次第花开—赤列德庆十年回顾展2014-2024
次第花开 ——赤列德庆十年回顾展2014-2024
Trinley Dechen: A Ten-year retrospective 2014-2024
十年前的夏天，赤列德庆正在西藏大学美术系攻读硕士学位。作为出生、成长并生活在喜马拉雅山脚下的藏族青年艺术家，赤列德庆的艺术创作却对标当代国际艺术前沿。他的作品不仅在拉萨、上海、北京等地展出，近年更是走向国际，先后于洛杉矶、迈阿密、旧金山等地展出，并受到广泛关注。
Ten years ago in the summer of 2014, Trinley Dechen was pursuing the MFA degree at Tibet University. As a Tibetan artist born, raised, and living at the foot of the Himalayas, Trinley Dechen's art reflects a global perspective. His works have been exhibited not only in Lhasa, Shanghai, and Beijing but have also reached an international audience in recent years, with exhibitions in Los Angeles, Miami, and San Francisco, garnering widespread attention.
如果将赤列德庆放在一个坐标轴的体系中去看，或许可以更加客观和精准的找到这位艺术家的特点和定位。
We might be able to identify Trinley Dechen’s art characteristics more accurately when placing him within a coordinate axis system.
一是横向坐标轴，即放在当代青年艺术家中。在当代的青年艺术家中，赤列德庆的作品具有极高的辨识度。无论是从用色上的高原色彩，还是在构图及艺术表达上的既西藏又国际、既传统又当代的绘画语言，都有着艺术家独特的艺术语言。“既西藏”，是指他的作品中，虽没有明确指出地域，但明艳的色彩， 喜马拉雅的符号语言，无不让人感觉到画中的文化联结。“又国际”，是指在绘画语言上， 赤列德庆的早期人像（《自画像》系列、《相》系列等）和近期的抽象人像（《非我像》系列），与国际当代绘画语言一脉相通。
The horizontal axis refers to the pool of contemporary artists. Within this group, Dechen's works are highly distinctive. With the distinctive plateau color palette and the Tibetan plus International, Traditional plus Contemporary style, his unique artistic language stands out globally.
相No.1 布面油彩 2018年 100x130厘米
二是纵向坐标轴，即放在西藏艺术史中来看。从西藏的传统唐卡绘画，到西藏写实主义，再到当代绘画。赤列德庆开创了抽象语言下的”西藏新美学”。一些媒体报道其“用扁平化语言书写新西藏美学”，以及“用平面化表现立体的精神”等等，都是关注到了赤列德庆这一特点。这种独特的语言，开创了一种全新的表达方式。特别是近期的《非我像》系列作品， 将传统《造像度量经》与当代绘画相结合，产生了西藏抽象人像的独特风格。
The vertical axis refers to the Tibetan art history. From traditional Tibetan Thangka painting and Tibetan realism to contemporary painting, Trinley Dechen has pioneered a New Tibetan Aesthetic through abstract language. Some media have highlighted his distinctive approach, describing it as "creating a new Tibetan aesthetic " and "using flat representations to convey a three-dimensional message". This unique language has created an entirely new mode of expression. Notably, his recent Non-Self-Portrait series combines the traditional Iconography Sutra with contemporary painting, resulting in a unique style of Tibetan abstract portraiture.
自画像No.1 布面油画 2017年 100x100 厘米
非我像No.3 布面油画 2023年 100x100 厘米
2024年夏， 我们向大家呈现“次第花开—— 赤列德庆十年回顾展”，对赤列德庆过去十年间的创作历程加以梳理和呈现。此次个展，涵盖赤列德庆自2014年至2024年间所创作的《云》、《自画像》、《肖像》、《非我像》、《寺院》、《村庄》、《山水》、《无题》等近十个系列的作品及其代表作。
The solo exhibition, Trinley Dechen: A Ten-Year Retrospective 2014-2024, helps us to look through the development path of Trinley Dechen’s art more closely. The exhibition covers ten series from 2014 to 2024, including the signature works from Cloud Series, Self Portraits Series, Himalayan Village Series, Landscape Series etc.
Cloud Series
《云》系列是赤列德庆的早期作品，始于赤列德庆研究生期间，也是他从写实油画转向个人风格的第一个创作系列。在这一系列中， 我们没有看到传统的佛教题材，而是艺术家以自身形象来塑造画面中的人物。云，在藏文化中通常含有无常的寓意。艺术家将自我形象塑造为画面中的人物，采用对称性的构图，鲜明的高原色彩，构造出具有神秘感的画面语言。该系列展现了艺术家的自我迷茫与人生思考， 挣扎与矛盾中却蕴含希望。
The Cloud Series is one of the artist’s early works when he studied his MFA. In the Cloud Series, with a bent toward whimsy, the artist portrays his own challenging path toward spiritual development, juxtaposed against a backdrop of those who mastered mindfulness. These colorful and impactful portraits reference the mandalas of his faith, plus the symbology of clouds (commonly rendered in Buddhist art), referencing the transient nature of phenomena. Dechen’s portrayal of mudras (hand gestures expressing the essence of an aspect of divinity) also are gleaned from representations of deities. A palm facing up, for example, depicted in several of Dechen’s paintings, connotes fearlessness – a gesture of reassurance and safety.
