flatness with reflected moonlight colour - is this a charming mirage? Nevertheless there are invisible undercurrents and the wind from the sea. Jumbled trees and shadows of trees, soft and thin, indicating a dreamlike tinge. The entrance of the sea is prominent, seeming like a water gap in a traditional Chinese landscape painting. This is the painter’s guidance, he wants to lead our eyes into the distance, wide and far-reaching. Cai Wei must have a tacit understanding of Chinese traditional mountains-andwaters painting. For instance, Ni Zan’s “one river, two banks”, such a simple, concise and brief composition of a picture, brings the audience into the depths of the tranquil sea. The basic tone of the painting is dark, mainly the dim light of night, shines in blue and mulberry, revealing a hazy and moist poetic flavor. The picture seems quiet and serene but actually there is a tension between the invisible undercurrents and the serenity. The contrast between covering up and revealing, concealing and defending, seems to preclude a casual glance from modern people. In the meantime, it tries to shape a new vista. But who has been there watching? The gaze at night, the night dream of the sea - these only poets are qualified to watch. Because it is under the guidance of moonlight, poets watch it in meditation and silence or even as an illusion from the dream. Sometimes the painter believes that God has been watching, that some sanctity from the sky is making his power felt – towards a higher vision, the path to heaven, blending heaven and earth. The natural discovery of the poetic element of the sea is quite rare in Chinese modern art. Different from impressionism’s usage of sunlight and colour, Cai Wei’s work is a moonlight night baptized by abstractionism. Thin moonlight, the naturalness of dim light, composes a poem of the night. The eternal glimmer of the sea – poetical colours: dark green, dark purple, stone blue, celadon, grey violet, rose purple - colours exclusive to Cai Wei, calming and peaceful. Since it is a moonlight night, the painter traces out different and chromatic halos of the moon, portraying the differentiation of the full moon over time, using different colours to blend with the gleaming moon. Glistening light of waves, gauzy and remote, depicted with a Chinese ink painting style, especially the poetic feature generated from the glimmer behind the rocks. The bright moon hangs alone, setting off the huge and solitary background. As if we have come to the end of the world. In the moonlight everything is sleeping peacefully and quietly. Tracing back to the memories of the sea, seawater and distant mountains have been weakened, blurred, only a trance-like dream world is left. Mysterious and silent is the combination of the tranquil seawater and light, which though slightly sorrowful still brims with comfort. Cai Wei created night scene poetry out of the painting, which has much in common with his interests in reading modern poems. This is a night dream, clear and quiet. Warm yellow light sent by the sky blue night view. These two colours are extremely luscious in the night. The breathing of the elements within nature has a sacred beauty. The moon is the consolor of the sea. According to Chen Dongdong’s words, “to light a lamp inside the stone”; as to Cai Wei, he is to light a lamp into the sea. For anyone who goes to Sanya, if you take away a Cai Wei painting as a souvenir instead of a photograph, you will be taking with you the blue sea water, the clear moon and a special memory of the sea.
