云上：翁道胜油画作品展

Over the Clouds：Weng Daosheng's Oil Painting Exhibition

策展人：田正玉

Curator:  Tian Zhengyu

展览时间：2026年8月8日 - 8月30日

Duration：Agu 8 - Agu 30, 2026 

开幕时间：2026年8月8日 15:00

Opening：3pm, Agu 8, 2026 

地址：上海市普陀区莫干山路50号24号楼201室

Address:  Room 201, Building 24, No. 50 Moganshan Road, Putuo District, Shanghai

“云上”构建一种回应当下视觉经验的美学框架
文/田正玉

我与艺术家翁道胜先生初识于 2018年，彼时我正在 M50 艺术园区内经营一家小画廊，他来园区看展，我们便于画廊结识。此后我们虽联系不频繁，每年却也要寻空见面深聊几次。此后几年，世事变幻，我虽多历人生浮沉，关闭了画廊，却也一直浸淫于艺术行业，从未离开。同时我也一直关注着他在艺术创作上的变化，并由衷为其在艺术上取得的成就而感到高兴。我们相识已久，却一直未有机会合作，此次能受邀作为其在 M50 首次个展的策展人 ，实属机缘。

翁道胜是一位少见的极度热爱阅读和思考的研究型艺术家，初次受邀去其工作室参观时，我便震惊于其工作室内一排排的书架，书架上摆放着艺术、设计、哲学、心理学、社会学等各个学科的书籍，可见其平时涉猎广泛。而多年的沉淀也使得其能完成从表现性具象到心性化抽象再到诗意性意象而后到具象、抽象、意象浑然一体的艺术境界的升维，形成了《大气象》 《元象》《造化》《生命》《云尚》等风格各异却脉络清晰的系列作品。而此次则精选了《云尚》系列的部分作品策展。

本次展览以“云上”为名，其中有两层内涵，其一为感官观看的角度，其二为精神观照的维度。

《云上 17》 27×37cm 纸本油画 2025

“云上”：空间意识和观看之道的新范式

·感官视觉的观看方式决定了空间的构建方式和空间意识

在农耕文明的背景下，中国传统山水画以“三远”——高远、深远、平远为其核心美学框架和观看方式，其空间意识的核心是“远”，也即纵深。粗略地说，高远是上下的纵深、深远是前后的纵深，平远是左右的纵深。这种空间的心理纵深的存在使得于画作方寸之间，一种可入、可游、可居的精神性空间的实现成为可能。范宽的《溪山行旅图》，主峰扑面，却留出一条小径让观者“⾛⼊”。倪瓒的《六君子图》，一河两岸，水面空阔，却让观者的目光“越过”⽔⾯抵达远山。空间之所以“远”，是因为画中有可以被想象性进入和穿越的精神路径。

“云上”的俯瞰是对传统观看方式的现代性重写，其现代性来源是工业文明。飞机的出现赋予了人俯瞰全局的宏观视野，其空间意识的核心是“⼴”，也即统摄。这是一种超脱的全景式凝视，千米高空之上，以一种宏观的宇宙式目光一次性收摄整个大地。足够的距离反而使得空间的纵深感被抽空，留下的是结构的清晰，山退为隐约的轮廓，公路练为书法般的线条，地脉化作氤氲的气韵。这种观看方式使得身体在观看中被悬置，只剩下纯然的目光，具身空间的消解，带来近乎天成的秩序美。

·身体与精神的参与方式决定了观看的观照维度和观看之道

“三远”的观看之道，是“身体想象性的游观”。“游观”之“游”，是郭熙“可游可居”之游，其核心在于身体的想象性参与和身体感的延伸。所谓“三远”，即“ 自山下而仰”“ 自山前而窥”“ 自近山而望”，观者以一个想象性的身体位置为起点，在目光与笔墨的引导下，“⾛⼊” 山水。或沿山路而行，或登高台而望，或缘溪流而驻，或入幽谷而息。观者不是画外的“旁观者”，而是受邀“⾛⼊” 山水的“居停者”。其本质是一种“我在此处”的观看，在此语境下，人与自然有一种近乎触觉般的亲密，它的终极尺度不是视觉上的“远”，而是“天人合一”，是完成精神上的安顿。

