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进入90年代以来,申伟光的绘画观念和语言有了一种全新的转型。通过这种转型,他不断地扬弃着自己绘画语言上的那些不纯净的和停留在生活表面上的东西,并且在绘画语言、绘画图式、绘画动机等方面都实现了新的转换。 90年代中国现代或后现代绘画出现了一种从精神到欲望,从现实到世俗,从批判到顺应的一个“降解”过程。而申伟光的绘画却表现出一种超越这种后现代性的“退行”的绘画思路,表现出一种全新的新理性的思路。因此,申伟光的绘画,粗看起来在点、线、面的语汇交织中并不觉得其深,甚至会感觉他是在走向抽象和形式。但是,当你再细看的时候,当你联系到“当代中国语境”的时候,就会感到他的绘画有一种内在的张力。而当你通过一种超越了“物性”的人性的境界去反观这种“色彩”鲜艳、“线条”变动不居,而“点”呈现出一种新的深度的时候,就可以看出扩充这种张力之后所达到的精神灵魂升华的努力。
Since entering the 90s, Shen Weiguang’s painting concept and language have a completely new transformation. Through this transformation, he constantly sublimated those impure things that are on the surface of his painting language and stayed on the surface of his life. He has also made new changes in terms of painting language, drawing style, and painting motivation. In the 1990s, the modern or postmodern Chinese painting presented a process of “degradation” from spirit to desire, from reality to secularity, and from criticism to compliance. The painting of Shen Weiguang, however, shows a kind of “retrograde” painting idea that goes beyond such post-modernity and shows a completely new idea of new rationality. Therefore, Shen Weiguang’s paintings and rough looks do not feel deep in the interlacing of points, lines and surfaces, and even feel that he is moving towards abstraction and form. However, when you look carefully, when you relate to “Contemporary Chinese Context,” you feel that there is an inherent tension in his painting. And when you look at the “vivid colors” and the “lines” through a kind of human nature that goes beyond “physical properties,” the “point” presents a new depth, we can see that the expansion This tension is achieved after the spiritual soul sublimation efforts.