展览推介 | 无声的诗，有形的歌：一场跨越馆际的相遇

摘要：在人类表达的广袤疆域中，语言与图像犹如一对同源的峰峦，彼此眺望，相互辉映。诗人用凝练的词汇描绘心中丘壑，画家则以无声的线条书写胸中诗篇。“诗画同源”的古老命题，揭示了观看与吟诵、具象与抒情之间血脉相连的深刻关系。

无声的诗，有形的歌

一场跨越馆际的相遇

Silent Poetry·Visible Song

AN ENCOUNTER ACROSS MUSEUMS

主办单位：

深圳美术馆观澜版画美术馆

Organizers：

Shenzhen Art Museum Guanlan Printmaking Museum

展览地点：

深圳美术馆（新馆）二楼4、5号展厅

Venue:

Hall 4 & 5, 2F, Shenzhen Art Museum(New Venue)

展览时间：

2025年9月18日至2026年1月4日

Duration:

September 18, 2025 – January 4, 2026

前言

Foreword

在人类表达的广袤疆域中，语言与图像犹如一对同源的峰峦，彼此眺望，相互辉映。诗人用凝练的词汇描绘心中丘壑，画家则以无声的线条书写胸中诗篇。“诗画同源”的古老命题，揭示了观看与吟诵、具象与抒情之间血脉相连的深刻关系。

In the vast landscape of human expression, language and imagery stand as twin peaks born of the same origin—gazing across at one another, each reflecting the other’s light. Poets distill inner worlds into spare vocabulary, while painters compose verses in silent lines. The ancient idea of the “shared origin of poetry and painting” reveals a profound bond between seeing and reciting, between representation and emotion.

正是从这一本源出发，《无声的诗，有形的歌》专题展览由此展开，旨在呈现视觉艺术与文学诗歌之间相互激发、彼此转译的永恒魅力。展览的核心，首先回溯至20世纪的艺术巨匠胡安·米罗。他出身于工匠世家，对材料与工艺有着天生的敏感。这位艺术家深受巴黎文学界影响，始终是诗歌忠实的捍卫者，永远向诗人的世界敞开胸怀。他为特里斯坦·查拉、保尔·艾吕雅等超现实主义与达达主义诗人创作的插图，以及受先锋戏剧《愚比王》启发的系列作品，不仅是其版画创作洪流中的璀璨明珠，更是“诗画合一”理念最权威的现代注脚。

It is from this shared origin that the exhibition Silent Poetry and Visible Song unfolds. It seeks to illuminate the timeless dialogue between visual art and literary poetry—a relationship marked by mutual inspiration and translation. At the heart of the exhibition is Joan Miró, a master of 20th-century art. Born into a family of artisans, he possessed an innate sensitivity toward material and craft. Deeply influenced by the literary circles of Paris, Miró remained a lifelong defender of poetry, his heart always open to the world of poets. His illustrations for Tristan Tzara, Paul Éluard, and other Surrealist and Dadaist poets, along with his prints inspired by the avant-garde play Ubu Roi, are not only gems within his graphic œuvre—they are among the most compelling modern embodiments of the unity of poetry and image.

展览的另一重要组成部分，则聚焦于一批杰出的中国当代艺术家。他们的作品植根于更为切近的土地与生活，以多元的视觉叙事，吟唱着属于特定时代的“有形之歌”。这些作品涵盖了版画、水墨等多种类型，共同展现了艺术家们在各自领域的丰沛创造力。

Another vital dimension of the exhibition focuses on a group of distinguished contemporary Chinese artists. Rooted in more immediate cultural soil and lived experience, their works sing “Visible Song” of our time through diverse visual narratives. Ranging from printmaking to ink art, these pieces reflect a remarkable creative vitality across media.