15
16
Works of The Sanya
Diaries 《三亚日记》系列作品
17
18
19
三亚日记·２０１２ － ２１ The Sanya Diaries·２０１２ － ２１ 布面油画 Oil-on-canvas
30×35 cm
20
21
三亚日记·２０１２ － ２２ The Sanya Diaries·２０１２ － ２２ 布面油画 Oil-on-canvas
30×35 cm
22
23
三亚日记·２０１２ － ３５ The Sanya Diaries·２０１２ － ３５ 布面油画 Oil-on-canvas
30×35 cm
24
25
三亚日记·２０１２ － ２３ The Sanya Diaries·２０１２ － ２３ 布面油画 Oil-on-canvas
30×35 cm
26
三亚日记·２０１２ － １９ The Sanya Diaries·２０１２ － １９ 布面油画 Oil-on-canvas
30×35 cm
27
三亚日记·２０１２ － １６ The Sanya Diaries·２０１２ － １６ 布面油画 Oil-on-canvas
30×35 cm
28
三亚日记·２０１２ － １７ The Sanya Diaries·２０１２ － １７ 布面油画 Oil-on-canvas
30×35 cm
29
三亚日记·２０１２ － １４ The Sanya Diaries·２０１２ － １４ 布面油画 Oil-on-canvas
30×35 cm
30
三亚日记·２０１２ － １５ The Sanya Diaries·２０１２ － １５ 布面油画 Oil-on-canvas
35×30 cm
31
三亚日记·２０１２ － ２６ The Sanya Diaries·２０１２ － ２６ 布面油画 Oil-on-canvas
30×35 cm
32
33
三亚日记·２０１２ － ２８ The Sanya Diaries·２０１２ － ２８ 布面油画 Oil-on-canvas
35×30 cm 三亚日记·２０１２ － ２９ The Sanya Diaries·２０１２ － ２９ 布面油画 Oil-on-canvas
35×30 cm
34
35
三亚日记·２０１２ － ２７ The Sanya Diaries·２０１２ － ２７ 布面油画 Oil-on-canvas
30×35 cm
36
37
三亚日记·２０１１ － １３ （局部） The Sanya Diaries·２０１１ － １３ （Ｐａｒｔ） 布面油画 Oil-on-canvas
55×60 cm
38
39
三亚日记·２０１１ － １３ The Sanya Diaries·２０１１ － １３ 布面油画 Oil-on-canvas
55×60 cm
40
41
三亚日记·２０１０ － １６ The Sanya Diaries·２０１０ － １６ 布面油画 Oil-on-canvas
55×60 cm
42
43
三亚日记·２０１１ － ３９ The Sanya Diaries·２０１１ － ３９ 布面油画 Oil-on-canvas
60×55 cm
44
45
46
三亚日记·２０１１ － １２ The Sanya Diaries·２０１１ － １２ 布面油画 Oil-on-canvas
55×60 cm
47
三亚日记·２０１１ － ４０ The Sanya Diaries·２０１１ － ４０ 布面油画 Oil-on-canvas
60×55 cm
48
49
三亚日记·２０１０ － １５ The Sanya Diaries·２０１０ － １５ 布面油画 Oil-on-canvas
60×55 cm
50
三亚日记·２０１０ － １９ The Sanya Diaries·２０１０ － １９ 布面油画 Oil-on-canvas
60×55 cm
51
三亚日记·２０１０ － １８ The Sanya Diaries·２０１０ － １８ 布面油画 Oil-on-canvas
60×55 cm
52
53
三亚日记·２０１１ － ０４ The Sanya Diaries·２０１１ － ０４ 布面油画 Oil-on-canvas
60×55 cm
54
55
三亚日记·２０１０ － ０５ The Sanya Diaries·２０１０ － ０５ 布面油画 Oil-on-canvas
60×55 cm
56
57
58
59
三亚日记·２０１３ － ０１ The Sanya Diaries·２０１３ － ０１ 布面油画 Oil-on-canvas
60×55 cm
60
三亚日记·２０１３ － ０２ The Sanya Diaries·２０１３ － ０２ 布面油画 Oil-on-canvas
60×55 cm
61
62
三亚日记·２０１３ － ０３ The Sanya Diaries·２０１３ － ０３ 布面油画 Oil-on-canvas
60×55 cm
63
三亚日记·２０１１ － ３５ The Sanya Diaries·２０１１ － ３５ 布面油画 Oil-on-canvas
