Landscape of the West
西部的风景
作品名称：西部的风景
创作年份：2013
尺寸：120×165cm
材料：木板、亚麻布、瓦灰、入漆矿物颜料
Title of work: Landscape of the West
Materials: wood panel, linen, tile, and ash, lacquered mineral paint
Size: 120 x 165 cm
Year of creation: 2013
Artwork Concept
创作理念
传统漆画艺术强调一整套严格的工艺制作程序，如：涂漆、裱布、刮灰、打磨、撒粉、固粉、刻填、镶嵌等繁复的工艺流程，其目的是成就一件光可鉴人的漆艺装饰品。漆画作为绘画形式出现，如何强调漆画自身的绘画语言独特色同时符合绘画艺术规律成为当代漆画艺术家迫切需要解决的问题。
The traditional art of lacquer painting emphasizes rigorous production procedures, such as painting, mounting, scraping, polishing, dusting, powdering, fixing, carving, filling, inlaying, and other complicated processes to achieve a lacquer decorative piece of art that can be appreciated. As lacquer painting emerges as a form of painting, emphasizing the unique colors of lacquer painting's language while conforming to the laws of painting art has become an urgent issue for contemporary lacquer artists.
创作理念 Artwork Concept
视觉语言由＂繁＂到＂简＂是艺术创作的自我调整对形与材质所产生的视觉语言状态的反思与提炼，是作者通过实践过程中不断地探索感悟探究的必然结果。《漆书》作品试图用简单的形式语言表现丰富的视觉效果，运用单纯的色块及材料语言表达出强烈的视觉图式，以此传达出东方文化的自信。作品从中国汉字偏旁部首以及书法的韵味得到重要的启示，将汉字的具体意义完全抽离，并把它演绎成偏旁结构或者纯抽象的构成形式，经过笔触、材料肌理的叠加，刮板刮漆灰时的快慢节奏产生视觉效果变得更为强烈，这幅作品尽可能表现东方式书写的“即兴”的成分，材料的可塑性比传统水墨更具有视觉冲击力。
[ENG]
The transformation of the visual language from “complicated to simple” reflects and refines the state of the visual language produced by the shapes and materials through the self-adjustment of artistic creation. It is the inevitable result of Cheng Xiangjun 's continuous exploration and perception through the process of practice. The work "Lacquer Book" attempts to express a rich visual effect with a simple formal language, using simple color blocks and material language to express a strong visual pattern, thus conveying the confidence of oriental culture. The work draws essential inspiration from the rhythm of Chinese characters and calligraphy, entirely abstracting the concrete meaning of Chinese characters and interpreting it into a partially structured or purely abstract form of composition, the visual effect becomes more intense through the superimposition of brush strokes, material texture, and the fast and slow rhythm of the scraper scraping the lacquer dust. The plasticity of the material has more visual impact than traditional ink and wash.