“云上”的观看之道，是“精神悬浮性的静观”。“静观”之“静”，是庄子“心斋”“坐忘”之静。其核心在于精神的悬浮与超越，观者不在“ 山中”，而在“云上”，悬浮于一个在过去无法被身体经验验证的高度。这是一种“无位置的位置”——不是从某处看，而是从“虚处”看。其目光不于大地穿行，而从高处收摄，其精神不在山水之间游走，而于太虚之中静观。所谓太虚，乃宇宙最原初的空明状态，一种无形的、无限的、无差别的精神场域。“云上”的静观使得身体位置的预设被悬置，感官被沉淀，唯有精神如气如雾般漂浮于天地之间。

“云上”是一种感官和精神统摄式的观看，俯瞰之下，整个大地一次性收入视野，山水、地脉、云雾、公路在一瞬间被收摄。如同庄子笔下“游心太虚”的目光——不附着于任何一处，却将万物收摄于心，这不是参与，而是观照。观者不在画面中寻找进入的路径，而是在画面之外，感受大地的结构与呼吸。那些模糊得只有几何轮廓的山，不必走进去，它只是大地呼吸中的一个停顿，静观即可感应。其本质是一种“我不在此处”的观看， 是一种虚静的近乎宇宙尺度的精神悬浮性的“观”。

“云上”与“三远”构成了现代复合性东方文明两种异质却又互补的空间意识以及观看之道。

《云尚世界 114》 26×36cm 纸本油画 2025

“云上”与“三远”：完整的东方观看体系
“游”是东方美学中“观”的核心，身游是为观看，神游是为观照。“三远”是“身在山中”的参与式观看，是游的身体性体现，“云上”是“神在云上”的收摄式观看，是游的精神性延伸。两者是东方艺术“游”的精神在文明内部不同文明形态构成中的各自显现，共同构成了一套完整的东方观看体系。

东方美学的完整精神，或许正是在这两种观看之间保持张力，以有限的感知，抵达无限的精神。既能入乎其内，悠游山水之间，以沉浸式的超越，获得身心的温润栖居；又能出乎其外，逍遥尘世之上，以抽离式的超越，获得精神的绝对自由。入得出得，方见真境，这便是东方观看最完整的图景。

《云图 2》 27×37cm 纸本油画 2025

“云上” ：回应当下视觉经验的美学框架
在当下，俯瞰已经成为一种重要的视觉经验，那么必然需要一种新的美学框架，对那些正在发生却长期未被“看见”的视觉经验进行回应。而“云上”便是根植于东方美学精神而对其回应的一种美学框架，其核心是以东方艺术语言将这种视觉经验进行当下编码和转译，拓展东方美学的精神纵深和时代边界。因此“云上”不止于一个展览概念，更是一种自觉的美学框架的构建——它以东方精神为根基，以当下视觉经验为土壤，试图在传统与当下之间，建立一种可感、可述、可拓展的审美范式。

艺术家翁道胜的《云尚》系列作品的创作便是源于飞机之上俯瞰江南烟雨地脉的具身经验。当飞机穿越江南上空，舷窗外的天地在辽远之中铺展开来，他以自己的艺术创作，为烟雨江南写下了属于这个时代的精神注脚。

《云尚》系列作品中，一个被提纯后的模糊的山的轮廓常常占据画眼位置。虽然只是一个随时将要弥散的轮廓，但仍具备了完整的山的精神性结构。它的存在仿佛昭示着某种象征性的意义，即山的精神性存在不可消解，千年山水文脉的精神丰碑在此永恒矗立。

那些蜿蜒如书法线条的公路，它的蜿蜒不是功能的，而是审美的，它既是实指的，指向画中某处，又是虚指的，指向画外未知的精神游踪。

占画面更大面积的是那些在天地之间弥散、氤氲的油彩，所谓“天地氤氲，万物化醇”，氤氲是气在将显未显、将聚未聚时的状态。那些“氤氲之气”的运行变化自涵一种“生生之机”，便是宇宙间永恒不息的生命力。

《云图 5》 27×37cm 纸本油画 2025

“Above the Clouds”Constructing an Aesthetic Framework in Response to Contemporary Visual Experience
By Tian Zhengyu
I first met artist Mr. Weng Daosheng in 2018, when I was running a small gallery in the M50 Art District. He came to the district to see an exhibition, and we got to know each other at the gallery. Although we have not kept in frequent contact since then, we have still made time to meet and have in-depth conversations several times a year. In the years that followed, the social climate changed dramatically. Although I experienced the ups and downs of life and eventually closed the gallery, I have continued to work in the art industry and have never left it. At the same time, I have remained attentive to the changes in his artistic practice and have sincerely been pleased by the achievements he has made in art. We have known each other for a long time, yet never had the opportunity to collaborate. Being invited this time to serve as the curator of his first solo exhibition at M50 is truly a fortunate turn of events. 

