性子之美

His stretches show completely his personal observation and understanding
of the objects of painting. Once stimulated, the passion must be poured
entirely on his drawing board and drained from his mind, with the
painters intuition, emotion and simultaneous inspirations. Up to now he
has persisted in painting from life and sketching from nature. His
devotion to arts enables him to create pictures with different styles
and flavors; delicate differences in complicated changes in light and
shade; compact lines across false of true; motions with vitality and
traced of instantly-changing perceptions. Like his stretches, his oil
painting entails rich and vivid detail depiction, interesting and
inspired description of the framework—all that displays the secrets of
life and beauty of human nature: quiet, stern, soft, soberWith the
Chinese culture rotted deeply in his heart, people can always from his
works strongly sense the existence of his oriental origin, in spite of
the fact that he has resided in the west for 16 years.

美高梅手机登录网站,From his personal experience, Leis art naturally establishes close
connection with todays urban life. He has increasingly stepped farther
away from the traditional life philosophy that artists should be
indifferent to fame, wealth or other secular affairs; instead, he tends
to draw nearer and nearer to worldly life in the consumer era.
Apparently he is aware that those existing cultural symbols from
agrarian time has a hard time to fit into the urban culture
characterized by indulgence and desires. Ever since modern times (the
industrial civilization), mans excessive exploitation of natural
resources has led to increasingly serious environmental pollution; the
harmony between man and nature has gone. The disrespect of nature has
posed a threat to human itself, pushing people to reflect on their
behaviors. Facing this fact, art, if still repeating the past peace and
tranquility, is certainly not able to reflect the complex relations
between man and nature, for the idyllic vision can by no means help with
the spiritual dilemma of people in modern times. Therefore, it has to be
figured out how ink painters can lead themselves into a contemporary
culture and how they can integrate their art into a new cultural
context. From Leis recent works (like Pool of the Immortals, Breaking
Wings, Falling in Six Sensual Traps, Sunset Glow, Holy Water etc.), all
of which are like urban allegories, it is not difficult to notice that
he presents his understanding of the reflections on the living state of
urban people. Few examples can be found in todays ink paintings that can
connect so closely with peoples current life as Leis works do.

His art is a kind of art that has been changed to the idea of life
experience and caring about society from formalism of writing images. It
is a change from brush-ink centralism to water and ink material. This
reform brought a rebuilding after activation by canceling the
abstractedness of centered writing to painting.

THE BEAUTY OF HUMAN NATURE

However, this is not what I feel when I see Leis works. He gives me the
feeling that painting, for him, is something that couldnt be more
natural, that painting is exactly an aspect and a presentation of his
life. He gives me the feeling that there is no psychological block on
his way to painting. He does not confine himself to any profession for
only painting certain items. Neither subjects nor materials can pose
restrictions on his creation because painting for him is as natural as
writing a diary; so long as he has got some inspirations in mind, he can
paint whatever he likes, caring nothing about the shape, color, brush or
ink. He gives me the feeling that painting is just a by-product of his
life, rather than a goal requiring purposeful chase. His goal is the
enrichment of life itself. So long as he owns a fruitful life, he owns
everything, with no exception of art. He gives me the feeling that he
does not worry at all whether his painting is going to be a good or a
bad one. He, intentionally or unintentionally, goes back to an
unskillful and primitive state, back to a state of knowing no skills in
painting. You may even say that his works are bad paintings, without
framework or norms, fixed routines or stereotypes, not to mention the
removal of all the have-to-be restraints. Therefore, it seems to me that
he is completely free from all limits; painting is even just like
graffiti for him. I feel no heaviness or obstruction from his works. He
even enjoys the excitement brought by new media beyond the boundary of
ink painting, without the guilt of tasting the forbidden fruit.

-Dao Zi

方世聪三个赶过东、西方艺术吸重力的乐师。速写是她最直接、最义气的情义败露,也是他心灵的折射和技巧的汇聚表现。

It is in this sense that I feel that Leis paintings are changing and
developing with himself as well as his emotional experiences. Take his
paintings about love for example. In 90s, most of his works on this
subject wore the air of gentleness and tenderness of love, depicting
young boys and girls who fall in love for the first time sitting
quietly, walking, wandering, having fun and chatting intimately. Only in
their mind do they taste the mystery and happiness of staying together
with the opposite sex. The adolescent embrace of love is innocent,
everlasting, beyond words, sentimental, vague and above all romantic.
After he stepped into a new stage of life, we can thus see that in these
paintings, the shy hand-holding scenes have been replaced by passionate
embrace, and sensation of love has transferred into sexual love. The
long, endless embrace is no longer sentimental or uncertain; it is a
physical touch of the body, and also a dialogue between souls. These
expressions, of course, are consistent with Leis own emotional and life
experiences. Therefore, what they present is a true procession of life,
an exteriorization of experience, and is also where the vitality and
inspiration of art lie.

He is a contemporary artist successfully foregoing from traditional
calligraphy, from his own special background and his current feeling,
from China art. Shao Yan paint emphasis on life experience, emphasizing
the outbreak of an instant emotional expression. He works without sense
of design, it is very meaningful.

