人民艺术 | 「宝相穆泉——穆泉摄影作品回顾展」于北京798开幕

更新时间：2026-10-28 16:59:16 点击：258978

心有辽阔，宝相自生｜穆泉摄影作品回顾展于北京798开幕

Vastness within the Heart, Sacred Manifestation Arises — Mu Quan Retrospective Photography Exhibition Opens at 798 Art District, Beijing

2026年10月24日，「宝相穆泉——穆泉摄影作品回顾展」在北京798艺术区751设计广场不拘讲堂·大点艺术中心正式开幕。展览精选数十幅摄影作品，撷取作者自2002至2023年，跨越二十余载光影时序，借镜头与这位率真自由的创作者，完成一场跨时空的重逢。

Official Media Version: A Vast Heart Begets Noble Form | Retrospective Exhibition of Mu Quan’s Photographic Works Opens at 798 Art Zone, Beijing

开幕式前夕，观复博物馆马未都先生莅临展览现场观摩作品。开幕活动于当日下午15:00举行，马未都先生在现场回顾了与穆泉、观复博物馆的过往渊源，感慨穆泉动人的人格魅力，并带来收录纪念穆泉文章的著作《背影 3》，亲笔签名，赠予展览闭展前的最后一位观展者，以此寄托对友人的深切追思。

New‑Media Literary Version: A Trans‑Temporal Encounter: Looking Back on Over Two Decades of Mu Quan’s Photographic World

展期至10月24日 - 11月6日，面向公众免费开放。

The exhibition runs from October 24 to November 6 and is open to the public free of charge

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展览主旨 Exhibition Theme

宝相花本不存于世间。它是千百年来，人们糅合众花之美，幻化而生的花，庄严，亦温暖。

The mythical Baoxiang flower does not exist in nature. Conceived over thousands of years by blending the beauty of diverse blossoms, it embodies both solemnity and warmth.

穆泉亦是如此。天真自在，雅而博学，在不甚纯粹的尘世里，时常显得格格不入，也难免遭人误解。而正是这份赤子之心，令他镜头下的故宫、园林、长城，乃至看似普通的市井烟火，都生出旁人难以复刻的气韵——那是一颗不加设防的心，为世间描摹出的相。穆泉朋友遍天下，但凡与他相交，皆如沐春风。这般风风火火的人，作品里却藏着安定人心的沉穆。人间聚散的热闹里，留有他的温度；影像深远的静穆之中，可见他内心的丰盈。此次展览，本次展览意在还原朋友们心中那个美好的泉哥，旧友前来，心照不宣；新朋到访，观览影像，听老朋友们替穆泉道一句：心有辽阔，宝相自生。

Mu Quan was much like this imaginary bloom. Innocent, free‑spirited, refined and erudite, he often stood apart and was occasionally misunderstood in a complicated world. It was precisely this childlike sincerity that imbued his photographs of the Forbidden City, classical gardens, the Great Wall, and even ordinary street‑life scenes with an inimitable aura — the outward manifestation of an unguarded heart. Mu Quan had friends across the world; everyone who knew him was touched by his warmth. Though energetic and dynamic in life, his works hold a soothing serenity. His warmth lingers in the hustle of human gatherings, and his inner richness shines through the profound stillness of his images. This exhibition seeks to bring to life the beloved Brother Quan remembered by his friends. Long‑time acquaintances will share silent understanding, while new visitors viewing these photographs will hear the message conveyed on Mu Quan’s behalf: A vast heart begets noble form.

关于穆泉

穆泉（1974—2024），毕业于天津美术学院装潢设计专业，曾担任北京画院、故宫出版社、观复博物馆特约摄影师。秉性纯真，自在洒脱。好摄影，揽山河风物入镜；喜茶食，常游山水；倾心传统文化，观古画、阅典籍、摩挲旧物，如与古人对话。心性豁达，待人以诚，广结善缘。人生四十九载，不计岁月短长，随心而行。

Mu Quan (1974‑2024) graduated from the Department of Decoration Design, Tianjin Academy of Fine Arts. He worked as a special‑contracted photographer for Beijing Painting Academy, the Forbidden City Press and Guanfu Museum. Pure‑hearted and unrestrained, he devoted himself to photography, capturing mountains, rivers and all manner of natural scenery. He enjoyed tea and fine food, and often wandered through landscapes. Deeply fascinated by traditional culture, he studied ancient paintings, read classics and handled antiques as if conversing with people of bygone eras. Open‑minded and sincere toward others, he made many genuine friends. Over his forty‑nine‑year life, he followed his heart without dwelling on the brevity of time.