138×138 cm
64
65
三亚日记·２０１０ － ２１ The Sanya Diaries·２０１０ － ２１ 布面油画 Oil-on-canvas
35×40 cm
66
67
三亚日记·２０１１ － ２８ The Sanya Diaries·２０１１ － ２８ 布面油画 Oil-on-canvas
30×35 cm 三亚日记·２０１１ － ２９ The Sanya Diaries·２０１１ － ２９ 布面油画 Oil-on-canvas
30×35 cm
68
69
三亚日记·２０１２ － ０９ The Sanya Diaries·２０１２ － ０９ 布面油画 Oil-on-canvas
40×35 cm
70
71
三亚日记·２０１２ － １７ The Sanya Diaries·２０１２ － １７ 布面油画 Oil-on-canvas
60×55 cm
72
73
三亚日记·２０１１ － ０８ The Sanya Diaries·２０１１ － ０８ 布面油画 Oil-on-canvas
60×55 cm
74
75
三亚日记·２０１４ － ０４ The Sanya Diaries·２０１４ － ０４ 布面油画 Oil-on-canvas
60×55 cm
76
三亚日记·２０１４ － ０５ The Sanya Diaries·２０１４ － ０５ 布面油画 Oil-on-canvas
60×55 cm
77
三亚日记·２０１４ － ０６ The Sanya Diaries·２０１４ － ０６ 布面油画 Oil-on-canvas
60×55 cm
78
79
三亚日记·２０１２ － ２５ The Sanya Diaries·２０１２ － ２５ 布面油画 Oil-on-canvas
30×35 cm
80
81
82
Works of
Abstract
Series
《抽象》系列作品
83
抽象·２０１２ － ２６ Abstract·２０１２ － ２６ 布面油画 Oil-on-canvas
120×120 cm
84
85
抽象·２０１２ － ２７ Abstract·２０１２ － ２７ 布面油画 Oil-on-canvas
120×120 cm
86
87
抽象·２０１２ － ３４ Abstract·２０１２ － ３４ 布面油画 Oil-on-canvas
138×120 cm
88
89
抽象·２０１４ － ０１ Abstract·２０１４ － ０１ 布面油画 Oil-on-canvas
138×120 cm
90
91
抽象·２０１２ － ３０ （局部） Abstract·２０１２ － ３０ （Ｐａｒｔ） 布面油画 Oil-on-canvas
138×135 cm
92
93
抽象·２０１２ － ３０ Abstract·２０１２ － ３０ 布面油画 Oil-on-canvas
135×135 cm
94
95
１． 抽象·２０１２ － ２４ ａ Abstract·２０１２ － ２４ ａ 布面油画 Oil-on-canvas
55×60 cm ２． 抽象·２０１２ － ２４ ｂ Abstract·２０１２ － ２４ ｂ 布面油画 Oil-on-canvas
55×60 cm ３． 抽象·２０１２ － ２４ ｃ Abstract·２０１２ － ２４ ｃ 布面油画 Oil-on-canvas
55×60 cm ４． 抽象·２０１２ － ２４ ｄ Abstract·２０１２ － ２４ ｄ 布面油画 Oil-on-canvas
55×60 cm
96
1
4
2
3
97
抽象·２０１２ － ３１ Abstract·２０１２ － ３１ 布面油画 Oil-on-canvas
90×70 cm
98
抽象·２０１２ － ３２ Abstract·２０１２ － ３２ 布面油画 Oil-on-canvas
90×70 cm
99
抽象·２０１２ － ３３ Abstract·２０１２ － ３３ 布面油画 Oil-on-canvas
90×70 cm
100
101
１． 抽象·２０１２ － ２５ ａ Abstract·２０１２ － ２５ ａ 布面油画 Oil-on-canvas
138×120 cm ２． 抽象·２０１２ － ２５ ｂ Abstract·２０１２ － ２５ ｂ 布面油画 Oil-on-canvas
138×120 cm ３． 抽象·２０１２ － ２５ ｃ Abstract·２０１２ － ２５ ｃ 布面油画 Oil-on-canvas
138×120 cm
102
1
2
3
103
抽象·２０１２ － ２５ ｃ （局部） Abstract·２０１２ － ２５ ｃ （Ｐａｒｔ） 布面油画 Oil-on-canvas
138×120 cm
104
105
抽象·２０１２ － ０７ Abstract·２０１２ － ０７ 布面油画 Oil-on-canvas
70×90 cm
106
抽象·２０１２ － ０８ Abstract·２０１２ － ０８ 布面油画 Oil-on-canvas
70×90 cm
107
