经过二三年的蛰伏与沉默,姚永推出了他的新作“中国花园”。这批闭关修炼的作品,其清新疏淡的风格,充盈着东方韵致的语言,暗合着东方哲理意味,让我产生了久违的感动。须知,当下图像泛滥及轰炸．不仅让视觉难以承受以至于麻木不仁,也让我丧失了艺术欣赏中最宝贵的心理活动方式——感动。由此,可以说,姚永的作品对于我是一种唤醒,唤醒了感动,也唤醒了思索。这批作品让我想到两点：其一,它们是对姚永前几年“哲理化”风格的超越；其二,经历过在美国游学并深受文化身份之苦恼的姚永,作出了新的文化抉择,这一抉择实际上暗含了当代油画创作的主要趋势,即回归文化母体,重建本土艺术样式。在我的印象中,姚永是一位哲理情结很重的画家,赋予形象、色彩、线条以哲理性思考是前几年作品的主要特点。这类作品画面显得很沉重,难以索解。我曾经为这些作品写过短文,费了不少气力。从这个背景来看,“中国花园”系列是一个大解脱,是一种义无反顾的逃离,绘画回到了本身,回到一种新视觉。在这里,哲理意味并非彻底消失,而是和谐地隐匿在书写和涂绘的自由中。另外一个背景更值得看重。几年前,姚永曾去美国游学,身在异乡,巨大的文化失落感迫使姚永重新审视自己的创作、文化身份、立场乃至出路,由此对传统文化进行重新观照,如何寻找自己成为一个简单而又基本的命题。从我接触的画家来看。这类现象并不仅仅发生在姚永一个人身上,相当一部分画家对中国文化的深度认识,是在他们到了国外以后。究其原因,主要是 After two or three years of dormancy and silence, Yao Yong launched his new book, “China Garden.” These closed-door practice works, fresh and duller style, filled with Oriental rhyme language, coinciding with the Eastern philosophical meaning, so I had a long absence moved. Notes, the current image of the proliferation and bombing. Not only was the visual unbearable and insensitive, it also made me lose the most valuable psychological activity in art appreciation - moving. Thus, it can be said that Yao Yong’s work is a wake-up for me, awakened the move, but also awakened thinking. These works remind me of two things. First, they are surpassing Yao’s style of “philosophizing” a few years ago; secondly, Yao Yong, who has experienced the pains of studying in the United States and being deeply influenced by his culture, has made a new culture Choice, this choice actually implies the main trend of contemporary oil painting, that is, return to the cultural motherland, reconstruction of local art style. In my mind, Yao Yong is a painter with a strong philosophical complex. The philosophical thinking that gives the image, the color, and the lines is the main feature of his works in previous years. The picture of this kind of work appears very heavy and hard to be solved. I have written essays for these works and spent a lot of effort. From this background, the “China Garden” series is a great liberation, a hesitation to flee, painting back to itself, back to a new vision. Here, philosophical meanings do not disappear completely, but are harmoniously hidden in the freedom of writing and painting. Another more worthy of the background. A few years ago, Yao Yong had traveled to the United States and lived in a foreign land. The tremendous sense of cultural loss forced Yao Yong to reexamine his own creation, cultural identity, position and even a way out, thus reconsidering the traditional culture and finding a way to become a simple The basic proposition. Look from the painter I contacted. This phenomenon does not happen to Yao Yong alone. A considerable part of the painters’ deep understanding of Chinese culture came after they arrived abroad. The reason is mainly