<p class="ql-block" style="text-align:center;"><span style="font-size:20px;">從文化根系到藝術(shù)新詮釋</span></p><p class="ql-block">在全球化與本土化交織的當(dāng)代藝術(shù)語境中，李剛?藝禪先生提出的"天垂象派"理論，猶如一把鑰匙，開啟了重新審視中國藝術(shù)現(xiàn)代性轉(zhuǎn)化的新維度。這一理論體系根植于對中國傳統(tǒng)文化的深度解構(gòu)與創(chuàng)新性重構(gòu)，既非對古典圖式的簡單復(fù)刻，亦非對西方現(xiàn)代主義的盲目追隨，而是在學(xué)院派藝術(shù)訓(xùn)練的基底上，歷經(jīng)十年對中國文化精神的系統(tǒng)性思辨，形成的從理論到實(shí)踐的完整藝術(shù)學(xué)派。</p> <p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">吉祥文字／藝禪畫符</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">作品／天人合一</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">材質(zhì)／布上丙烯</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">尺寸／1.50X1.90</span></p> <p class="ql-block"><span style="color:rgb(128, 128, 128); font-size:15px;">From cultural roots to new interpretations of art</span></p><p class="ql-block"><span style="color:rgb(128, 128, 128); font-size:15px;">In the contemporary art context where globalization and localization are intertwined, Mr. Li Gang Yichan's theory of the "Tian Chuxiang School" is like a key, opening up a new dimension for re examining the transformation of Chinese art modernity. This theoretical system is rooted in the deep deconstruction and innovative reconstruction of traditional Chinese culture. It is neither a simple replica of classical patterns nor a blind pursuit of Western modernism. Instead, it is a complete art school formed on the basis of academic art training and ten years of systematic speculation on the spirit of Chinese culture, from theory to practice.</span></p> <p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">吉祥文字／藝禪畫符</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">作品／本自具足</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">材質(zhì)／布上丙烯</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">尺寸／1.50X1.90</span></p> <p class="ql-block">"天垂象"語出《周易·系辭上》"天垂象，見吉兇，圣人象之"，其核心在于將宇宙自然的運(yùn)行規(guī)律視為藝術(shù)創(chuàng)作的終極原型。李剛?藝禪將這一哲學(xué)命題轉(zhuǎn)化為藝術(shù)方法論，主張通過對"象"的捕捉與重構(gòu)，實(shí)現(xiàn)人文精神與宇宙本體的對話。這種"象"既包含敦煌石窟壁畫中色彩斑斕的視覺圖式——那些跨越千年的礦物質(zhì)顏料層積的不僅是藝術(shù)技法，更是中華民族對神性世界的想象性表達(dá)；也涵蓋甲骨文書體中蘊(yùn)含的符號密碼——作為中華文明最早的系統(tǒng)性文字，甲骨文的象形特質(zhì)與抽象精神，為當(dāng)代藝術(shù)提供了原生性的視覺基因。</p> <p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">吉祥文字／藝禪畫符</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">作品／上善若水</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">材質(zhì)／布上丙烯</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">尺寸／1.50X1.90</span></p> <p class="ql-block"><span style="font-size:15px; color:rgb(128, 128, 128);">The phrase "Tian Chui Xiang" originated from the Book of Changes, "Xi Ci Shang". "Tian Chui Xiang, seeing good or bad, is like a sage's image". Its core lies in viewing the natural laws of the universe as the ultimate prototype for artistic creation. Li Gang Yichan transformed this philosophical proposition into an artistic methodology, advocating for a dialogue between humanistic spirit and the essence of the universe through the capture and reconstruction of "images". This kind of "elephant" not only contains the colorful visual patterns in the Dunhuang grotto murals - those mineral pigments that span thousands of years are not only artistic techniques, but also the imaginative expression of the divine world by the Chinese nation; It also covers the symbol codes contained in the oracle bone script - as the earliest systematic writing of Chinese civilization, the pictographic characteristics and abstract spirit of oracle bone script provide the original visual genes for contemporary art.