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【评论】重返诗意的审美视界Return to the poetic visual world

2011-09-22 19:11:16 来源:艺术家提供作者:鲁 虹Lu Hong
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  在世界或中国当代艺术的大格局中,李强显然是极为边缘与另类的,因为他几乎是在叛逆自博伊斯与沃霍尔以来兴起的艺术潮流而动,竟主张把对社会的批判与启蒙的责任交还给社会学家、哲学家与文学家去做,艺术家则应该回归到本体的角色上,以审美的态度去发现生活之美,进而激发人们对生活的热爱,抵抗生活的无奈。这无疑是在叫板美国著名理论家丹托关于“美的艺术”行将消亡的预言。

  事实上,也正是基于以上艺术主张,李强在近来的创作中,并没选择时效性与社会性很强的题材,而是选择了与美相对应的花卉。由此看来,李强是想通过看似纯粹审美的绘画,来完成他对人生、自然与生命的哲学性思考,而这种审美效果肯定是批判类艺术所无法达到的,在一定程度上也可起到多元互补的作用,满足一些特定观众的审美需求。

  熟悉中国艺术史的人都知道:在传统绘画中,花卉与虫鸟之类的素材一样,都归属在花鸟画的范畴内。其不仅有着养心悦目的特点,还有着深厚镌永的寓意,千百年来既深为文人士大夫,也深为广大群众所喜爱。宋代以后,随着文人画的蓬勃兴起,出于自然的花卉也越来越成为文人士大夫们表达主观意兴、缘物寄情、关注生命的重要载体。由于在一千多年的发展进程中,出现了一大批内涵丰厚、立意开阔,兼具尚趣、尚气、尚势、尚力、尚韵、尚法的优秀作品,所以中国花鸟画广为世界艺坛所注目。不过,近百年来,虽然也出现了个别艺术大师或少数优秀作品,但中国花鸟画在整体上基本处于千人一面、停滞不前的状态,其境况大不如山水画、人物画。这也使得很多有识之士常常在探讨中国花鸟画如何创新发展的问题。当然,作为油画家的李强与许多花鸟画家并不同。对于他来说,如何连接传统花鸟画的血脉,同时合适地汲取西方现代艺术的优秀遗产,进而开拓自己的艺术之路才是最为重要的。

  应该说,艺术家李强较好地达到了他所设定的目标。从他的作品看去,为了有效表现个人的主观感受、生命体验与情绪意兴,他一方面有效地将东方写意传统与西方现代主义的传统——特别是印象主义与表现主义的传统融合在了一起,另一方面还以自己的方式解决了西方现代艺术家们长期希望解决的若干艺术问题,这当中包括平面化的问题、打破单点透视的问题与变形处理的问题等等。毫无疑问,艺术家李强在处理画面时,已经有意识地限制了空间的深度幻觉,使之变成了半立体的状态。与此同时,光线的表达也被故意弱化了,于是亮部与暗部巧妙地转换成了不同的色彩对比关系,作品也因超越现实而具有审美性和抒情性意味。不知他人感觉如何,我看李强的近作,总感到其有着外形流动、色彩含蓄、景象朦胧、笔意恣肆的特点。这是十分不容易的。

  无庸讳言,艺术家李强对于传统中国画的借鉴远远不限于以上所谈的内容。因为强调根据不同心境即兴地去处理画面造型、色彩及线条也是他有意识的艺术追求。首先,这使他能够十分自由地处理好形自身、形与形、形与背景空间的多重关系,并将不同的色彩有效地统一起来;其次,这使他能借助绘画的二维空间表达出时间的因素来,不光增加了画面的生动性,也让人体会到了艺术家作画的前后过程;再其次,这使他能令画中的每一根线条或每一个笔触与色彩都根据自身的作用,恰当地出现于整体结构之中,就好像一个个音符恰如其分地出现于一首首乐曲中一样。更为重要的是,他也强调了让画面自然生长的过程,而这与长期按固定模式进行重复性“创作”的行为不可同日而语。因此对广大当代中国画家也具有深刻的启示意义。相比较起来,他近期的作品比以前的作品更强调对线条与特殊肌理效果的运用,“如画”的、虚拟的成分更重,也更具有东方的特点与韵味。综上所述,我认为:艺术家李强根据个人的独特感受创造了一个绝对有别于现实的艺术世界。而且那是一个具有独特个性、当代视觉特点、诗意盎然与气质高雅的真实世界。