本次展览由深圳美术馆与观澜版画美术馆联合主办，是两馆在新时代背景下再次携手的重要成果。作为一次重要的学术合作，展览不仅是对“诗画同源”这一古典命题的现当代视觉回应，更是一次旨在梳理不同文化谱系下艺术与文学关系的专题性研究。此次合作开启了两馆在国际版画艺术研究与交流领域的深度探索，标志着双方在文化发展战略层面的深入对接，未来将以此为契机，建立更为紧密的合作机制，携手构建新时代美术馆协同发展新格局。

Co-organized by the Shenzhen Art Museum and the Guanlan Printmaking Museum ,this exhibition marks a significant renewal of collaboration between the two institutions in the new era. As an academic initiative, it offers a contemporary visual response to the classical concept of “poetry and painting share the same source”, while also serving as a focused inquiry into the relationship between art and literature across cultural contexts. This partnership initiates a deeper exploration into international printmaking research and exchange, signaling a strategic alignment in cultural development. Moving forward, both institutions aim to establish closer collaborative frameworks and jointly foster a new model of synergistic growth among art museums in the new era.

走进展厅，我们不仅是在欣赏大师的经典与当代艺术的活力，更是在体会不同文化背景下，创作者对于诗意与叙事的共同追求；让我们共同倾心聆听，感受艺术家笔下那无声的诗篇与有形的歌咏。

As you walk through the galleries, you are invited not only to appreciate masterpieces and contemporary expressions, but also to feel a shared pursuit of poetic and narrative meaning across cultures. Listen closely—to the Silent Poetry and Visible Song born from the artists’ hands.

深圳美术馆

观澜版画美术馆

2025年9月

Shenzhen Art Museum

Guanlan Printmaking Museum

September 2025

第一幕：无声的诗

Part I: Silent Poetry

当文学的直接引述退去，绘画如何凭借自身的力量，成为一首首“无声的诗”？本单元汇集了一系列以抒情、象征与抽象美感见长的作品，它们邀请观众放弃寻找故事的惯性，转而用感官去“阅读”其中流淌的节奏、韵律与情感。

When direct literary reference recedes, how can painting—by its own power—become “silent poetry”? This section brings together works distinguished by lyricism, symbolism, and abstract beauty. They invite the viewer to forego the habit of seeking narrative, and instead to “read” with the senses—to feel the rhythm, cadence, and emotion flowing through each piece.

米罗的艺术语言之所以能成为“诗”，源于他独特的内在世界与对媒介的精妙掌控。作为20世纪的伟大艺术家，他性格内向腼腆，却有着极其敏感的内心和天马行空的想象力，其如孩童般单纯的艺术语言，能与观众形成最直接的连接，产生亲切的共鸣。同时，米罗出身于工匠世家，继承了来自祖辈的智慧，以及对材料、工具和工艺的深刻认知。他能敏锐感知铅笔线条在石灰石板上的微妙变化，并精准还原石质的颗粒感与表面敏感性。正是这种对材质的敏感，让他的抽象作品充满了生命力。画面中的符号、星辰与色块，如同诗人反复锤炼的词汇与意象，不指向任何具体情节，却能精准地唤起观者内心的感应。

Miró’s artistic language achieves the beauty of poetry through a unique inner world and masterful control of medium. A great artist of the 20th century, he was introverted and reticent, yet endowed with extraordinary sensitivity and boundless imagination. His childlike visual language connects directly with viewers, creating an intimate resonance. Coming from a lineage of artisans, Miró also inherited a profound understanding of materials, tools, and techniques. He was attuned to the subtle variations of a pencil line on limestone, capable of capturing the grain and tactile sensitivity of the stone. It is this material intelligence that lends vitality to his abstract compositions. The signs, stars, and blocks of color in his work are like the finely honed words and images of a poet—they point to no specific tale, yet evoke a deep inner response.

相似的诗意追求，在中国艺术家的创作中亦有呈现，并被赋予了别样的东方诠释。这些作品，或以极简的形态营造出东方禅意般的静谧诗境；或以充满张力的抽象线条，进行着一场关于存在与空间的哲学思辨；或分别从梦境、痕迹与情感等角度入手，探索着人类共通的、难以言状的内在经验。它们共同证明了，一幅画可以拥有诗的结构，包含起承转合、停顿与高潮。它们是艺术家内心的独白，也是献给每一位愿意静心“聆听”的观众的无声之诗。

A similar poetic pursuit is present in the works of Chinese artists, interpreted here through a distinctly Eastern lens. Some pieces use minimal form to evoke the quietude of Zen-like poetic space; others employ dynamic abstract lines to meditate on existence and space; still others explore ineffable inner experiences—dreams, traces, emotions. Together, they demonstrate that a painting can possess the poetic structure—with development, transition, pause, and climax. They are private monologues of the artist, and Silent Poetry offered to all who are willing to listen.