抽象·２０１２ － ０６ Abstract·２０１２ － ０６ 布面油画 Oil-on-canvas
70×90 cm
108
109
抽象·２０１２ － ０６ （局部） Abstract·２０１２ － ０６ （Ｐａｒｔ） 布面油画 Oil-on-canvas
70×90 cm
110
111
抽象·２０１２ － ２８ Abstract·２０１２ － ２８ 布面油画 Oil-on-canvas
135×135 cm
112
113
114
Works of The Sanya
Memory
《三亚记忆》系列作品
115
三亚记忆·２０１３ － ２８ The Sanya Memory·２０１３ － ２８ 布面油画 Oil-on-canvas
200×160 cm
116
117
三亚记忆·２０１３ － ２５ The Sanya Memory·２０１３ － ２５ 布面油画 Oil-on-canvas
200×160 cm
118
119
三亚记忆·２０１３ － ２４ The Sanya Memory·２０１３ － ２４ 布面油画 Oil-on-canvas
200×160 cm
120
121
三亚记忆·２０１３ － ３９ The Sanya Memory·２０１３ － ３９ 布面油画 Oil-on-canvas
150×220 cm
122
123
三亚记忆·２０１３ － ０２ The Sanya Memory·２０１３ － ０２ 布面油画 Oil-on-canvas
100×100 cm
124
125
三亚记忆·２００８ － ０４ The Sanya Memory·２００８ － ０４ 布面油画 Oil-on-canvas
140×120 cm
126
127
三亚记忆·２００８ － １１ The Sanya Memory·２００８ － １１ 布面油画 Oil-on-canvas
120×140 cm
128
129
蔡蔚
蔡蔚：男、汉族。 1966 年生，海南省三亚市人。 2001 年－ 2003 年到中央美术学院、徐悲鸿纪念馆学习。 2003 年至今居住三亚。 主 要 创 作 有《 三 亚 日 记 》、《 抽 象 》、《 三 亚 记 忆 》等 系 列 油 画 作 品 。
参展经历： 2012 杭州当代艺术博览会中国抽象艺术邀请展 ........................................................................... 杭州 （远东）欧亚艺术盛典中国海口邀请展 ................................................................................ 海口 2010 广东海南两地油画名家写生作品展....................................................................................... 海口 2009 海南·故乡的太阳——美术摄影作品展............................................................................ 新加坡 2008 艺术市场——海南油画名家提名展....................................................................................... 海口 2007 海南省当代油画名家展......................................................................................................... 海口 2006 海南省油画名家提名邀请展.................................................................................................. 海口 2005 海南省油画家提名展............................................................................................................. 海口
130
Cai Wei
Cai Wei: Male, the Han nationality. born in 1966 at Sanya, Hainan. He was studied at Central Academy of Fine Arts and Xu Beihong Museum from 2001 to 2003. Now, he is lived in Sanya from 2003. The main works include The Sanya Diaries, abstract series, The Sanya Memory, and other oil paintings.
