中国传统文化的演变历经神学、哲学与科学的三重洗礼，除自身逻辑的正常发展外，作为外在因素的人类也改变着它的存在状态。当然人类作为文化的参与者，充当着正面与负面的双重角色。就负面影响而言，从纵向上看，近百年来人们急功近利的把自己纳入各种各样的普世价值，部分的扭曲了中国传统文明的精髓与复杂多样性。从横向上看，人们以迫不及待的实用心态利用西方文明，片面的改造传统文化从而忽略了民族文化本身的独特内涵。基于此，近期我创作了《岁月静好》系列作品。身着传统服饰恬静端坐的仕女对琴棋书画的演艺成为我创作的主题。不难发现这一系列作品无论是内容抑或形式上都具有很强的图像化特征。我之所以对画面进行图像化的处理除增加画面形式美感外，关键在剔除人物错中复杂的外部表象，简以具有代表性的图像组合将我所想表达的创作概念更为直接的呈现给观众。人物的服饰、头饰与琴、笔、书以及青花瓷板凳等图像清晰营造了人物的心理状态即气定神闲。而这种心理状态充分的展示了古人的文化内涵。首先服饰是一个民族文化的外部表象，就像周礼和汉服不同一样，从古代中常服礼制到今日的便服不仅仅是一种制度与意识形态的要求，也是一种社会道德的规范与文化内涵的表现。试想如果画中人物皆着当代服饰，我想手中所拿的一定是ipad或手机吧。我在创作中通过展示古人这种静、定、闲式的修身养性的生活状态，希望与身处当下的观者在文化上古今对望，从而审视人们对传统文化的想象。因为对我来说，一件好的艺术作品，最重要的意义不是得出一个结论，而是让人们在观看作品时可以根据自身的理解对作品进行独自的延伸。
The evolution of traditional Chinese culture has undergone three profound transformations—through theology, philosophy, and science. Beyond its own internal logic and development, the presence of human beings as external agents has continuously shaped its form and condition. As participants in culture, humans play a dual role—both constructive and destructive. From a longitudinal perspective, the past century has seen a widespread eagerness to align with various so-called universal values, often at the cost of distorting the core essence and rich complexity of Chinese civilization. From a lateral perspective, the impatient adoption of Western civilization with a utilitarian mindset has led to the superficial reshaping of traditional culture, neglecting its unique indigenous meanings. It is against this backdrop that I created the Quiet Leisure series. The works feature elegant women dressed in traditional attire, calmly engaged in playing the qin, practicing calligraphy, or painting—embodying the refined pursuits of classical literati. Whether in content or form, the series reveals a strong visual symbolism. I chose to stylize the images not only to enhance aesthetic appeal, but more importantly, to strip away the intricate surface characteristics of individuals, distilling them into iconic combinations that more directly express the core concept of the work. The women’s clothing, hair ornaments, and surrounding objects—such as brushes, books, zithers, and porcelain stools—collectively construct a vivid psychological portrait: one of calm, composure, and cultivated grace. This state of mind reflects the deep cultural heritage of the ancients. For instance, traditional attire serves as a visual manifestation of cultural identity. Just as ceremonial dress in the Zhou dynasty differs from Hanfu, the shift from ancient ritual garments to today’s casual wear reflects not only changes in institutions and ideology, but also transformations in moral values and cultural meaning. Imagine if the figures in the painting were dressed in modern clothing—they would likely be holding iPads or smartphones instead. Through these works, I seek to convey the serene, reflective lifestyle of the ancients, inviting viewers to engage in a dialogue between past and present. It offers a moment of cultural introspection, prompting us to reflect on our own perceptions and imaginations of traditional culture. For me, the most meaningful aspect of an artwork is not in providing a definitive answer, but in offering a space where viewers can extend their own interpretations—allowing each encounter with the work to become a unique and personal journey.
