在“画”木板年画之前的很长一段时期,我的风格面貌基本是以纯抽象为主,直到90年初,我才开始有意识地摆脱西方现代艺术的影响。当时的想法就是建立一种真正中国的现代艺术,研究的题材则是长沙出土的汉代马王堆服饰。在《汉·马王堆》系列作品中,我基本上是借用抽象表现主义的方式,去表现马王堆出土的帛衣服饰品。虽然表现帛衣制品不像后来“画”木板年画那样是以人物为主,但我仍然觉得帛衣的背后蕴藏了某种人性的东西。由于长期被埋没,这些原本雍容华贵、织制精美的衣制品已被霉烂、陈腐所湮没,为了表 For a long time before the New Year paintings, my style was basically purely abstract. It was not until the early 90s that I began to consciously get rid of the influence of Western modern art. The idea at that time was to establish a truly modern Chinese art, the subject of which was the Mawangdui costume of the Han Dynasty unearthed in Changsha. In the “Han Ma Wang Dui” series of works, I basically borrow abstract representationalism to express the costumes and accessories unearthed in Mawangdui. Although the performance of silk clothing is not as character-based as the later New Year paintings, I still feel that there is some human nature behind the silk clothing. Due to long buried, these original elegant, well-woven clothing products have been rotten, obliterated, in order to table