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The culture of fire: According to Chinese legends, fire was discovered 500,000 years ago by Sui Si, who started a fire by rubbing stones against each other. Within the 5 elements, fire and water do not get along with one another. However, fire is an important element within Liang Guo Jian’s experimental water ink paintings. Moving beyond the traditions and boundaries of tradition Chinese painting to face the challenges brought about by the onslaught of new technology on traditional arts, Liang embraces his own unique style of artistic expression by incorporating the element of fire into Chinese paintings. By moving ink and water to the flicker of fire in the wind, and emulating the glow and depth of the flame, birth and destruction co-exist in the same frame, resulting in a visual effect that is both mesmerizing and sorrowful at the same time. In his experimental water ink paintings, Liang makes use of different methods to demonstrate various forms of fire, while maintaining its traditional and cultural essence, transforming his experimental water ink paintings into a form of artistic language, an emotion, a mental state, all while demonstrating the flexibility and strength of Chinese water ink as an artistic medium.
Liang admires the works of numerous master artists such as Zhang Da Qian, whose vibrant and bold ink splatter works inspire him, and Lin Feng Mian, whose works exude a sense of quiet and calm. , Liang draws inspiration from the creations and styles of many of the great artists before him and just as the burning of fire symbolizes the continuity of a form of traditional Chinese ceremony, many of Liang’s paintings also exhibit his boundless appreciation and respect for these earlier great masters of art.
Lost - liangs experiment Chinese painting
Key Terms: Ethereal mountains and illusory waters, emptiness and harmonious unity, fragmented memories, the loss of tradition...
The unique mounting and viewing format of Chinese painting originates from the characteristics of its expressive medium, forming an aesthetic system distinct from Western visual representation. The integration of poetry, calligraphy, painting, and seals creates visual tension within the ink-wash space.
"Emptiness vast enough for horses to gallop through; density intricate as fine embroidery." A key expressive technique in Chinese painting is "leaving blank"—reserving uncolored white areas on the paper. This serves as a method of spatial representation and embodies the ethereal, void-like artistic conception of Chinese ink painting. Is it water or sky? Their meeting point knows no boundary. The spirit forged by ink-wash reflects the essence of Chinese humanistic temperament. This spirit is also permeated with Confucianism, Buddhism, and Daoism, the three pillars dominating Chinese humanistic thought: Confucian harmony in diversity, preserving individuality within conservative restraint; ink and wash merging, intersecting in space. Black and white are the Dao, dissolving into intangible vagueness. "Form is emptiness, emptiness is form." Ink-wash similarly possesses the quality of being like mountains, like water, like the vast cosmos—akin to the serene Prajñāpāramitā.
Liang's ink-wash works inherit yet overturn traditional landscape painting. He employs brushstrokes rich with calligraphic vigor and enigmatic black to express the unbridled thoughts and dreamlike shadows of the mind. Conversely, the collage of gold leaf disrupts the solemnity of the black, offering a new interpretation of traditional ink-wash. He masters the imposing momentum of brush and ink without losing the beauty of classical sentiment.
Silence and fragmentation merge; heaven and earth unite as one, composing imprints of the mind's imagery. The scars of fire branding conceal memories of nature, life, and soul. The movement of fire and wind reaches its zenith; traces of destruction return to tranquility after mounting. For the "negative space" in Chinese painting, Liang mounts the charred remnants after burning onto materials with varied textures, further accentuating the visual effect. From the painting process to the finished artwork, Liang's on-site action painting uniquely fuses religious and folk ritualistic practices. His personal expressiveness consistently provokes contemplation, leading one to lose oneself within the ink-wash space.
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香火之礼：火之发明者，中国一致的传说是五十万年以前钻燧取火的燧人氏。五行中，水火不相溶。火，在健伯的实验水墨画中是一个十分重要的因素，从传统中国画到实验水墨的出走，面对绘画科技革命对传统技法的挑衅，他有着自己独到的艺术表现方式，创造性地将火运用在中国画中。从水与墨控制随风火流动燃烧到光色极至，毁灭又见创造灵意空间，水墨视觉效果迷幻悲凉。健伯在水墨实验里以各自的艺术手法表现了多种多样的火，而这样的火仍然是传统的继承的香火之礼，它在转化成了健伯观念实验水墨的一种艺术语言、一种符号、一种情绪、一种心境或者是中国水墨大度空间和强盛的生命力所在。
他在欣赏张大千式的泼墨山水，同样怀恋林风眠的静寂意境。依 健伯之见烧火是中国人一种祭忌行为，在他的许多画作经常充满对这些艺术大师表达无限缅怀之情。
迷失水墨空间
关键词：空山幻水，虚寂圆融，破碎记忆，传统迷失......
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材料肌理上，更突现视觉效果。从绘画过程到架上艺术，梁氏的现场行动绘画独具融汇宗教民俗祭祀行为习惯，个人表现力总让你引发思觉，迷失水墨空间。
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