曾庆国《空灵》 布面油画 140cm×200cm×3pcs 2007年

曾庆国作品解析 　　文化的信息化及其商业化、垄断化和全球化，促使了休闲娱乐活动的膨胀，也使人们产生了各种各样的欲望。生活的功利化和实用化与生活的游戏、冒险、刺激，相互并存。与之相反，有些人却在日益追求着一种生活的“无为”与恬静淡泊。过着人类社会早期以“无为”为乐的哲学家们的理想生活，他们心怀非具体的人生目标，由此以便达到永远寻求目标、永远抱有希望的目的。本质上，他们处在一种自由地思考、自由地生活的理想境界。在这其中，营造体味着当代生活的另一种情境。他们的目光游弋在自己所发现和创造的别样情境中。 　　作品中“低等”的小生物和“无生命”的自然物质生成一种密切的关系和有机的生命统一体。体现了一切物质是有生命的──一种泛神论的信念与态度，即我们可以与所有的物质进行交流。它们透视出我们的世界，承载着我们的思想，寄托着我们的情感，这是一个灵异奇光、无限生动、变幻莫测的世界。 　　境由心造，在微观的透视中，产生出一种“无我之境”与“有我之境”。意造出一个个想像中的微小的情境世界。 　　以抽象构成的物质体与写实的自然界小生物作为画面的主体。体现了画面语言的巧妙运用与对比。 　　微观的视角构筑着一个新的情境世界，透视众生百态、大千世界、抒发情感。体现了中国传统绘画中的托物言志、借物抒情的特点。以绘画娱乐情性。 　　大片虚无的空白构成，生成丰富的空间幻境，使人产生奇异的联想与想像。汲取了中国传统水墨画中的虚实相生的意蕴。 　　色彩主要以冷色调为主；增强了作品静寂、朦胧的意境。突出了中国传统绘画的意蕴。 艺术主张： 　　从微观的视角观察世界，营造成出一种别样的情境艺术。 　　中国传统文化艺术的自身资源中寻找造境的根基与艺术的功能，寻找着天人合一的观念。 　　The informatizatin, commercialization, monopolization and globalization of culture give impetus to the inflation of entertainment and relaxation activities and breeds in people all kinds of desires. Utilitarianism and pragmatism coexist with the games, adventures and thrills in life. Some people, however, go against the grain by pursuing a life of “inaction”, simplicity and tranquility. Their lives are the one regarded as ideal by ancient philosophers in pursuit of the pleasure of “inaction”. With unspecified goals of life, they are in endless search of goals while retaining their hopes at the same time. In essence, they live in an ideal state of freethinking and free living. They are creating and experiencing a different way of living in today’s world. Their eyes are examining a unique world, a world discovered and created by themselves. 　　The “inferior” living species and “lifeless” natural substances, involved in an intimate relationship and becoming an organic and unified one, prove that all matters have their own lives---a kind of pantheistic belief and attitude that maintains that we can communicate with all substances. They mirror our world, reveal our thoughts, and reflect our feelings. This is a fantastic, miraculous, and phantasmagoric world. 　　The heart creates the world. This meditation of the microscopic creates “worlds without me” and “worlds with me”, imaginary microscopic worlds of moods. 　　With abstract substances and realistic small living species as the main images, the paintings show the artist’s brilliant manipulations and contrasts of pictorial languages. 　　The microscopic perspective adopted by me creates a unique world that penetratingly reflects the way of the world, mirrors the boundless universe and expresses the artist’s feelings. This shows traditional Chinese paintings’ tendencies toward “making things mirror one’s aspirations” and “projecting one’s feelings into things”. Painting is employed as a means of edification. 　　The vast blank spaces are rich spaces of illusion that give rise to fantastic associations and imaginations. Creating meanings through the interchanges between the real and the imaginary is a technique borrowed from traditional Chinese ink and wash paintings. 　　The overwhelming cold colors enhance moods of tranquility and evasiveness, the dominant moods of traditional Chinese paintings. Artistic positions: 　　Observe the world from a microscopic perspective and create a unique art of moods. 　　Try to discover mood-creating possibilities, understand the functions of art and strive for the perfect harmony between man and the universe by turning to traditional Chinese art.