Weng Daosheng is a rare research-oriented artist who is deeply devoted to reading and contemplation. When I first visited his studio at his invitation, I was astonished by the rows of bookshelves lined with volumes spanning art, design, philosophy, psychology, sociology, and many other disciplines—a testament to the breadth of his intellectual pursuits. Through  ears of sustained immersion and refinement, he has accomplished an elevation of his artistic realm, progressing from expressive figuration to spiritualized abstraction, onward to poetic imagery, and ultimately arriving at a state where figuration, abstraction, and imagery are seamlessly fused into an integral whole. This trajectory has given rise to a body of series—such as Grand Vistas, Meta-Forms, Creation, Life, and Yun Shang—each distinct in style yet clearly connected by an underlying conceptual thread. For this exhibition, a selection of works from the Yun Shang series has been specially curated.

This exhibition is titled "Above the Clouds," a name that carries two layers of meaning: the first pertains to the perspective of sensory observation, and the second to the dimension of spiritual contemplation.

《云尚 50》 80×80cm 布面油画 2022

“ Above the Clouds ” : A New Paradigm of Spatial Consciousness and Ways of Seeing
·The mode of sensory visual perception determines both the construction of space and the formation of spatial consciousness
Against the backdrop of agrarian civilization, traditional Chinese landscape painting takes the “Three Distances ”—High Distance, Deep Distance, and Level Distance—as its core aesthetic framework and mode of viewing. At the heart of its spatial consciousness lies“distance,” that is, depth. Roughly speaking, High Distance refers to vertical depth, Deep Distance to depth along the front-back axis, and Level Distance to depth along the left-right axis. This psychological depth of space makes it possible, within the limited dimensions of a painting, to realize a spiritual space that one can enter, travel through, and inhabit. In Fan Kuan's Travelers Among Mountains and Streams, the main peak comes right at the viewer, yet a small path is left open for the viewer to “walk in.”In Ni Zan's Six Gentlemen, with a river dividing two banks and an expansive stretch of water, the viewer's gaze is carried “across” the water to the distant mountains. Space is “distant” precisely because the painting contains spiritual pathways that can be imaginatively entered and traversed.

The bird's-eye view of “Above the Clouds” constitutes a modern rewriting of the traditional way of seeing, and its modernity derives from industrial civilization. The advent of the airplane endowed humanity with a macroscopic vision overlooking the whole; the core of its spatial consciousness is “breadth,” that is, comprehensive command. This is a detached, panoramic gaze—from an altitude of thousands of meters, a macroscopic, cosmic gaze that takes in the entire earth in a single sweep. Such distance, paradoxically, evacuates spatial depth, leaving behind structural clarity: mountains recede into faint silhouettes, highways are refined into calligraphic lines, and the veins of the earth dissolve into a dense, ethereal rhythm. This mode of viewing suspends the body in the act of seeing, leaving only a pure gaze; the dissolution of embodied space yields a beauty of order that appears almost innately formed.

·The manner in which the body and the spirit participate determines the dimension of contemplation and the way of seeing

The way of seeing embodied by the“three distances”is an “imaginative roaming contemplation through the body.”The“roaming” in “roaming contemplation”is precisely the  “roaming”  in Guo Xi's notion of “ suitable for roaming and dwelling, ” whose core lies in the imaginative participation of the body and the extension of bodily sensation. The so-called  “three distances”— namely,“looking up from the foot ofthe mountain,”“peering from in front ofthe mountain,”and“gazing from a nearby mountain”—take the viewer's imagined bodily position as the starting point and, guided by the gaze and the brushwork, allow the viewer to  “walk into”   the landscape. One may walk along a mountain path, ascend a high terrace to gaze, linger by a stream, or rest in a secluded valley. The viewer is not a  “bystander ”outside the painting, but rather a “ sojourner ” invited to“walk into ”the landscape. Its essence is a mode of viewing defined by  “I am here. ” Within this context, an almost tactile intimacy emerges between human and nature; its ultimate measure is not visual  “ distance, ” but the“ unity of heaven and humanity ”—the attainment of spiritual repose.

