《心象無(wú)常之玫瑰》布面油畫(huà) 2009 180X180cm
無(wú)論是老子的“大象無(wú)形”，司空?qǐng)D的“象外之象”還是克萊夫·貝爾的“有意味的形式”，都可以用來(lái)闡釋那種由于不滿足于再現(xiàn)而致力于追求表象后面的真實(shí)所產(chǎn)生的繪畫(huà)藝術(shù)形態(tài)。這在東方的哲學(xué)背景是“道”與“禪”，而西方卻是永恒的“真理”。其目的都是為了揭示事物內(nèi)在的，永恒不變的“本質(zhì)”。這種繪畫(huà)形態(tài)在西方被稱為“抽象”而在中國(guó)卻是“心象”，“意象”，“象外之象”……阿波的作品繪畫(huà)語(yǔ)言獨(dú)特，運(yùn)用古典寫(xiě)實(shí)手法敘述宏大壯觀飄渺而又神秘的他自己的宇宙。不管星空如何變幻莫測(cè)，阿波的作品有著一個(gè)顯然的特點(diǎn)——那就是對(duì)“象外之象”的不懈的追求、試圖呈現(xiàn)“另外一種真實(shí)”。 （楊永勝）
Either Lao Zi's "Invisible Power" or Si Kongtu's "Images beyond the Images" or Clive Bell's "Significant Form" can be used to explain the passionate pursuit of the true meaning behind the artistic form of paintings, stemming from the dissatisfaction with “appearance". In Eastern philosophy, it is "Tao" and "Zen" schools of thoughts, while in the West it is the eternal "truth." Its purpose is to reveal the inner and permanent "essence" of things. This form of painting in the West is known as "Abstract" while in China, it is known as "Mental Imagery", "Imagery" and "Images beyond the Images". ArBo’s paintings are unique, describing the magnificent and mysterious universe of his own in a classical and realistic style. No matter what is the changing world, his paintings embody his pursuit of "Images beyond the Images" as well as a representation of “another truth”.
【編輯：王厚發(fā)】
