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姚璐《中国景观》系列,运用绿色(偶尔黑色)防尘布所遮掩的建筑材料(或垃圾)为素材,将中国山水画中的亭台楼阁、小舟等母题元素进行移植,盖以印章,刻意仿效山水画的构图形式,用“摄影”的表现方式,建构出一系列颇具“视觉真实感”的青绿山水画,较之传统青绿山水样式,其笔墨、结构、造型等基本山水画语言都被摒弃,转向对新媒材的捕捉,从而启发艺术家对当代审美标准的探索,及思考这种新媒材的变革,对于中国传统文化的传承和中国山水画的价值判断的影响和意义所在。
Yao Lu’s “Chinese Landscape” series uses the construction materials (or rubbish) covered by the green (occasionally black) dust-proof cloth as the material to transplant the motif elements such as pavilions and canoes in Chinese landscape painting, It deliberately imitates the composition of landscape painting and constructs a series of green landscape paintings which are quite “visual realism ” with “photography ”. Compared with the traditional landscape of green mountains and rivers, the basic landscape painting language such as ink, structure and shape Are all turned away from the new media to capture the artist’s exploration of contemporary aesthetic standards and reflect on the transformation of this new media for the inheritance of Chinese traditional culture and the value of Chinese landscape painting and its significance.