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陈清勇所创作的山水油画、丙烯作品无不显露出中国古画的神韵,但又揉杂着西方古典景观画的构图方式。在中国传统文人画中,苏轼《枯木怪图》、米芾《画史》说:“子瞻作枯木,枝干虬屈无端,石皴硬。亦怪怪奇奇无端,如其胸中盘郁也。” 其中形象和图像的描绘,无不讲述了树木、怪石在当时文人心目中寄情于物的内心思想活动,且有睹物抒以心中沟壑之意。恢弘壮丽的山水意境带着由极速飞转笔刷所留下的具有强烈个人风格的绘画语言符号,抽象与写实、动与静的完美糅合;包罗万象,却又似山非山、似佛非佛…可谓是让观者们能不断地从他的那些画作中品出各番滋味,又能从心灵上获得平静和滋养。这种中西绘画结合的创新理念展现的是他与中外古人之间隔空相望的一场精彩对话和致敬。

Chen Qingyong's landscape oil paintings and acrylic works all show the charm of ancient Chinese paintings. They are also mixed with the composition of Western classical landscape paintings. In traditional Chinese literati paintings, Su Shi's "Strange Picture of Dead Wood" and Mi Fu's "History of Painting" say: "Zizhan is dead wood, the branches are unprovoked, and the stone is hard." The depiction of the images all tell of the inner thoughts and activities of trees and stones in the minds of the literati at that time, and there are things that express the meaning of the ravines in their hearts. The magnificent landscape concept carries the symbols of a painting language that has a strong personal style, which perfectly blends abstraction and realism, movement and staticness; All-encompassing, like mountains and not mountains, like Buddha and not Buddha... It can be said that the viewer can constantly taste the various flavors from his paintings, and at the same time obtain peace and nourishment from the soul. This innovative concept of combining Chinese and Western painting shows a wonderful dialogue and tribute between himself, the ancient people in China and those abroad.

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