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展览内容：四大篇章 Exhibition Content: Four Chapters

本次展览以「人间」「宫」「景·相」「心·念」四大篇章，铺展开穆泉二十余年的创作脉络。

Divided into four chapters — The World, Palace, Scenery · Image, and Heart · Reflection, the exhibition unfolds the creative trajectory of Mu Quan spanning more than two decades

第一篇章·人间 Chapter 1 · The World

溯源他早期的纪实创作。自2002年起，潘家园、马连道、博物馆，便成了穆泉工作之外寻友闲游的去处。那段岁月，他的精神世界日渐丰盈，世间万般美好，皆可入镜，平凡的人间烟火在他镜头里被一一温柔收纳。

This chapter traces his early documentary practice. Starting in 2002, Panjiayuan, Maliandao and museums became Mu Quan’s favourite spots for meeting friends and wandering in his spare time. During those years, his inner world grew increasingly rich. All forms of worldly beauty became subjects for his camera, and ordinary everyday life was tenderly preserved through his lens.

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北京・潘家园 2 作品规格：40X30

Beijing · Panjiayuan No.2 ｜Specifications: 40×30 cm

2002–2003 年，潘家园西北门露天区各色石雕林立，环境杂乱。人与造像同聚于此，成为他重要的纪实拍摄素材。

From 2002 to 2003, stone sculptures of all kinds filled the open‑air area near the northwest gate of Panjiayuan amid a bustling, cluttered setting. The coexistence of people and statues here became key documentary subject matter for him

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2022北京卧佛寺作品规格：50X40

2022, Wofo Temple, Beijing｜Specifications: 50×40 cm

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2019黑豆儿作品规格：50X40

2019, Heidou’er (Little Black Bean)｜Specifications: 50×40 cm

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2009· 手作品规格：50X40

光里的虚实

2009 · Hands｜Specifications: 50×40 cm. Illusion and reality within light.

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第二篇章·宫 Chapter 2 · Palace

聚焦他广为大众熟知的故宫系列。因工作机缘，穆泉常有机会走进故宫，慢慢读懂这座数百年宫殿。拍摄故宫者众多，于他而言，宫殿褪尽浮华，尽见世事沧桑。古建大美，藏于方寸之间，自有万千格局。光影流转之间，观这些作品，得以窥见穆泉内心气象的转变。

This chapter features his well‑known Forbidden City series. Thanks to his work, Mu Quan gained frequent access to the Forbidden City and gradually came to understand this centuries‑old imperial compound. Many have photographed the Forbidden City, yet for him, all superficial splendour fell away, revealing the vicissitudes of history. The grandeur of ancient architecture resides in subtle details, holding boundless breadth of vision. Viewing these shifting light‑and‑shadow works offers insight into the evolution of Mu Quan’s inner vision.

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2018 故宫1 作品规格：150X92

2018, Forbidden City No.1｜Specifications:150×92 cm

画面分作两境，仿佛一边是今生，一边是回望。纵然岁月更迭，皇家气度依旧不凡。拍摄故宫的这段机缘，也在悄然影响、开阔创作者的内心格局。

The frame is split into two visual realms: one representing the present, the other a retrospective gaze. Despite the passage of time, imperial grandeur endures. His experience photographing the Forbidden City subtly shaped and broadened the artist’s inner perspective.

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2019 故宫10 作品规格：50X40

2019, Forbidden City No.10｜Specifications: 50×40 cm

紫禁城上元之夜，深宫素来静穆，难得夜启戏台，一折古戏入镜来，机缘难得。

On the Lantern Festival night within the Forbidden City, usually quiet palace halls hosted a rare night‑time theatrical performance. He captured a scene of ancient opera on camera — a precious chance occurrence.

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2020 故宫3 作品规格：50X40

2020, Forbidden City No.3｜Specifications: 50×40 cm

借由广角带来的空间张力，既收纳了整片的积水与漫天层云，更让宏大的古建与人物的渺小形成强烈对比。

Leveraging the spatial tension of the wide‑angle lens, the work captures pooled rainwater and layered clouds across the sky, creating a stark contrast between monumental ancient architecture and the small scale of human figures.