“Above the Clouds”presents a way of seeing as a“spiritually suspended contemplation. ”The“stillness”in“contemplation”is the stillness of Zhuangzi’s  “fasting of the mind”and“sitting in forgetfulness. ”Its core lies in the suspension and transcendence of the spirit: the viewer is not“ in the mountains, ”but“ above the clouds, ”suspended at a height that the body could not previously verify through experience. This is a“position without a position”—not seeing from somewhere, but from a place of“emptiness.” The gaze does not travel through the earth; it gathers from above. The spirit does not wander among landscapes, but contemplates in stillness within the boundless void. This so-called Great Void refers to the most primordial state of luminous emptiness in the universe —a formless, infinite, undifferentiated spiritual field. The contemplative gaze of“Above the Clouds”suspends the presupposition of bodily position, allowing the senses to settle, until only the spirit remains, floating like qi or mist between heaven and earth.

"Above the Clouds" is a mode of seeing that unifies the sensory and the spiritual. From a bird's-eye view, the entire earth is taken into the field of vision at once —mountains and waters, terrestrial veins, clouds and mist, and highways are all gathered in a single instant. It is akin to the gaze of "the mind roaming in the Great Void" described by Zhuangzi: attached to no single place, yet gathering all things into the mind. This is not participation, but contemplation. The viewer does not seek a path of entry within the picture, but rather, from outside it, senses the structure and breath of the earth. Those mountains so blurred that only geometric silhouettes remain need not be entered; they are but a pause in the earth's breathing, to be apprehended through tranquil contemplation. Its essence is a way of seeing characterized by "I am not here"—a "contemplation" of emptiness and stillness, of spiritual suspension on a nearly cosmic scale.

“ Above the Clouds ”and the“ Three Distances ”together  constitute two heterogeneous yet complementary forms of spatial consciousness and ways of seeing within a modern, composite Eastern civilization.

《云尚 106》 109×79cm 纸本油画 2022

“Above the Clouds” and the “Three Distances”: A Complete Eastern System of Seeing
"Roaming" (you) is the core of "contemplation" (guan) in Eastern aesthetics: roaming with the body  is  the  way  of  sensory  viewing,  while  roaming  with  the  spirit  is  the way  of  spiritual contemplation. The "three distances," as a participatory mode of viewing in which one is "in the mountains," embody the bodily realization of roaming; "Above the Clouds," as a gathering mode of viewing in which the spirit is "above the clouds," represents the spiritual extension of roaming. The two  are  respective  manifestations  of  the  spirit  of "roaming"  in  Eastern  art  within  different civilizational formations internal to the civilization, and together they constitute a complete Eastern system of seeing.

The complete spirit of Eastern aesthetics perhaps lies precisely in sustaining a tension between these two modes of seeing—so that through finite perception, one may reach the infinite spirit. On the one hand, one can enter into the scene, roaming leisurely among mountains and waters, and through immersive transcendence, attain a warm and gentle dwelling for both body and mind. On the other hand, one can go beyond it, wandering carefree above the dusty world, and through detached transcendence, achieve absolute spiritual freedom. Only when one is able to both enter and exit does the true realm reveal itself. This constitutes the most complete picture of the Eastern way of seeing.

《升腾》 24×30cm 纸本坦培拉、油彩 2026

“Above the Clouds ” : An Aesthetic Framework as a Response to Contemporary Visual Experience
In the present day, the bird's-eye view has already become a significant mode of visual experience, and as such, a new aesthetic framework is urgently needed to respond to those visual experiences that have long been occurring yet remained "unseen." "Above the Clouds" is precisely such an aesthetic framework—rooted in the spirit of Eastern aesthetics—that answers to this experience. At its core lies the encoding and transposing of this visual experience into a contemporary register through the language of Eastern art, thereby expanding the spiritual depth and temporal boundaries of Eastern aesthetics.  "Above the Clouds" is therefore more than a curatorial concept; it is the deliberate construction of an aesthetic framework. With the Eastern spirit as its foundation and contemporary visual experience as its soil, it seeks to establish, between tradition and the present, an aesthetic paradigm that is perceptible, articulable, and open to further extension.
The creation of the Yun  Shang series by artist Weng Daosheng originates precisely from the embodied experience of overlooking the misty rain and terrestrial veins of Jiangnan from an airplane. As the aircraft traverses the skies above Jiangnan, the world beyond the cabin window unfolds in vast and boundless expanse. Through his art, he has inscribed a spiritual footnote for the mist-shrouded Jiangnan that belongs to this era.

