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我在一篇探讨分析“现代水墨画”现状特点的文章中曾这样地提及张羽的水墨实验:张羽精致的墨象意识引发了一系列似有若无的心象映现,尽管他可能从米罗和克利那里获得许多天趣的启发,然而,“墨象”的诱发性使张羽走向一个“悟”的空灵世界,这是具有强烈东方色彩的心象空间。因此,他从探索墨象的现代趣味开始;最终却获得一种以墨象语义为庇护的心灵安详而古典的场所。(引自《作为语言的“水墨”》) 张羽非常清醒于“水墨”的这种局限性和可能性,他不像有些“现代水墨”实验者一样,企图夸大“水墨”的现代语义和精神指向,最终却落进自设的“水墨”陷井。而张羽深明“水墨”的文化精义,
In an essay on analyzing the characteristics of the current state of modern ink painting, I referred to Zhang Yu’s ink painting experiment in the following way: Zhang Yu’s delicate sense of ink painting triggered a series of seemingly romantic images, Luo and Keli inspired by many goodies, however, the “image” of the induced Zhang Yu to a “enlightened” ethereal world, which is a strong oriental color of the heart space. Therefore, he began his exploration of the modern taste of the image; finally, he received a serene and classical place with the heart of the image asylum. (Quoted in “Ink and Wash” as a Language.) Zhang Yu is very conscious of the limitations and possibilities of “ink and wash”. Unlike some “modern ink and wash” experimenters, Zhang Yu attempts to exaggerate the modern semantics of “ink and wash” Spiritual orientation, but eventually fall into the “ink” trap. And Zhang Yu deep “ink” cultural essence,