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2017故宫5 作品规格：50X40

2017, Forbidden City No.5｜Specifications: 50×40 cm

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2017故宫4 作品规格：50X40

2017, Forbidden City No.4｜Specifications: 50×40 cm

第三篇章·景·相 Chapter3 · Scenery · Image

收纳山川古寺、天地风物的静默瞬间。熟识穆泉的人，皆羡他自在逍遥。人间本多烦扰，心性纯真的他，却能化烦恼为菩提。这些定格「相」与「景」的静默影像，如时光里缓缓绽放的花，承载他向内求索的思考，而今再观，别有一番心境。

This chapter collects quiet moments of mountains, rivers, ancient temples and natural landscapes. Those who knew Mu Quan admired his free‑roaming spirit. Though worldly troubles are universal, his pure‑natured disposition allowed him to transform affliction into awakening. These still images freezing scenery and form resemble flowers slowly blooming across time, bearing witness to his inward contemplation, and evoke unique sentiments when viewed today.

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2017 天开塔影作品规格：50X40

2017, Shadow of Tiankai Pagoda｜Specifications: 50×40 cm

这一年，与朋友萌生构想：以影像与画作为受损佛塔古寺留痕。项目名为《觅行》，十年为期，天开寺为首站。后因缘不具足未能续行，却是穆泉拍摄古寺造像的缘起。

That year, he conceived an idea with friends: to document damaged pagodas and ancient temples via photographs and paintings. Titled Seeking Journey, the ten‑year project set Tiankai Temple as its first stop. Though the initiative was later discontinued due to insufficient conditions, it marked the starting‑point for Mu Quan’s photography of ancient temples and Buddhist statues.

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2010 寂静作品规格：50X40

2010, Serenity｜Specifications: 50×40 cm

素净清宁，为其偏爱之作。

Simple and tranquil, this was one of his personal favourite works.

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2021 峨眉金顶作品规格：60X45

2021, Golden Summit of Emei Mountain｜Specifications:60×45 cm

2021年峨眉山访友，拍摄了大量以峨眉为素材的作品

In 2021, while visiting friends on Emei Mountain, he shot a large body of work themed around the mountain.

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2017 红墙光影作品规格：50X40

2017, Light and Shadow on Red Walls｜Specifications:50×40 cm

第四篇章·心·念 Chapter4 · Heart · Reflection

铺开散落的手书与友人的寄怀。散落手书，是穆泉不同时期心底点滴所思；友人寄怀文字，皆是时光里的惦念。纵历世事起伏，心念之间，仍存旷达与温热，终安于心。

Displayed here are scattered handwritten notes by Mu Quan and commemorative texts from his friends. The handwritten fragments record Mu Quan’s inner thoughts from different periods, while writings from his friends carry remembrances across time. Amid life’s ups and downs, openness and warmth endured within his heart, bringing him inner peace.

展览的尽头，留言墙上密密地贴满朋友写给泉哥的文字。是纪念，是问候，是难以言说的惦念，也是那些终于说出口、却再无人应答的话。字里行间，皆是思念的注脚——他从未走远，只是留在了每个人的心里。

At the far end of the exhibition, the message wall is covered with notes written for Brother Quan by his friends. They are tributes, greetings, unspoken yearnings, and words that, though finally voiced, will receive no reply. Every line bears testament to remembrance: he has never truly left, remaining alive in the hearts of those who knew him.

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展览现场Exhibition View

从市井纪实到皇家古建，自人间烟火走向名山大川，穆泉的镜头始终连通外部世界与内在本心。潘家园的人间百态，故宫红墙的晨昏光影，古寺造像的庄严，高原湖泊的辽阔，在帧格之间既有现实世间的鲜活温度，也有东方审美独有的静穆与辽阔。他不刻意雕琢，以一颗赤诚本心直面万物，由此形成独属于他的影像气质。

From street‑scene documentary to imperial architecture, from ordinary urban life to famed mountains and rivers, Mu Quan’s lens consistently bridged the outer world and his inner self. The diverse lives of Panjiayuan, morning‑and‑evening light on the Forbidden City’s red walls, the solemnity of ancient temple statues, and the vastness of high‑land lakes — within each frame lie both the vivid warmth of real‑world life and the still, expansive spirit distinctive to Eastern aesthetics. Rejecting contrived stylisation, he faced all things with sincere authenticity, forging a photographic language uniquely his own.

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