他的速写极重个人对事物的体察、体会理解。意气风发旦激情被激发就尽情发泄,重直觉、重情重义、随机而发。现今她还坚定不移面临自然和人选写生。他对生存热情关切,在章程上倾情投入,使她笔头下现身了各具情调的画面:复杂的明暗细微变化,精短的线条虚实穿插,有生气的动态,须臾多变的情思印痕。他的油画和壁画雷同:精微时有板有眼、宛在近年来;粗犷时乐趣横生,常有一神来之笔,随地埋伏着生命之秘和天性之美:或幽怡、刚阳;或柔婉、凝重……中华夏族民共和国文化的加强底工深深植根在她的心头里,尽管她耕耘西方于16年,大家都常会鲜明地心获得这种东方精气神儿的存在。

而是,雷子人的画给笔者的感到到不是那般。他让笔者以为,他美术是后生可畏件再自然然而的事,画画就是他的风姿浪漫种生存方式,就是她对生命的后生可畏种呈示;他让本人感觉到,他美术没有激情障碍,未有自取其咎地把自身明确为专攻什么什么的什么样乐师。主题素材和素材都不可能对他结合约束,因为画画对她完全都是随手牵羊的事,像写日记雷同,只要心有所感,什么形不形,色不色,笔不笔,墨不墨,随性所欲,糊涂乱抹正是;他让自家深感,画画就是她生存的三个副成品,不是她要特意追求的贰个指标,目的是活着自身的增添、生命本身的充满。只要有了增添的生存、充溢的性命,就有了整个,就不忧虑没有章程;他让自个儿以为,他也未有画好画坏的观念负责,他顺便地回去生龙活虎种生涩的、不会画画的气象,以至足以说,他画的正是豆蔻年华种坏画,没有范围,未有正规,没有自感觉是的实际业绩与成见,更未有非如此不可的羁绊。因而,他让本人认为他是自在的、无拘无缚的、以至是随手涂鸦的。他的画未有让自个儿觉得有点一滴的浴血和滞碍。他竟是越界到油画以外的领域去心得新媒材的意趣,而且未有偷食禁果的负罪感。

Shao Yan has rich exploration in his art practice. He is trying to
promote his works from moderncalligraphy to abstractive art. He involved
his status and understanding of life in to every time of his creativity.
And he developed his unique writing style to be behavior art. Finally he
mixed the trace of ink behavior and water to be art works.

水墨画而能写意,即从最根本要合併中西之最,在首都音乐家中朱乃正颇负开发,袁运生从抽象守旧回归,色彩笔触都出之于情,和世聪有相近之查究,但愚以为还比不上世聪之出乎自然。看样子不管走的多少间隔,中黄炎子孙民共和国人总将立足于写意、抒情之上。想来想去那岂非艺术上的柔和之道路?具象、抽象便是欧人之极端理念方法,中中原人民共和国人则各取其长而去其短,是为意象。

大家当然也能够从此外角度切入来商讨雷子人的小说。他的不凡,使他在点子上显示出多地点的工夫,如在版画、陶瓷艺术、人体、风景等不等世界,他都怀有涉猎,从古典到今世,他都两全借鉴。尽管还不是风姿洒脱种很成熟的情况,但却随地能让自身感觉后生可畏种源自心灵的复兴。唯豆蔻梢头的忧虑是,在走向自由、走向熟稔的经过中,还能够否维持这种生涩的痛感而不使圆滑。画到生时是熟时,郑板桥的视角相当高,但她本身也未尝完全到位。但愿雷子人能做得好些。

-Wang Yong

编辑:霍春常

Art and Man-What I think of Lei Zirens painting

-Liu Xiaochun

Julien Fang, a artist enjoying a fame both in the east and the west,
chooses stretches his most direct and sincere way to intensively express
is soul and talents.

从个人经验出发,雷于人的点子很自然地与今世都市生活发生了紧凑联系。他愈加隔开了知识分子古板竞尚淡泊的身故心态,越来越趋向于开销年代的低级庸俗生活。他通晓意识到,在此个灯葡萄酒绿和充满欲望的城墙文化中,那多少个既有的农耕时代的知识符号己经很难与之和谐。人类自进入现代随后,由于人对自然能源的疯癫抢夺,碰着日益严重地污染,人与自然的和煦关系己瓦解冰消。人对自然的不尊重,己经危及到人类本身,已经让人类一定要对友好的行事初始检查。在此种处境下,大家的法门,假如依旧还在复述之前的桃红柳绿,明显已经无法展现前几日的人与自然的复杂性关系,因为它的画情诗意己经与现代人的振奋困境未有其余关系。由此,摄影家如何能使本身跻身一种现代知识境况,怎么着能使和煦的方法步向风流洒脱种新的学问语境之中,那是她们必供给考虑和面临的标题。从雷子人多年来画的局地肖似于都市寓言式的小说中,大家简单见到她对城市居民的生存状态所作出一种明白和揣摩。在现世摄影中,能够像雷子人如此让投机的著述更近乎现代人的生活的例子实在是太少了。

I think Shao Yan can become research specimens of Chinese contemporary
art in the moment.He is a very natural outcome of the development of30
years development of modern and contemporary art. His art contains many
elements of Chinese culture that has been conversedvery good, very
witty.

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