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Yang Jiechang 杨诘苍

Yang Jiechang 杨诘苍

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Open a larger version of the following image in a popup: Yang Jiechang 杨诘苍, One Hundred Layers of Ink 千层墨, 1989

Yang Jiechang 杨诘苍

One Hundred Layers of Ink 千层墨, 1989
Ink on xuan paper and gauze
96 1/8 x 49 1/4 in
244 x 125 cm
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《千层墨》(1989-1999)故名思義是一系列墨黑绘画,源于杨诘苍1989年为巴黎蓬皮杜艺术中心“大地魔术师”展览的现场创作。艺术家沉浸在不断重复和静态的状态中,以简洁的造型将一层又一层的墨汁反复涂抹其上,直至宣纸浸透、变形,使得墨汁几十百遍书染后的造型变得闪烁发亮为止。画面中的形象和背景交融,简单的抽象形态似乎超越了它们的边缘,令人联想到冥想时最终达到的超越自身的状体。宣纸和墨水相遇而起的褶皱,墨在反复涂抹的过程使画面达到一种类似雕琢的质感。杨诘苍还通过特定的装裱方法将画满浓重墨色的宣纸托裱在纱布上。这一创作过程将中国绘画解构成最基本的要素:纸、水、墨和行动。《千层墨》既不表现技巧也不突出个性和形象,它展现了一种超越于表现形式的沉思方式。杨诘苍的解释是:"千层墨"沿用宋画"三矾九染"画法,是我的水墨工笔画,将黑(墨)画到白(亮)。
《千层墨》(1989-1999)故名思義是一系列墨黑绘画,源于杨诘苍1989年为巴黎蓬皮杜艺术中心“大地魔术师”展览的现场创作。艺术家沉浸在不断重复和静态的状态中,以简洁的造型将一层又一层的墨汁反复涂抹其上,直至宣纸浸透、变形,使得墨汁几十百遍书染后的造型变得闪烁发亮为止。画面中的形象和背景交融,简单的抽象形态似乎超越了它们的边缘,令人联想到冥想时最终达到的超越自身的状体。宣纸和墨水相遇而起的褶皱,墨在反复涂抹的过程使画面达到一种类似雕琢的质感。杨诘苍还通过特定的装裱方法将画满浓重墨色的宣纸托裱在纱布上。这一创作过程将中国绘画解构成最基本的要素:纸、水、墨和行动。《千层墨》既不表现技巧也不突出个性和形象,它展现了一种超越于表现形式的沉思方式。杨诘苍的解释是:"千层墨"沿用宋画"三矾九染"画法,是我的水墨工笔画,将黑(墨)画到白(亮)。
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