选取非颜料材料的构思主要是对于这些材料背后的文化背景的关注。他把茶看做是代表中国文化表征的符号。梁铨甚至在行为方式上就是一个茶人,对茶理解已不同于一般人,进而把他对于艺术和茶道两方面的理解融合起来。在他看来,茶与艺术血肉相连。与那种传统绘画在内容上表现茶及相关的隐逸思想不同,梁铨对茶道和艺术的融合则体现了某种纯粹的禅宗精神境界。——黄笃《抽象-极简-诗意》梁铨就成为中国“抽象自然主义”的代表人物,以抽象的方式转换了传统山水画的所有语汇,同时也以空灵的山水画精神转换了西方抽象的崇高感和悲剧性,以柔和微妙的诗意打开了新的绘画空 The idea of ​​choosing non-pigmentary materials is mainly concerned with the cultural background behind these materials. He sees tea as a symbol of Chinese cultural identity. Liang Quan was even behaved as a tea man who understood tea differently from the average person and thus merged his understanding of both art and tea ceremony. In his opinion, tea is connected with the flesh and blood of the arts. Unlike the traditional painting that expresses the content of tea and the related recluse ideas, Liang Quan’s fusion of tea ceremony and art reflects some pure Zen spiritual realm. - Huang Du “abstract - minimalist - poetic” Liang Quan became the representative of China “abstract naturalism ”, in an abstract way to convert all the landscapes of traditional Chinese painting, but also with ethereal landscape painting spirit of the West Abstract loftiness and tragedy opened the new painting space with soft and subtle poetic