论文部分内容阅读
j1990年夏,王肃健与两位师友一道入藏.回来画了一组画,名曰《人·神·天》.题目不小,在天人之际,神出现了.神在哪几?在高山雪域,那洁净洁净的所在人思之处,便有精神超然而至.藏人信神信佛,我个知王肃健到藏区,是否也感到“神”的存在?神在绘画中是一种间接的言语及沉默的声音,它需要依靠某种符号的媒介取得暗示.在画面上,则是由各种形式要素构成的整体关系传达的.一般而言,神是从形式演绎成观念性的东西,它与“形”既相应又对立.我们要在某种形式中发现相应的神,又要在形式中领会形上的心理幻象.视觉和意识的两个不同层面,一样地将对象的人和自然的世界包容起来,神是
In the summer of 1990, Wang Sujian and his two mentors came together in Tibet, and came back to paint a group of paintings entitled “People, God, and Heaven.” The title is not small, and when God was there, God appeared. In the mountains and snow-fields, where the people who are clean and clean place their minds, there is spiritual transcendence to Tibetans believe in gods and beliefs, and I know that Wang Sujian went to Tibetan areas to feel the existence of “gods” An indirect speech and silent voice, it needs to rely on a symbolic medium to get hints on the screen, it is by the various forms of elements constitute the overall relationship to convey .Generally speaking, God is from the form of interpretation into the concept Sex, it is both “opposite” and “form.” We want to find the corresponding god in some form, but also in the form to understand the psychological metaphor of form. Two different levels of vision and consciousness, the same will be The people of the object and the natural world are inclusive, God is