颜开 花溪渔隐图 影像
颜开运用当今多媒体工具与手段,以旧文人山水画、宫廷赏石和盆景图形与当下风景实物纹理、真人影像作他的话语元素,采取引用、借代、置换、简化、夸张等“修辞”手法,表达了他“扩展山水感知、回归形式本体、重拾理性疏导”的艺术旨趣。颜开是试图用新媒体介质同时激活传统文人文化和宫廷文化的先行者之一。
他有意挑选那些大约八百年高龄的京城古树和大约八百年入宫年龄的京城古石作为他摄取今世生态表情的对象。他将八百岁树、石的今世生态表情和旧文人清玩八百岁的历史表情二者并置,以今生的通俗消解并置换掉旧作中的隐逸、清高,以摄影肌理置换原作的笔情墨趣,以自我的玩味置换古人的玩味。用他的话说,当年构建山水图样、采撷宫廷赏石的文人画家和达官贵人,与今日摄取影像资料的他没有同处一时的机缘,但有同享一景的感触,这种时空超越的语境中贯穿着不变的民族地理与人文血脉。他因此在作品中以模糊时空的方法,努力消除掉借体原作中的描写性、叙述性热情,而代之以对形式节律感的冷静的再创造。
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By Wang Zhuangzi
Multimedia tools and materials, current real scenery, texture, or real figure photo and so on are borrowed by Yan Kai to draw his old time style imperial ink-painting or landscape ink-painting, a shift, replacement, metonymy rhetoric device used to express his idea of expanding landscape concept and sense and returning formation again.“ In his idea, it is vital to active the old literati painting and royal painting in the new era. And he practices it.
The eight-hundred-year old trees and stones which ever been taken as the objects by the painters now often been taken by the painter Yan Kai, to express both the same and different feels, far-reaching. The painter said, the painters at that time drew their paintings are not in the same mind with him who usually use camera to shoot and gain images of objects, yet the same is the feeling, no matter how time is flying and space is changed. Therefore, he tries to destroy the descriptive purpose and enthuse of relating hidden in the old classics, by a kind of cool rhythm.
【编辑：姚丹】