  是为序。

  2010年8月8日于深圳前海

  As an artist in the big picture of Chinese contemporary art, Li Qiang is obviously a peculiar and unconventional one, since he’s always been moving against the current arisen from Joseph Beuys and Andy Warhol. He advocates the opinion that the responsibility of critique and enlightenment should be returned to socialists, philosophers and literateurs, and artists should go back to their original roles, finding the beauty of life from an aesthetic point of view, inspiring people’s enthusiasm and courage to face the helplessness and disappointment of life. This is obviously challenging the prediction of Arthur Coleman Danto, the famous American theorist,that the “art of beauty ” is withering away.

  As a matter of fact, it is exactly why Li Qiang chose flowers as subjects rather than those of strong temporal effectiveness and sociality. It looks as if Li Qiang is trying to accomplish his philosophical reflection on life and nature through pure aesthetic painting, which is affirmatively impossible to achieve with criticism. To a certain extent, it could be considered as a complementation of mainstream art works by meeting the aesthetic need of certain special audience.

  Whoever is familiar with Chinese art history should know that, in traditional painting, flowers as well as animals and fowls are all in the big category of flower-and-bird painting which is pleasant to the eye and cultivating to the mind. It has been appreciated by both scholars-bureaucrat and ordinary people for thousands of year. After Song Dynasty, along with the springing up of “literati painting”, flower painting became an important carrier for Chinese literators and scholars to express personal enthusiasm and convey humanistic care for lives. In the development of literati painting, there appeared a large quantity of extraordinary works with profound connotations and expansive conceptions which consequently drew a lot of attention from the whole world to Chinese flower-and-bird painting. However, for the past century, Chinese flower-and-bird painting has fallen into stagnancy in spite of a few masters and excellent works, far behind the development of landscape painting and figure painting. Many people of insight become very concerned about the innovation of flower-and-bird painting. Of course, as an oil painter, it’s not exactly the same case for him as for other flower-and-bird painters. For him, how to inherit the blood of traditional Chinese flower and bird painting, approximately absorb nutrition from modern occidental art and expand his own way of art are the most important matters for now.

  As an artist, Li Qiang has basically achieved his goal. In his paintings, in order to make a manifestation of subjective impression and life experience, he successfully syncretizes traditional Chinese painting together with western modernism, especially the tradition of impressionism and expressionism. On the other hand, he has managed to solve several problems which have been hanging over the head of western artists for a long time in his own way, including the problem of complanation, one-point perspective and distortion. It is out of question that, as an artist, Li Qiang is consciously controlling the illusion of depth, which makes the painting half three dimensional. Meanwhile, the lights in his works are also intentionally weakened to make the contrast of light and shade more like a contrast of different colors. I don’t know about other people, but when I watch Li Qiang’s recent works, I can always see his characteristically ambulatory shape,implicative colors and unrestrained strokes. That is not as easy as it looks.

  Speaking of using traditional Chinese painting for reference, Li Qiang has done a lot more than above. He also likes to handle colors and lines impromptus according different states of mind. Above all, this allows him to freely handle the multi-relationship between shape and shape, shape and background, and unify different colors together. Secondly, it helps him convey the concept of time in two dimensional spaces, which not only enhance the lifelikeness of the painting, but also allow the audience to know the process of the painting. Moreover,it makes every line, every strike and every color function well in the whole structure, just like those little notes of music. Most importantly, he emphasizes the natural growing process of paintings, which is totally distinguished from those so-called “creation” of fixed patterns. That’s why his works can inspire so many modern Chinese painters. Compared to his old works, his recent paintings pay more attention to the using of lines and special textures. They look more “picture-like” and fictitious with more eastern traits and charm. In conclusion, Li Qiang creates a world of art based on his own particular feelings. This is a poetic and elegant world of picturesque individuality and modern vision. This is a real world.

  2010.8.8 at Qianhai,Shenzhen

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