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第一眼望去,周力的作品里充满了线条的魅力。作品的重心不在上下左右,而在画布背后,或者装置的里侧,那些视觉所不到、却可以察觉的地方;所以,作品是飘逸和轻盈的。熟悉中国艺术的观众,感知到线条美感的时候,自然有文化的回响:从汉代绘画、魏晋书法,到曹仲达、吴道子的线描,再到宋以后的文人山水,中国的视觉艺术一直贯穿了线条的魅力。在那些充满物象的作品里,再厚重的块面也得以飞舞在一个更加抽象而宽广的图景中。而对不熟翻中国艺术历史的观众来说,周力的线条本身就成为不具文化定义的
At first glance, Zhou Li’s works are full of the charm of lines. The center of gravity of the work is not around, but behind the canvas, or on the inside of the apparatus, where the vision can not be perceived, so the work is elegant and light. The audience who are familiar with Chinese art perceive the beauty of lines as they naturally have cultural repercussions. From the drawings in the Han Dynasty, the calligraphy in the Wei and Jin Dynasties, the line drawings by Cao Zhongda and Wu Daozi, to the literati and landscapes after the Song Dynasty, the visual arts of China have been permeating The charm of the line. In those images full of objects, thick blocks are also flown in a more abstract and broad picture. For those who are unfamiliar with the history of Chinese art, the lines of Zhou Li itself are not culturally defined