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实验水墨

实验水墨

Lost > liangs experiment Chinese painting

Key words: Ethereal, Emptiness, Mountains, Illusion of Water, Merging, Destruction, Memory, Confusion

The specialized mounting format and viewing mode of traditional Chinese painting stems from the unique characteristic of this art medium, forming the basis for an aesthetic style unique from its western counterpart. Poetry, calligraphy, stamping and ink wash come together to form a dynamic visual experience. As the traditional Chinese saying goes, ‘Vast enough is the space that allows horses to roam; Dense is the space where embroidered flowers cluster’. Using the expressive technique of traditional Chinese painting, emptiness and space are represented as white on rice paper, representing both water and sky, but also expressing the boundlessness between these two elements. The spirit generated by this embodies the essence and characteristic of the Chinese culture and civilization.

The spirit of Chinese painting also permeates Confucianism, Buddhism and Taoism, which are three fields dominating humanistic spirit of China: Confucianism focuses on harmony and difference and while maintaining individuality in conservativeness and restraint.

On rice paper, water and ink merge seamlessly to create images of stately mountains and flowing rivers. The resulting effect is an illusion of universal change, formless and vast, expounding quietness similar to the calmness exuded by the Heart Sutra.

Linking the Past and Present: Liang’s ink wash inherits the traditional style while breaking the moulds of traditional landscape, using deft strokes of bold black calligraphy to convey and evoke innermost thoughts and emotions. At the same time, gold foil is added to break up the monotony of the black, creating a new interpretation and twist to traditional ink wash, all while maintaining the strength and vigor of the medium without compromising its classical beauty.

With the silence shattered, heaven and earth become one. The act of burning reflects the cycle of birth and destruction, where in the rubbles of destruction lie hidden the meaning of life, nature, spirit and soul. Fire and wind movement has reached its highest level, soothing the traces of destruction back into a state of tranquility. The burnt fragments from the blank portions of the painting are mounted on different materials, further enhancing the final visual effect, with the gold and silver base plates acting like ancient bronze mirrors, directly reflecting the eyes and emotions of the observer. Hanging these in a host of environments will cast a different light on the paintings; evoking inspiration and thought, while losing yourself within the realm of ink wash painting.

迷失水墨空间

关键词:虚、空、若山、幻水,圆融、破坏、记忆、迷失......

中国画特别的装裱与观看形式,源自表现媒材的特性,也有别于西方视觉表现自成一格美学体系。诗书画印、水墨空间形成视觉张力。

“空能跑马,密如绣花”。国画的一种表现技法“留白”,是指在宣纸上留未敷色的白色区域。这同样是一个空间表现的方式,也体现了中国水墨画的虚空意境。是水是天,水天接壤无界限。水墨所创造的精神体现了中国人文气质。中国画的精神同样渗透儒、释、道。主宰中国人文精神的三个领域:儒家和而不同,在保守内敛中保留个性。水墨相融,交汇空间。黑白是道,融化为虚无缥缈。空即是色,色即是空,水墨同样具有若山若水,若大宇宙,犹如寂然般若波罗密多。梁氏水墨既在继承传统而又推翻传统的山水画作上,用带书法笔触浓郁的玄色来表达酣畅淋漓的思绪梦影。另一方面,金箔的拼贴打破玄色的凝重,对传统的水墨作出了新的诠释,掌控笔墨之气势而不失古典情境之美。

静寂破碎,天地圆融为一体构成心象印记,火烧烙痕更是隐藏着自然、生命与灵魂的记忆。火与风的运动达到极致,毁灭的痕迹经过装裱后回归宁静。中国画的留空表现梁氏用火烧毁后的残片部分装裱在不同现代材料上,更突现视觉效果。金色、银色的底板仿若古代青铜镜,直照观赏者的眼帘。不同挂放环境的镜像映射入画,让你引发思觉,迷失水墨空间。

MOSS D

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Moss D

 

MOSS C

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Moss C

 

MOSS A

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Moss A

   

MOSS B

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Moss B

 

青苔知爱 | Moss

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青苔知爱 | Moss