Exhibition experience: 2012 China Abstract Art Exhibition of Hangzhou Modern Art Fairs.................................................. Hangzhou China Haikou Invitation Exhibition of Eurasian Art Ceremony (the Far East)................................ Haikou 2010 Exhibition of Sketches of Oil Painting Masters at Guangdong and Hainan.................................. Haikou 2009 Hainan · Sun of Hometown——Art Photography Work Exhibition....................................... Singapore 2008 Art Market---Hainan Provincial Nomination Exhibition of Oil Painting Master.......................... Haikou 2007 Hainan Provincial Modern Oil Painting Master Exhibition............................................................. Haikou 2006 Hainan Provincial Invitation Exhibition of Nominated Oil Painting Master.................................... Haikou 2005 Hainan Provincial Nomination Exhibition of Oil Painting Master................................................... Haikou
131
出品人语 张维
蔡蔚是这样一位画家，他是一个土生土长的三亚人，是一个木讷寡言的聆听者。他能对大海十年不 说一句话，终于有一天，大海说话了，于是有了这些画海的画。
大海在深渊般的沉默中是如何说话的？日月之光交替临照，一种隐秘的呼应，生命苏醒，像微小而 顽强的精子，跳着 s 形的舞蹈，呈现出生命原初的，呼吸的气韵生动与体态的五彩斑斓，这是大海浑沌 之初“道生一，一生二”的机密，蔡蔚看到了这些，他用抽象的“发生”系列具像地书写他心中的大海。 蔡蔚的另一组“三亚日记”，记录了人与大海相遇的状态，海很平静，人却充满自由和韵动，这是人临 近本源时的一种解放，也是人亲近大海的缘由，他用轻盈舞蹈的笔触直达了生命解放状态下鲜活的灵与肉。 “三亚记忆”, 则是对大海的一种东方的诗性的回忆，大海像一面铜镜：宁静、无为、生生不息。我注意 到画中的橙色之光，那是最初的光，是道之光，是生命发生时的光，也是人和大海瞬间合一的澄明之光。 “海 上生明月”，生命醒了。这也是大海的容颜：宽厚、虚静、思乡，因此澄明之光其实就是我们共同的故乡。
而所有这些画，都是在一股静默的气息下完成的，我喜欢蔡蔚本人和他画中这股深静的气息，我把 这位大海的画家和他画的大海推荐给大家，以姿共享生命的美妙和机缘。
2013 年冬于江苏常熟
132
Words of producer By Zhang Wei
Cai Wei is such artist; as a local Sanya people, he is a dull and short-spoken listener; he can keep silence towards the sea; and then one day, the sea is spoken, and accordingly these paintings about the sea are appeared. Ocean abyss-like silence in how to speak? Sun and moon light alternately Linzhao, echoing a secret life awake, like tiny and tenacious sperm, danced s-shaped dance, showing primordial life, breathing and posture Vivid colorful, this is the sea the beginning of the chaos, "Dawson one, one two" secret, Cai Wei saw them, he used abstract "happen" to write a series like the sea with his mind.In the two series of paintings shown in the Cai Wei’s Exhibition, “Journal of Sanya” describes the state of people in the front of the sea: the sea is calm, and people is full of freedom and movement; this is perhaps a liberation when people closes to the origin as well as a reason why people loves the sea.He dances with light strokes direct the life of the liberation of the state under fresh body and soul.“The Memory of Sanya”, is an eastern poetic memory of the sea, the sea looks like a bronze mirror: peace, inaction, and circle of life. I noticed the orange light in the painting, which is the original light, the light of road, the light when life happens, and also a bright light when people and the sea are combined into one instantaneously. “Moonrise by the Sea”, life is waken up. It is also the appearance of the sea: grace, clam, and homesick; therefore, the bright light is our common hometown actually. All of these paintings are in an atmosphere of silence done, I like Cai Wei himself and quiet painting which shares deep breath him, I put the artist he painted the sea and sea recommend it to everyone to sharing life's wonderful attitude and opportunity.
Written in the winter of 2013 at Changshu, Jiangsu
133
著作者 Author
出品人 Producer
Cai Wei
张维 Zhang Wei
编辑
衣米一
Editor
Yi Miyi
摄影 Photography
设计 Design
134
蔡蔚
张昊 Zhang Hao
林杨升 Lin Yangsheng
135
136 The Sanya Diaries / The Abstract Series / The Sanya Memory
137
2014
138 The Sanya Diaries / The Abstract Series / The Sanya Memory