艺术家选取身边之物，瓶花、器皿里的柿子、在空间里行走的猫、山的局部与水、一株枝叶……在叶与叶、叶与枝干、叶子枝干与空间、构图、元素安排、主体与客体的关系中，每个元素都在自己准确的位置中，塞尚开拓了古典绘画的稳定结构与印象派光影色彩关系的链接，呈现了一个源于视觉直观的稳固而真实的世界。而徐振沿着塞尚的道路，看见了画面组合的正负，正如宇宙真相，道的阴阳。这种发现不是简单的概念的阐述，他用科学家的精神去剖析画面里的种种关系，归纳概括的物形、色彩冷暖与微妙变化、空间关系、物在空间里如何达成一致，从而实现了“空无，如一”这样的结果。毕达格拉斯说万物皆数，徐振把物象归纳概括成几何形，并有着他严密数列排放，一朵如异石的花朵，一支如舞蹈着又似吹奏着风琴带叶柿子，就会发现他对秩序的理解与重视，正如荀子的“乐礼”合乎道的有序与标准。

夏加尔说 “我的每一笔颜色都是极其严格准确的”，徐振亦是，但不同于夏加尔的是，徐振不但有着西方文化的学养，又有着东方文化的基因与养料，他对色彩的研究与选用皆来自他审慎冷静的文人精神和科学家般严谨的对自然万物的观察与领悟。

徐振的低色系选用，不同于莫兰迪修士般灰调。徐振的色彩是严苛的理性，科学的研究与过滤，但又忍不住带着他个人的色彩偏好。细腻、微妙、有隐藏不住的灵魂的喜悦，有一种天性里美妙的生机与活力，这与他的个性特质和年龄有关系。与徐振聊天，你是信任他的，他说 “心要静、意要明、手要慢、身要勤 ”是他画画的信条。看他的画面，“知行合一” ，尽了一位让人尊敬的艺术家的本分。又如一个枝柄的折痕，一条线的松紧，一株植物的生命阶段，诸如此总等等，都研究透彻，交代清楚。在两幅“五台山松枝”系列作品的比较中，他把一株枝条的生命走势、强劲与消减、以及隐藏在线条里面的力量都清楚的提炼出来。他既以一种较为疏离俗世的人文心态观看山川草木，自然万物，在描绘中运用了一种“方”和“拙”的方式在布上小笔徐徐捺出清净的场景。又是有着数学家、科学家的严谨工作态度。天性自然美妙的艺术觉察，用着冷静修养理性来成就画面。借用徐振在终南山写的文字：“最爱终南荒寒意，满山唐宋元明清。若涤浮华世间尘，遍走终南峰和岭”，来增进了解他的绘画精神。

泰勒斯看到了水，阿那克曼德看到了气，赫拉克利特看到了火，恩培多克勒看到了土，柏拉图看到了几何体，亚里士多德看到了以太，老庄看到了道。徐振把他的看见放进了画面。您看见了什么？

Artists often choose things around them as their materials. For example, a flower in a bottle,persimmon in a container, a cat walking in space, a part of a mountain and water, a branch and leaf, etc. In the relationship between leaves and leaves, leaves and branches, leaves and branches and space, composition, arrangement of elements, subject and object, each element is in its own exact position. Cezanne has opened up a link between the stable structure of classical painting and the relationship between the color and shadow of Impressionism,presenting a solid and real world rooted in visual world. While Xu Zhen saw the positive and negative of the picture combination at the base of Cezanne, just like the truth of the universe, the Yin and Yang of the Tao. This discovery is not a simple concept. He uses the spirit of scientists to analyze the relationships in the picture, and summarizes the general shape,color, subtle changes, spatial relationships, and how objects reach a consensus in the space, so as to achieve “Emptiness, Consistency”. Pythagoras said that everything is counted, and Xu Zhen summarized the objects into geometric shapes with his strict sequence of arrangement. For example, a flower like a stone, a persimmon like dancing as well as playing the organ. It is found that his understanding and attention to order are just like Xunzi's "Mile" in accordance with the order and standard of "Tao".

Chagall said, "Every color of mine is extremely strict and accurate." So does Xu Zhen. but different from Chagall, Xu Zhen not only has the education of Western culture, but also the genes and nutrients of Oriental culture. The research and selection of color come from his prudent and calm literati spirit and the scientist's rigorous observation and comprehension of all things in nature.

The selection of Xu Zhen's low color is different from the gray tone of Morandi. Xu Zhen's color is rigorous rationality, scientific research and filtering, but it also has his personal color preference. His color is delicate, subtle, and with the joy that cannot be hidden, and it also has the wonderful and natural vitality, which is related to his personality and age. When you chat with Xu Zhen, you trust him. "Be quiet, clear, slow, and diligent" is his creed. Looking at his picture, "the unity of knowledge and deeds" does his duty as a respectable artist. Besides, he also refines the crease of a branch handle, the elasticity of a line, the life stage of a plant, etc. In the comparison of two paintings of "The Pine Branches of Wutai Mountain", he clearly extracted the life trend, strength and reduction of a branch, and the power hidden in the line. He viewed mountains, rivers, vegetation and natural things with a relatively detached humanistic mentality. In the painting, he used a "square" and "clumsy" way to draw a clean scene on the cloth with a pen. At the same time, he had the rigorous work attitude of a mathematician and scientist and the artistic awareness of the natural beauty. He was good at using calmness, self-cultivation and rationality to make the picture. Borrowing from Xu Zhen's words written in Zhongnan mountains: "I love the desolation of Zhongnan mountains, which contains the Tang, Song, Yuan, and Ming and Qing Dynasties. If you want to wash away the dust from your soul, welcome to Zhongnan mountains," you can have a further understanding of hid drawing spirit.