In the Yun Shang series, a purified, blurred outline of a mountain often occupies the focal point of the composition. Although it is only an outline that seems on the verge of dissolving at any moment, it nonetheless retains the complete spiritual structure of a mountain. Its presence seems to point to a symbolic meaning: the spiritual existence of the mountain cannot be erased, and the spiritual monument ofthe millennium-long landscape tradition stands here in perpetual endurance.

In the paintings, those highways that wind like calligraphic lines meander not functionally but aesthetically; they are at once denotative, pointing to a specific place within the picture, and connotative, pointing toward an unknown spiritual roaming beyond it.

What occupies an even larger area ofthe picture plane are those oil colors that diffuse and enshroud between heaven and earth. As the saying goes, "When heaven and earth intermingle in dense, generative vapor, all things are transformed and brought to ripeness." This dense vapor (yinyun) is the state of qi at the very threshold where it is about to manifest yet remains unmanifest, about to coalesce yet remains uncoalesced. The movement and transformation of this "yinyun qi" naturally harbor  a  "dynamic  impetus  of  ceaseless  generation,"  which  is  none  other  than  the  eternal, unceasing life force ofthe cosmos.

《云尚 10》 180×160cm 布面油画 2021

关于艺术家

About Artist

翁道胜  Weng Daosheng

中国当代艺术家
生于浙江温州，现居上海、大连
辽宁省大连画院油画院副秘书长
大连浙江省商会艺术顾问
辽宁师范大学特聘教授
曾就读于中央美术学院并研修于首都师范大学表现性油画工作室

作品出版：2017《元象：翁道胜油画集》安徽美术出版社2013《大气象：翁道胜油画集》吉林美术出版社
个展经历：
2026 “云上”翁道胜油画作品展-上海 7 SPACE
2026 “迹象”翁道胜沙龙作品展-上海雅翫域所2025 “行上”翁道胜作品展-杭州ANEW ART LOUNGE艺术空间2025 “造化”翁道胜作品展-上海雅翫域所艺术空间2023 “化行”翁道胜作品展-大连美术馆2023  “和合”翁道胜作品展-上海南希画廊2020 “山相山”翁道胜作品展-辽宁省大连山相山艺术空间2020 “云图”翁道胜作品展-辽宁省大连 X-gallery 未知空间2019 “大气象”翁道胜艺术作品展-四川省广汉市美术馆2019 “新象”翁道胜油画作品个展-浙江省杭州江南学社艺术空间2019 “元象”个人作品全国巡展第四站-浙江省杭州单复艺术空间2018 “万象”主题跨界作品个展-北京 798 东时实验室2018 “象外”翁道胜荷兰个展-荷兰恩斯赫德 xpo 美术馆2018 “元象”个人作品全国巡展第三站-河南省美术馆2017 “元象”个人作品全国巡展第二站-浙江台州美术馆2017 “元象”个人作品全国巡展首展-辽宁省大连中山美术馆2015 “古韵”主题个展-北京草场地国际艺术区 Zoomart 美术馆
2009 “根”主题个人画展-辽宁省大连

关于策展人

About Curator

田正玉  Tian Zhengyu

独立策展人 、写作者、研究者， 曾为画廊主 ，硕士毕业于上海大学电影学院

主要研究方向:

·中国古典思想与艺术美学精神的当下转化与当代表达。

·中国现当代思想视阈下，艺术作为一种参与社会关系与象征场域构建的结构性力量 ，其参与社会观念塑造的内在机理 ，及其介入社会现实改造的可能性边界与实践范式。

·人工智能时代，艺术本身生成、传播、接受、效能、价值与再生产机制的系统性嬗变，以及此语境下，艺术对于“人何以为人”这一人类存在论命题及根本性困境的当代回应。