△▽

胡安·米罗 Joan Miró

1893.4.20—1983.12.25

西班牙画家、雕塑家、版画家。是和毕加索、达利齐名的20世纪超现实主义大师之一。

He was a Spanish painter, sculptor, and printmaker. He is regarded as one of the leading Surrealist masters of the 20th century, alongside Pablo Picasso and Salvador Dalí.

胡安·米罗

《自言自语》石版画手工书 Parler Seul

石板 1950年 44×32cm

观澜版画美术馆藏

胡安·米罗

地狱的惩罚或新赫布里底群岛

Les Pénalités de l'Enfer ou les Nouvelles-Hébrides

石版 1974年 27×75cm

观澜版画美术馆藏

胡安·米罗

我是一名园丁 Je travaille comme un jardinier

石版 1963年 41×32cm

观澜版画美术馆藏

胡安·米罗

无题 No titled

石版 1950年 50×30cm

观澜版画美术馆藏

陈邕

浮云

水印木刻 1994年 48×45cm

深圳美术馆藏

许向东

情思

油印套色 1995年 50×73cm

深圳美术馆藏

梁铨

江南系列之二

纸本水墨设色 1997年 53.5×67cm

深圳美术馆藏

谭平

叙事

布面油彩 2008年 81×101cm

深圳美术馆藏

第二幕：有形的歌

Part II: Visible Song

如果说第一幕的作品是内省的、低语的“诗”，那么本单元的作品便是外向的、高唱的“歌”。艺术家们将目光从内心转向广阔的外部世界，化身为时代的观察者、乡土的记录者与生活的吟唱者。这些作品充满了叙事的温度，用一幅幅鲜活的图像，讲述着我们所处时代与土地的故事。

If the works in Part I are introspective whispers of “poetry,” those in this part are outward-reaching, resonant “songs”. Here, artists turn their gaze from the inner world to the breadth of external reality, becoming observers of their time, chroniclers of local life, and singers of everyday existence. These works carry narrative warmth, using vivid images to tell stories of the land and the era we inhabit.

这些诞生于20世纪80、90年代的中国艺术作品，是艺术家对一个急剧变革的时代的深刻回应。在城市化加速、传统与现代激烈碰撞的背景下，艺术家的创作成为一种记录与反思。因此，其笔下的“乡土”“都市”与“民俗”，不仅是客观的描绘，更带上了一层怀旧、反思与审视的复杂情感，使其“歌声”更加深沉和多元。

Created in the 1980s and 1990s, these Chinese artworks reflect a profound response to a time of rapid transformation. Against a backdrop of accelerating urbanization and clashing traditions, the artists’ creation becomes a form of recording and reflection. Thus, their depictions of “native soil”, “city life”, and “folk culture” are not merely documentary—they are infused with nostalgia, critique, and complex emotion, giving their “songs” depth and polyphony.

在这里，作品呈现了现代都市的生活景观，也记录了关于土地与记忆的质朴民谣。其中既有对特定地域文化风情与生命礼俗的描绘，它们如同代代相传的史诗，充满了生命力；也有关于成长、陪伴与和谐共生的寓言式表达。这些作品是“有形的歌”，因为它们描绘了具体的人、事、物。它们不回避现实，反而热情地拥抱生活，用刻刀和画笔，为特定的时代留下了珍贵的视觉档案，它们是属于所有人的记忆之歌、土地之歌与生命之歌。

Here, you will encounter scenes of modern urban life alongside earthy ballads of land and memory. Some works depict regional customs and rituals, passed down like epics full of vitality; others offer allegories of growth, companionship, and harmony. These are “visible songs” because they portray specific people, events, and objects. They do not turn from reality but embrace life warmly, using blade and brush to leave behind a precious visual archive of their time. They are songs of memory, of the land, and of life—songs that belong to us all.

△▽

戴沁

动物与人

油印套色 1988年 48×62.5cm

深圳美术馆藏

肖映川

正午

1990年 62×60.5cm

深圳美术馆藏

乌日切夫

兴安岭的十月

油印套色 1994年 66×82cm