论文部分内容阅读
艺术思维,无非表现在形而上和形而下两个方面;质言之,现代艺术创造的激情,当然产生于形而上之心象和形而下之物象的分别作用,遂产生风格、形式、语言等一一不同的作品。 饶有意味的是,王立堂的现代水墨并未断然倾向某一端,而是选择了“上”、“下”之间,各取其长,各去其短,以此为立艺之本。 因而,王立堂的现代水墨体现了一种“抽象的具象”的形式语言特点。 从作品来看,《心灵世界》、《时光》及诸多冠以《无题》的作品,都属于画家内心图景的表达,在平面构成中,造就迷津般的空间,由笔形、色彩、方圆、虚实组合成的图像,达到朦胧、模糊、飘渺、幽邃的境界,这种“不在之在”恰是王立堂此类作品的题旨,纸面上的水墨操作在有序的态势下,对物象进行瓦解,使之趋于“冷”抽象;此中,画家并不特别注重水与墨材质特点的随意发挥,而表现出对图像构成效果的特有兴趣。
Art thinking is nothing more than metaphysics and metaphysics; in essence, the passion created by modern art, of course, arises from the separate roles of metaphysics and metaphysics, resulting in different works in style, form and language . What is interesting is that Wang Litang’s modern ink and wash did not tendencies toward one end, but instead chose between “Shang” and “Xia”. Thus, Wang Litang’s modern ink and wash embodies a formal language characteristic of “abstract figurativeness.” From the works, the world of mind, the time and many works titled “Untitled” all belong to the expression of inner views of painters. In the plane composition, they create a maze-like space, which is composed of pen shape, color, radius, The combination of images into the dim, fuzzy, ethereal, secluded realm, this “absence of” is precisely Wang Li Tang works of such topics, ink on paper operation in an orderly situation, the collapse of the image , Making it tend to be “cold” abstract; Among them, the painter does not pay special attention to the water and ink material characteristics of free play, and showed the special interest in the image composition effect.