点击理由在刘庆和的图画中,笔墨已经远远超越传统意义上的中国画规范与造型模样。依形洇染的墨团团,细瘦的长丝线,无所谓格式规法,完全依托于造“型”。透过惊诧、木呆、愣神儿甚至失魂落魄的一个个表情,可以感受到画家内心与周遭世界的一种隐秘又实在的对应。游戏,无奈,空虚,孤独,焦虑,画面上一派沉阴的状态和失语的情境,屡见不鲜,但现实中人又常常熟视无睹,乏有知觉。这里,刘庆和的笔触无处不在。可以说,刘庆和笔下裸呈着“现实”(那是与他呼吸共在的时空),穿越那一处处“真实”却又“虚幻”的都市情节,不断锻锤一份颇具“当代”品性的水墨结构图语。 Click to reason In Liu Qinghe’s paintings, ink and brush has gone far beyond the traditional Chinese painting norms and appearances. Inked 洇 dye ink regiment, thin, thin filament lines, indifferent format rules, completely relying on the making “type ”. Through astonishment, wooden stay, stupid child even distraught one by one expression, you can feel the painter’s inner world and the world around a secret and real correspondence. Games, frustration, emptiness, loneliness, anxiety, the scene of a state of Shen Yin and aphasia scenes are not uncommon, but in reality people often turn a blind eye to it and lack sense. Here, Liu Qinghe’s brushwork is everywhere. It can be said that Liu Qing and his bare hands are “reality” (that is, the time and space that are shared with him), passing through the metropolitan plots of “real” but also “illusive” and constantly forging A quite “contemporary ” character of the ink structure diagram language.