天庭之在---申树斌画展

天庭之在

    申树斌上一次做个展的时候，我取的名字是“天路重生”，经过了几年，我将他的这次个展和相关新作取名“天庭之在”。

今天的我们似乎对有机世界没有认同感，也不深知自然的和谐意味着什么情景。当我们谈起规律来，似乎忘记了自然律是宇宙世界最本质的规律。申树斌从画写实人物到画具象表现结合地画动物有一个学理的演化，是从现实主义演化到自然哲学论上。他在新作品中增加结构框架，悬于无所依托的空间中，各种动物栖居其上，这是另一种空间的概念，是一种最具有空间意味的几何结构。

    现代主义艺术里几何结构成为世界的象征物，申树斌也是借用这样一种人类认知世界存在的方式来推进他的绘画表达。动物与几何空间组合不再仅仅是人的世界的象征，而是要启示我们面对更大的世界的存在，那个天庭之在。

Being in the Heavenly Court

    The last time Shen Shubin held a solo exhibition, I called it “Rebirth on the Road of Pilgrimage,”after several years, I named this solo show and the related series “Being in the Heavenly Court.”

    Today, we do not have any understanding of the organic world, and we do not fully comprehend what natural harmony looks like. When we speak about laws, we seem to forget that natural laws are the most essential rules of the universe . Shen Shubin has had a principled evolution from painting realistic figures to painting expressive figures combined with animals, reflecting the evolution from realism to natural philosophy. Shen has added structural frameworks to his new series, and he suspends various animals, unsupported, in space. The painter expands the compositional form of the paintings, but he also attempts to present an attitude. This is another concept of space, a geometric structure that has the most spatial meaning.

    In modernist art, geometric structures appeared more directly in paintings, becoming well-known symbols. Shen Shubin also uses humanity’s way of understanding the world to drive his painting. The animals and geometric spatial compositions in Shen Shubin’s paintings are no longer symbols of the human world; they inspire us to confront the existence of the larger world，the Heavenly Court.