《岁月静好》系列 Quiet Leisure

媒介：布面油画
尺寸：100 x 100 cm
创作年代：2014
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《静定闲》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。

Media: Oil on Canvas
Size: 100 x 100 cm
Year of Creation: 2014
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.