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但凡从事艺术的人,最先总要在某种具体的画种范畴展开他探索的道路,有的人也许终生就锁定在一个点上。这种锁定与艺术梦想的实现并无矛盾,或者还可以说,锁定于艺术是一项有益的规定:通得过最大的限制也就能表现最大的自由。但必须要明白的是,只有在充分清醒的自由意识下,限制才是值得宝爱的东西。艺术是关于美学的自由。是关于美学的规定的自由。同时也是君临于一切画种知识之上的自由。因此引出来本文命题:漆画:不只是关于漆画的思索。 简切地说,我以为在谈论某个画种时,最好的办法是要忘掉画种之限定。而首先该问的是:作品美不美?我的视觉带给我的是愉悦、激动,麻木甚或厌恶?这是一个先决的条件,一切讨论展开的前提。 我的艺术最初的切入点落在了色彩的方面。或者色彩本身就是艺术诸要素中一个最为直接和敏感的要素,一个最具魅力的要素。抑或也是我天性选择的偏好吧。 色彩最诱人处当然是在鲜明而悦目的方面。再就是
Whenever an artist engages in art, he or she must first explore the road of exploration in a specific field of painting, and some may lock in for life. This lock-in is not contradictory to the realization of an artistic dream, or it can be argued that locking in to art is a useful rule: the greatest limitation is the maximum freedom of expression. But it must be understood that restrictions are worthy of love only when fully conscious and free. Art is about aesthetics. It is freedom about the rules of aesthetics. At the same time, it is also the freedom of all kinds of knowledge. Therefore, this paper leads to the proposition: paint painting: not just on the paint thinking. To put it simply, I think the best way to talk about a painting is to forget about painting. The first question to ask is whether the work is beautiful or not, and is it pleasure, excitement, numbness or even disgust that my vision brings to me? This is a precondition and the premise for all discussions. The initial entry point of my art falls in the aspect of color. Or the color itself is one of the most direct and sensitive elements of art, one of the most attractive elements. Or is my natural preferences of choice. Of course, the most attractive color is in a distinct and pleasing aspect. Then again