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对于面者,艺术的永恒之美在于对无尽生命的感知与创造,在于对精神自由的不懈追求。德国诗人保罗·策兰曾说:“地上的鲜花长满了人间的色彩,每一朵都有生命在放纵往昔的面容。”可以说,对生活的体悟和对生命的尊重与赞美贯穿于人类艺术发展的始终。在绘画创作中,尤其在中国传统文化语境中,对“物”的人文观照是非常普遍的。对生命的参悟和隐喻,无论是赞美或忧思,都经由“庄周梦蝶”的诗性哲学升华为“物我两忘”、“天人合一”的中国传统审美情怀。在当代,开放的社会环境和艺术氛围为画家们的绘画创作带来了更多的选择,但无论外在形式如何变化,绘画作品的生发及其精神内核的呈现必须建立在艺术家个人情感体验的形象外化基础上,如此方能得以实现。作为中国改革开放的第一批见证者和受益人,生于上世纪70年代的青年油画家罗凯在亲历三十多年来中国经济文化巨变的过程中,充分体验到了中西方文化的巨大差异、激烈碰撞以及由此为当代艺术带来的无限生机。他一方面深入研究西方绘画的经典范式与表现技巧;另一方面,也敏锐地把握住中国
For the face, the eternal beauty of art lies in the perception and creation of endless life, which is the relentless pursuit of spiritual freedom. The German poet Paul Celane once said: “The flowers on the earth are full of human touch, and every one has life indulging past faces.” It can be said that life’s comprehension and respect for life permeate The development of human art has always been. In the painting creation, especially in the context of Chinese traditional culture, the humanistic view of “things ” is very common. The comprehension and metaphor of life, whether praising or worrying, are sublimated through the poetic philosophy of “Dream of the Chuang, Dream and Butterfly” into the traditional Chinese aesthetic of “Two Things to Remember” and “Oneness of Nature and Man” feelings. In the contemporary era, the open social environment and artistic atmosphere bring more choices for artists’ paintings. However, no matter how the external forms change, the germination of the painting works and its spiritual core must be based on the individual emotional experience of the artist Based on the external image, so can be achieved. As the first witness and beneficiary of China’s reform and opening up, young oil painter Luo Kai, born in the 1970s, fully experienced the huge differences between Chinese and Western cultures in the course of the tremendous economic and cultural changes in China over the past 30 years , Violent collisions and the immense vitality it brings to contemporary art. On the one hand, he studied in depth the classical paradigms and performance techniques of Western painting; on the other hand, he also took a keen eye on China