审美的“女神”点燃了我心灵的火焰,内在的热情,通过我的手,用色彩的语言兴奋呼唤伟大的自然。可是色彩是视觉对象,我很难用文字把它准确地描述出来。尽管如此,我还是愿意把我的感受,贡献给朋友们。多少年来艺术家和理论家们围绕艺术表现中的感情与技术问题做了种种探索,下了很多定义,但直到今天在绘画的“工程”中,感情与技术的关系问题仍未得到根本解决。感情与技术,是不可分割,相辅相成的。但却被一些入硬性将其分开。于是艺术中的“分段”练习,个个击破的办法,形成了僵硬的色彩语言,机械的色彩规律,公式化的色彩秩序,这一切将色彩的生命力笼罩得死气沉沉。“冷冰冰的技术”在“分段”思维中,似乎得到绘画界人士们下意识的公认。我认为色彩表现的关键问题不是如何单纯掌握技术的问题,而是寻求感情容量的最佳“竞技能力”问题,更确切地说是在绘画这个整体过程中,用感 Aesthetic “goddess” ignited the flame of my heart, the inherent enthusiasm, through my hand, with color language excitement call for great nature. But color is the visual object, I can not accurately describe it in words. In spite of this, I am still willing to share my feelings with my friends. Over the past few years, artists and theorists have made various explorations of feelings and technical problems in artistic expression and made many definitions. However, the relationship between emotion and technology has not yet been fundamentally solved in today’s “engineering” of painting. Emotions and technologies are inseparable and complementary. But separated by some rigidity. Therefore, the practice of “segmentation” in art and the method of breaking through each form a rigid color language, the law of color of machinery and the formulaic color order, all of which have vitiated the vitality of color. “Frosty Technology” seems to have been subconsciously acknowledged by the artists in the “staged” thinking. I think the key issue of color performance is not how to grasp the technical issue but the best “competitive ability” to seek the emotional capacity. More precisely, in the whole process of painting,