人类的审美现象和审美活动不仅是文化性的,而且也是否定性的。由于此种因素的作用造成了文化的发展,乃至流派、风格的产生,并使得文化在不同历史阶段都体现为“存在”的显示。 刘懿有着较好的传统书画根基,正当他可以循此轻车熟路一路顺风时,一种不满足感,一种否定的冲动使他改弦易辙,皤然图新。此后,他便投入现代书法的探索与创作之中,思索“否定之后何为”的问题。 古老的汉字曾证明过辉煌的存在,但汉字的古老又同时证明它遗忘了自己的存在。刘懿认为,古老的汉字符号创造确实给人们带来过激动的审美体验,同时这些符号自身也蕴含着滞定性和存在性,在它依然传递着审美信息的同时,也透出呼唤新的标志“存在”符号的诞生。 Human’s aesthetic phenomena and aesthetic activities are not only cultural but also negative. As a result of these factors, the development of culture, genre and genre have been brought into being, and culture has been shown as “being” at different historical stages. Liu Yi has a good foundation of traditional painting and calligraphy, just as he can follow this skillful journey along the way, a sense of dissatisfaction, a negative impulse to make him change his course. Since then, he has been involved in the exploration and creation of modern calligraphy, pondering the question of “what is after”. The ancient Chinese characters have proven brilliant, but the ancient Chinese characters also prove that it forgot their existence. Liu Yi believes that the creation of ancient Chinese symbols does indeed bring exciting aesthetic experience to people. At the same time, these symbols also contain the nature of persistence and existence. While they still convey the aesthetic information, they also reveal the call for new symbols The birth of the “existence” symbol.