论文部分内容阅读
“心象风景”,最初是殷双喜在1998年策划刘一原个人艺术展时提出、用以概括刘一原近十年来所形成的水墨艺术风格的一种简洁描述。按照黄专的说法,也许“心象风景”这个半中半西的名词本身,就已经说明了刘一原艺术方案的性质:它是力图在一种当代艺术的知识背景中,完成林风眠所倡导的那种具有理想主义色彩的学术目标。目前,刘一原的“心象风景”已经“为中国的美术批评界提供了一批可从众多角度和层面阐释的水墨性‘文本’”(皮道坚),由于他在开拓水墨的当代表现力及融合中西绘画语言方面的长期探索,刘一原成为一些关注当代中国文化转型问题的批评家的注目对象。
“Heart Phenomenon Landscape” was originally proposed by Yin Shuangxi when planning Liu Yiyuan’s personal art exhibition in 1998 to summarize a concise description of the style of ink art that Liu Yiyuan had formed in the past decade. According to Huang’s theory, perhaps the term “heart like landscape” is a semi-Chinese and western half of the term itself, has already explained the nature of Liu Yiyuan’s art program: It is trying to accomplish the kind advocated by Lin Fengmian in a contemporary art knowledge background The academic goal of idealism. At present, Liu Yiyuan’s “Scenery of the Heart” has “provided a batch of ink-and-ink texts that can be interpreted from many angles and aspects” to Chinese art critics because of his contemporary expressiveness in exploiting Chinese ink paintings By integrating the long-term exploration of the Chinese and western languages, Liu Yiyuan has become the focus of some critics who pay attention to the issue of contemporary Chinese cultural transformation.