云No.21 布面油画 2016年 100x135 厘米
Self-Portraits and Non-self-portraits Series
《自画像》系列创作于2017年，是艺术家对自己的审视和思考。《非我像》系列创作于2023年，是艺术家对自我的重新审视。这两个系列作品，反映了艺术家对于传统艺术规程的脱离和重新思考。从《自画像》到《非我像》，赤列德庆逐渐突破了“像”的理念，人物形象变成用彩色线条搭建的更简单的、近似于冷抽象的形式，在色块的处理上也由原来具有清晰光滑的界限的色块，变为了边界模糊的色团。
在西藏传统绘画中，佛像绘制的每个细节及比例、构图都要严格符合《造像度量经》的规定。赤列德庆大胆打破传统范式，创作出反映他独特视觉表达的当代肖像。
《非我像》系列， 从更深层面上思考佛教中的“放下自我”，从而探索“相”背后更深层次的本性。
These enigmatic paintings reflect the artist’s departure from prescribed protocols within his ancestral art: precise measurements in Image-Making Sutra – a Buddhist tenet in Tibet dictating each detail, as well as proportion and composition. Throughout history, art from the Himalayas precisely followed this sutra, yet Dechen boldly departs from these dictates, creating contemporary portraits reflecting his unique vision. His non-self-portraits take claim to the Buddhist tenet to lay aside the ego - embracing one’s deeper nature. This philosophical approach to his portraits also points to the central ideology of impermanence – a core underpinning of the Buddhist faith. Claiming impermanence in our lives underscores that nothing is ever truly lost … it is there momentarily, yet, as energy, will become another form. Overall, Dechen’s renderings are informed by his own inner state and the advanced state of the Buddhist masters, versus adherence to a prescribed formulaic approach to portrait-making.
自画像No.4 布面油画 2017年 100x100 厘米
非我像No.6 布面油画 2024年 100x100 厘米
Himalayan Village Series
赤列德庆绘画中的扁平性，更像是对于绘画不可回避的、专属的平面性的回归。他不执着于写实主义，而是像一个虔诚的朝拜者一样， 如实且真实的描绘他眼中看到的一切。在他的画作中，扁平的表面、基底的形状，乃至颜料的质感，都在以一种最纯粹的、不加修饰的方式展现出来，并以此构成属于他自己的独特的视觉语言。
The Himalayan Village series depicts the village where the artist grow up. Trinley Dechen was a shepherd when he was in his childhood, and still deeply connected with the traditional Himalayan village till today. The high contrast of the color, the surrealism like shape of the house, the prayer flags on the roof of the house, all symbolize and characterize the Himalayan village from the artist's heart.
村庄No.20 布面油画 2021年 80 x 60 厘米
Landscape Series
《山水》系列是一种藏文化语境下的对神圣山水的表达，画面中表达了艺术家对于山水及自然的敬畏。在传统西藏文化中，山具有勇敢、踏实、顶天立地的象征意义，水流波纹象征着纯洁与智慧，以及生命的流动与无常。
The Landscape series is a portrayal of sacred Tibetan mountains and waters and the artist’s reverence of nature. In the empirical life, the mountain is courageous, grounded, and upright, however, for the artist, it is still, while the water is in motion — contradicting and unifying, just like life itself. In the paintings, the landscape represents vibrancy and the desire for beauty and happiness.
山水No.4 布面油画 2021年 95 x 70 厘米
艺术家简介
云No.4 2014 100 x 135cm oil on canvas 布面油彩
云No.5 2014 100 x 135cm oil on canvas 布面油彩
云No.7 2014 100 x 135cm oil on canvas 布面油彩
云No.9 2014 115 x 150cm oil on canvas 布面油彩
云No.11 2014 115 x 150cm oil on canvas 布面油彩
云No.19 2016 100 x 135cm oil on canvas 布面油彩
云No.21 2016 100 x 135cm oil on canvas 布面油彩
自画像 No.3 2017 100 x 100cm oil on canvas 布面油彩
自画像 No.4 2017 100 x 100cm oil on canvas 布面油彩
肖像 No.3 2018 60 x 80cm oil on canvas 布面油彩
肖像 No.4 2018 60 x 80cm oil on canvas 布面油彩
相 No.1 2018 100 x 130cm oil on canvas 布面油彩
相 No.9 2020 100 x 135cm oil on canvas 布面油彩
相 No.11 2021 90 x 135cm oil on canvas 布面油彩
相 No.12 2022 100 x 100cm oil on canvas 布面油彩
相 No.13 2023 90 x 135cm oil on canvas 布面油彩
寺院 No.2 2018 95 x 70cm oil on canvas 布面油彩
寺院 No.3 2018 80 x 60cm oil on canvas 布面油彩
山水 No.3 2022 90 x 70cm oil on canvas 布面油彩
山水 No.4 2022 95 x 70cm oil on canvas 布面油彩
山水 No.5 2022 61 x 46cm oil on canvas 布面油彩
山水 No.6 2022 61 x 46cm oil on canvas 布面油彩
山水 No.8 2022 60 x 80cm oil on canvas 布面油彩
村庄 No.18 2021 90 x 70cm oil on canvas 布面油彩
村庄 No.20 2021 80 x 60cm oil on canvas 布面油彩
村庄 No.21 2021 80 x 60cm oil on canvas 布面油彩
村庄 No.23 2021 80 x 60cm oil on canvas 布面油彩
村庄 No.24 2021 80 x 60cm oil on canvas 布面油彩
村庄 No.27 2021 61 x 46cm oil on canvas 布面油彩
非我像 No.2 2023 100 x 100cm acrylic on canvas 布面丙烯
非我像 No.6 2024 100 x 100cm acrylic on canvas 布面丙烯
非我像 No.7 2024 100 x 100cm acrylic on canvas 布面丙烯
无题 No.8 2024 70 x 95cm acrylic on canvas 布面丙烯
无题 No.9 2024 70 x 95cm acrylic on canvas 布面丙烯
非山非水 No.1 2024 100 x 100cm acrylic on canvas 布面丙烯