刘子建《垂丽之天象--铺辞》 122x200cm 纸本水墨 2007年
在过去的一百年里,中国知识分子对文明形态的认识基本上是二元论的,从最早陈独秀对王石谷这类传统画家的批判,到潘天寿对东西文化的理解,不过是强调文明的特殊性以及不可交融性。至到上世纪八十年代末,那些在知识背景上更加远离传统的画家有意识和无意识地最后放弃了“传统”,他们本能地接受了其它文明的因素,以至我们很难将他们的努力简单地看成是中国的或者西方的,实验水墨是这个现象的范例。
刘子建被认为是“实验水墨”的重要艺术家之一。他的图像画面表现了一种特殊的抽象空间,而这样的空间在两个传统――古典的水墨思想与西方绘画――中是难以找到的。关于刘子建的实验水墨作品可以被看成是独特的和具有精神性的。我们可以通过经验与知识进入画家打开的空间,并将其理解为只有今天才能体验到的世界。因为材料的知识,我们似乎具有传统的记忆,又因为图像世界的杂乱无章,我们很容易同意这个世界与艺术家今天的经验的密切联系；再因为画家的处境,我们相信他的“墨象”归属是当代的。并且,在归纳的意义上讲,刘子建的那些比如以排刷、拓印、撕揭、拼贴完成的“硬边”或“破边”效果、十字和圆形的象征符号,以及以各种自动性的积墨、泼墨方法形成的背景空间构成的图像,可以被看成是“实验水墨”的经典文献,它让我们对正在融合的人类文明有所理解。
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By Lü Peng
In the past 100 years Chinese intellectuals were locked in the thinking mode of dualism. Chen Duxiu, Pan Tianshou, and the kind of critics aimed at cultural particularity and they considered no culture could be exchanged and combined. Yet, up till the end of the 80s, most of painters had to give up their traditions and came to accept new cultural elements from the other countries and nations, so much that we can not even divide the ink-Painting is in China style or the western style.
One of the most important experimental ink-painter among them was Liu Zijian whose works showed the characters that we could find either in Chinese tradition or the western Painting. So unique a world that I’d like to sum it up to be a nameless spiritual Painting that is close to the real life around us today. He creates his work using unique way beside brush pen, including printing, rubbing, pasting, to present us brand-new experience to enjoy a Painting piece. And some of them can be called “the classics of Chinese ink-painting” now. From his pieces we have to face a new understanding on what is the merging of human cultures.
【编辑：姚丹】
