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自89年出国,至今已十年多了,游荡海外,感触甚多,眼界、脑界、心界总算打开了.语言的丧失,迫使我更多的用心灵去体验,也许并不是坏事,对艺术家来说,“开三界”中“开心界”是主要的.这里摘录的文字是近年我给友人书信中记录的感悟,并非严密的逻辑思考.一从塞尚到马蒂斯这一段现代主义诞生和兴旺时期的艺术与中国艺术精神有一种奇特的“同构性”,它是我的东方和西方、古典与现代中寻觅的契合点.1987年,在中国事前途争论的十字路口,我在《江苏画刊》上著文谈西方现代主义反传统意识与中国古典美学的同构性,最初缘于对“后印象派”的研究中发现了它与中国艺术的联系,并以此逐步确
It has been more than ten years since I went abroad in 1989. I wanna wander overseas and I feel so much that my eyes, mind and mind finally open up. The loss of language has forced me to experience more with my soul and may not be a bad thing. For the artist, “happy community” is the main one in “Open the Three Realms.” The texts extracted here are the sentiments we recorded in letters to friends in recent years, not a rigorous logical consideration. A modernism from Cezanne to Matisse There is a peculiar “isomorphism” between the art of the birth and the thriving period and the Chinese artistic spirit, which is the meeting point between my oriental and the western, classical and modern search. In 1987, at the crossroads where China was going to debate for the future In the article “Jiangsu Pictorial” on the article about the anti-traditional awareness of Western modernism and Chinese classical aesthetics isomorphic, initially due to the “Post-Impressionist” study found its link with the Chinese art, and thus gradually