Quiet Leisure No.1
这次创作我将焦点投掷在中国文化遗产的风云变化上。从我创作的人物中不难看出古人修身养性的生活态度以及隐含其中的文化权利。画中仕女淡泊明志、仪态内敛虽然她们身处女子无才便是德的古代，而今即使是真正的知识分子也不免浮躁与现实。究其原因，便是这物欲横流的社会本身，使功利目的与效率价值取代了人们对传统文化应有的重视与尊重，使得当下的文化不免落入庸俗中。传统文化的博大精深与渊博的内涵变的肤浅且表面。当然我并非指传统就是好的，因为如果脱离当下具体的语境这个审视标准来谈论传统是没有意义的。纵所周知，有关传统的讨论近些年不绝于耳，有人主张尊重传统有人主张文化的现代化转型。我承认我迷恋古代“士大夫”对待文化的境界和高度，厌恶现今喧嚣的文化修养与伪君子。这也是我选择琴棋书画创作素材的原因，但我并不说要脱离现实，将修身养性、独善其身作为应对社会的方法。我只是希望人们可以静下心来，以平和内敛的心态，与传统文化内涵进行深度的对望，而不是生活在对传统文化的不切实际的想象中。直至今日，仍有很多人痴恋于传统，但其对传统的认知皆来源于文字记载而有片面的主观的想象。加之思想上不断受到有别于古代的意识形态教育，因此，对“传统”缺乏整体理解。他们并未还原当时的社会背景，也没有立足于当下现实去理解观念。经典中的文字意义直接被生拉硬拽至当下，通过主观想象附会所谓的经典。所以，全面的认识传统是审视传统的前提，惟其如此，才能将传统当做一种反思的力量。不同只是构造的人对传统文化有不同的认识，而我对传统资源的重新利用，是为了重新发现因现实而自我放弃和自我忽视的传统价值，并让其成为我艺术实践的课题。
This time my work is focused on the changes of Chinese cultural relics. From the figures in my work, you can see the ancients’ life attitude of self-cultivation and the cultural rights implied in it. In the picture, the women show high ideals through a simple living and a reserved posture; although they belong to the ancient times, when the lack of talent was seen as a virtue for women, even today well-educated people are not unlikely to be impetuous and realistic. The key reason is that the acquisitive society leads to the replacement of people’s attention and respect towards traditional culture with the material gain and the value of efficiency, making the present culture unavoidably fall into vulgarity. The profundity and the deep connotation of traditional culture have become superficial. Of course, I don’t mean traditional culture is absolutely good, it is meaningless to talk about tradition apart from the accurate standard of the present specific context. As we all know, in recent years discussions about tradition can be heard endlessly; some advocate the respect for the tradition, while others favor the modern transformation of culture. I admit that I am infatuated with ancient scholar-officials for the way they approach the state and the high degree of culture, and I detest today’s noisy cultivation of culture and the hypocrites. This is also why I chose the pleasures of men of letters in the ancient times as my source material; I don’t mean to break away from reality, to use self-cultivation and to maintain one’s own integrity as methods to face the society; I just wish people to calm down, and to have a deep exchanged look at the connotation of traditional culture with a placid and reserved attitude, not just to live in the unrealistic imagination of traditional culture. Today many people are still obsessed with tradition, but their knowledge about it comes from written records and the one-sided subjective imagination. Besides, they constantly receive an education ideologically different from the ancient times. As a result, they lack a complete understanding of “tradition”. Words in the classics are dragged out by force to the present and people strain their interpretation of them through a subjective imagination. A comprehensive knowledge about the tradition is the premise to examine the tradition; only then can the tradition be regarded as a force of reflection. The difference only lies in different people having different understanding of traditional culture; by reusing the traditional resources, I intend to rediscover the traditional values that we have been abandoned and ignored under the reality, and to make them become the subject of my artistic practice.
Quiet Leisure No.6
与此同时，传统文化这一主题在我的创作技法上，以笔墨与西画技法这两个概念中予以展示。中国当代水墨艺术家在应对传统文化所做的艺术实践，基本是从内外两个方面肇端。内是从水墨语言本身着手，外则是使形式本身得以转变。此次我的创作就是从后者入手。我采用了后现代的解构、挪用以及并置的方式，将中国传统水墨与西方现代油画进行多方面的尝试。在没有改变笔墨语言构架的前提下，把传统文化放置在国际艺术的范畴中来。有人将我此次的创作定义为中西方文化的“融合”，我觉得用“调和”更为贴切。在西画颜料与传统笔墨语言、西画装裱模式与中国传统绘画材质绢本的对举式概念下的调和。我用小写意的技法将稀释的油画颜料施展出水墨的气韵，并将绢本设色的材质裱以油画框。这种多重跨界的尝试也表明了我对传统的态度，那就是既不能片面的脱离当下语境用传统去评判当下，也不可断章取义的去审视传统。而应放慢脚步，在相互的多次的对望中抓住传统的内涵。传统的精髓就像我画作中的那片云，随着时间的推移它在形态上拥有了无数次的变化，但其实质并未改变。改变的只是观看他的人而已。
At the same time, in terms of creative techniques, traditional culture is expressed through the Chinese brush and ink, as well as the Western oil painting. Compared with the traditional culture, the Chinese contemporary artists of ink painting basically begin their artistic practice from the internal and external aspects. The internal aspect is about the ink language itself, while the external one makes the form itself transform. This time I’ve created by starting with the latter one. Using the post-modernist deconstruction, appropriation and juxtaposition, I made various attempts with the traditional Chinese ink painting and the Western oil painting. On the premise of not changing the brush and ink language frame, I put the traditional culture into the category of international art. Someone has defined this work as the “fusion” of Chinese and Western culture, but I prefer to say “they are in harmonious proportion”: a harmonious proportion of contrastive concepts, like Western oil painting pigments and the traditional brush and ink language, the oil painting mounting model and the Chinese traditional silk scroll painting materials. With the technique of the half-freehand brushwork, the oil painting pigments are filled with the spirit of the ink painting , and the silk scroll material is mounted with the oil painting frame. The above-mentioned crossover attempts have defined my attitude towards the tradition, that is neither to evaluate the present with the tradition, partially separated from the present context, nor to examine the tradition apart from its own context. Instead, we should slow down and catch the connotation of tradition with a mutual and repeated gaze. The quintessence of tradition is like a cloud in my work: as time goes by, it has experienced many changes in the form, but its substance has never changed. What has changed is the person who looks at it.