Thales saw the water. Anakmand saw the gas. Heraclitus saw the fire. Empedocles saw the earth. Plato saw the geometry. Aristotle saw the aether. Laozi and Zhuangzi saw the Tao. Xu Zhen put his vision into the painting. What did you see?

习却 Xi Que

白瓶里两支干枯的玫瑰 50x40cm 布面油画 2019

窗台上的一盘柿子 54x39cm 纸面油画 2020

二郎山清泉 120x80cm 布面油画 2016

俯看一盘柿50x50cm布面油画2020

红星食堂的猫 120x80cm 布面油画 2020

2020年3月11日，我从老家回北京工作室。到北京办完相关手续后便开始为期14天的隔离，这种完全封闭的隔离生活给我带来了另一种感受和体验。可以活动的空间就是整个工作室，而且不会有任何朋友或其他人来找你，也不可能去工作室以外的地方；空间被压缩了，心里反而安定了。做任何事情都不急不躁，认真对待。以前总觉得画画才是最重要的，现在想法变了，开始认真做饭，认真吃饭，认真跑步，安心睡觉。这个时候突然发现，在一个被压缩的与外界没有关联的安定的时空里，所做的事情被平等对待了，时空的价值也开始等同起来。人在这种状态下，才算是真正全身心的投入生活吧！生活的维度变宽和饱满了，人也变得更自在，似乎有点闭关修行的意思。这种很特别、很自然的美好状态，是内心的完全自在无碍的简洁。

时间很特别，你怎么对待它，它便成为你对待的样子。隔离结束，可以出门了，活动空间变大了，时间好像随着空间的变大而外流，不再像之前的集中和紧凑。但我知道，时间并没有变，变的是我对待他的心态和状态。现在一切基本恢复正常，但隔离期间的感受时刻让我回想，并希望在当下以及未来的时空里，生活和画画也依然能保持那种状态。也许，就是一念之间的事。

On March 11, 2020, I returned to my studio in Beijing from my hometown. After completing some relevant formalities in Beijing, I began a 14-day quarantine. This completely isolated life brought me a new feeling and experience. The space where I can move is the studio, so it is impossible for me to have a visit, let alone going outside. Although the space is limited, my mind settles as still water. Take everything in stride and seriously. I used to think that painting was the most important thing in my world, but now my mind has changed. I began to treat everything seriously.I began to enjoy cooking, eating, running and sleeping.At this time, I suddenly found that in a limited space that is isolated from the outside world, what I did was treated fairly, and the value of space and time began to be equal. In this state, people are truly devoted to their life! The dimension of life has become wider and fuller, so people can live a life of ease. It sounds like a kind of a personal retreat.This very special and natural state of beauty is the complete simplicity of the mind.

Time is special. Your attitude to it decides what it is. When the quarantine is over, I can go out. There is more space to move around and time seems to flow out as the space becomes larger, no longer as lumped and compact as before. But I know that time has not changed. What has changed is my mindset and attitude for it. At present, everything is basically back to the normal, but I always remind the feelings in the quarantine.Whether in the present or the future, I can still stay that statement not only in painting but in life. Perhaps it only takes a minute.

徐振 Xu Zhen

琴叶榕 50x40cm 布面油画 2019

秋色终南山 80x60cm 布面油画 2020

山松 53x40.5cm 布面油画 2019

椅上猫 50x50cm 布面油画 2019

圆凳上的百合 50x50cm 布面油画 2020

艺术家：徐振

Artist: Xu Zhen

1981年生于安徽，2000年毕业于西安美院附中，2005年毕业于西安美院油画系获学士学位，2005 - 2010年受聘任教于西安美院油画系具象表现绘画工作室，2013年毕业于西安美院油画系获硕士学位，现工作生活于北京。近期参与的展览及项目有：《度物》（徐振个展，西安美术馆，2017）、《劳绩之诗》（徐振个展，北京妙有艺术，2019）、《雨月松石》（徐振个展，北京妙有艺术，2020）。

Xu Zhen, born in Anhui in 1981, graduated from the high school attached to Xi'an academy of fine arts in 2000, graduated from the oil painting department of Xi'an academy of fine arts with a bachelor's degree in 2005, employed to teach at the Xi'an academy of fine arts painting studio figurative expressionism from 2005 to 2010, graduated from the oil painting department of Xi'an academy of fine arts with a master’s degree in 2013, currently lives and works in Beijing. Recent group exhibitions and projects include: ‘Things investigated’ (Xu Zhen’s solo exhibition, Xi'an Art Museum, 2017); ‘Poetry of Achievement’ (Xu Zhen's solo exhibition, Beijing MOUart gallery, 2019); ‘Autumn Evening in the Mountains’ (Xu Zhen's solo exhibition, Beijing MOUart gallery, 2020).

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