王炎林已经不年轻了,五十多岁的人画起画来却有着一股年轻人的激情。然而他终究有不同于年轻人的地方,因为透过他笔墨中的激情,却有着一种生命与岁月的沧桑感。这种感觉在他前两年的作品中就是一种精神的力量,这种力量主要是基于水墨的张力和他对民间文化的深刻体验;这两者结合起来构成了对其作品的西北风的解释。 前一阶段的作品,在某种意义上说,更多地体现为一种集体经验,一种由集体经验抽象出来的人格意志。在这种泛文化意识的背景下,他将近乎野性的水墨表现与西北的人物形象、民间艺术结合起来,形成一种特有的墨彩结构,有力地扩充了水墨画的表现力。应该说,在这一时期,王炎林主要关注的还是水墨语言的问题,但不是追求这种语言的完美与精致,而是力求在笔墨、色彩与形象的关系间表达出一种力度和气势,使人感受到艺术家的个人情绪和地域文化的生命力。以色入墨和搬用民间艺术虽然不是王炎林的首创,但他较准确地把握了民间样式的选择与笔墨表现的力度。 Wang Yanlin is not young, people in their fifties paint but have a passion for young people. However, after all, he had a place different from that of young people because, through the passion in his writing, he had a vicissitudes of life and years. This feeling is a spiritual force in his first two years of work. This force is mainly based on the tension of ink and wash and his profound experience of folk culture; these two combine to form the northwest wind of his work Explanation. The works in the previous stage are, in a sense, more embodied in a collective experience, a kind of personality and will abstracted from collective experience. Against this background of pan-cultural awareness, he combined the near-wild expression of ink and wash with the characters and folk art in Northwest China to form a unique structure of ink and wash, which effectively expanded the expressiveness of ink and wash paintings. It should be said that during this period, Wang Yanlin’s main concern was the issue of ink and wash language. However, instead of pursuing the perfection and sophistication of such a language, Wang Yanlin sought to express his efforts and momentum in the relationship between ink and brush, color and image. People feel the personal emotions of artists and the vitality of regional culture. Although it is not the first creation of Wang Yanlin that the art of entering and using ink into the ink and moving is more accurate, he has mastered the choice of folk style and the intensity of his performance.