杨珺新近的创作开始注重画面整体布局和对“光”的把握。画面上不再是孤立的人物特写,而是加进了丰富的背景元素,这些 元素可以清晰地传达出画中人物所处的环境和不同的心境,传统的“知白守黑”,“虚则实之,实则虚之”,“以无为用”的哲学 法则贯穿在这些背景中;同时,他画面结构精心布局为“光”的分布与流动留足了空间,他用层次丰富的淡彩呈示出自然光与室内 光的不同质感,笔法和墨法的探索也表露出其对传统人物画的解构与反思。 责任编辑:孙晓蕊 Yang Jun’s recent works began to pay attention to the overall layout of the screen and the “light” to grasp. The picture is no longer an isolated character close-up, but added a wealth of background elements, these elements can clearly convey the characters in the picture of the environment and different mood, the traditional “know the black”, “virtual In fact, the philosophical rules of ”actually nothingness“ and ”nothingness“ permeate these backgrounds; at the same time, the elaborate layout of his picture structure leaves room for the distribution and flow of ”light" The different texture of natural light and indoor light, the exploration of brushwork and Mo Fa also reveals its deconstruction and reflection on the traditional figure painting. Editor: Sun Xiao Rui