论文部分内容阅读
人体和肖像对吕华来说就如同风景对于风景画家、静物对于静物画家一样,它们只是一个题材,一个更利于画家表现自我审美意向的题材。在吕华的心目中,女人就是一本天书,他一直把女人当作佛来画。吕华作品中画面背景上那些抽象的别有意味的光斑和画面中心带有写实意味的女子构成了一个梦幻的无忧世界,尤其是女孩子脸上的笑容异常干净、清澈,美好到令人企盼时光停滞。在坚定地拒绝了历史理性与深度理念对身体的铭刻与规训之后,吕华似乎驱走了身体图像的隐喻幽灵,绘画得以回到艺术和生命本身。这些没有隐喻的身体,是生命本身在呼吸、在生长。
The human body and the portrait are just like the landscape for Lu Hua. For landscape painters, still life for still life painters, they are just a theme, a theme that is more conducive to the painter’s self-aesthetic intention. In Lu Hua’s eyes, the woman is a bible, he has been a woman as a Buddha to draw. Lu Hua’s paintings on the background of the abstract and those who do not mean the light of the center of the picture with a realistic meaning of the woman constitutes a dream-like worry-free world, especially the girl’s smile on the face exceptionally clean, clear, beautiful to the people Look forward to time stagnation. After resolutely rejecting the body’s inscription and discipline on the basis of historical rationality and depth, Lu Hua seems to have driven away the metaphorical ghost of the body image and returned to art and life itself. These non-metaphorical bodies are the breath of life itself growing.