</span></p> <p class="ql-block" style="text-align:center;"><span style="color:rgb(237, 35, 8); font-size:15px;">吉祥百家／一禪畫符</span></p><p class="ql-block" style="text-align:center;"><span style="color:rgb(237, 35, 8); font-size:15px;">作品／鳳 氏</span></p><p class="ql-block" style="text-align:center;"><span style="color:rgb(237, 35, 8); font-size:15px;">材質(zhì)／布上丙烯</span></p><p class="ql-block" style="text-align:center;"><span style="color:rgb(237, 35, 8); font-size:15px;">尺寸／0.50X0.60</span></p> <p class="ql-block" style="text-align:center;"><span style="font-size:20px;">符號轉(zhuǎn)譯與視覺突圍</span></p><p class="ql-block">在創(chuàng)作維度，李剛?藝禪的實(shí)踐呈現(xiàn)出鮮明的跨維度特征。一方面，他從敦煌壁畫的色彩構(gòu)成中提取東方美學(xué)的色譜密碼，突破傳統(tǒng)水墨的黑白體系，將石青、石綠、朱砂等礦物色與現(xiàn)代繪畫媒介結(jié)合，在他的諸多作品中構(gòu)建出既具歷史縱深感又具當(dāng)代視覺張力的色彩場域。這種色彩運(yùn)用并非對敦煌圖式的簡單挪用，而是通過色域分割、塊面碰撞，完成從"宗教敘事"到"哲學(xué)思辨"的語義轉(zhuǎn)換。</p> <p class="ql-block" style="text-align:center;"><span style="color:rgb(237, 35, 8); font-size:15px;">吉祥百家／一禪畫符</span></p><p class="ql-block" style="text-align:center;"><span style="color:rgb(237, 35, 8); font-size:15px;">作品／華 氏</span></p><p class="ql-block" style="text-align:center;"><span style="color:rgb(237, 35, 8); font-size:15px;">材質(zhì)／布上丙烯</span></p><p class="ql-block" style="text-align:center;"><span style="color:rgb(237, 35, 8); font-size:15px;">尺寸／0.50X0.60</span></p> <p class="ql-block"><span style="color:rgb(128, 128, 128); font-size:15px;">Symbol Translation and Visual Breakthrough</span></p><p class="ql-block"><span style="font-size:15px; color:rgb(128, 128, 128);">In terms of creative dimension, Li Gang's practice of Yi Chan exhibits distinct cross dimensional characteristics. On the one hand, he extracted the color code of Eastern aesthetics from the color composition of Dunhuang murals, breaking through the traditional black and white system of ink painting, combining mineral colors such as stone green, cinnabar, etc. with modern painting media, and constructing a color field that is both historically profound and contemporary visually tense in his many works. This use of color is not a simple appropriation of Dunhuang patterns, but rather a semantic transformation from "religious narrative" to "philosophical speculation" through color gamut segmentation and block collision.</span></p> <p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">伏羲八卦／藝禪彩繪</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">作品／乾 卦（天）</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">材質(zhì)／布上丙烯</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">尺寸／1.50X1.50</span></p> <p class="ql-block">另一方面，他對西方現(xiàn)代主義抽象傳統(tǒng)進(jìn)行創(chuàng)造性轉(zhuǎn)化。馬列維奇的至上主義、康定斯基的冷抽象、蒙特里安的新造型主義，在其藝術(shù)軌跡中并非作為模仿對象，而是成為激活本土符號的催化劑。以《甲骨文上的文明》系列為例，藝術(shù)家將甲骨文字符從歷史語境中剝離，通過解構(gòu)其象形結(jié)構(gòu)，轉(zhuǎn)化為具有構(gòu)成主義特征的視覺符號。在"吉祥百家姓"系列中，"趙錢孫李"等姓氏文字被重構(gòu)為兼具文字學(xué)考據(jù)價值與現(xiàn)代設(shè)計(jì)感的"藝禪畫符"，一百多幅作品形成龐大的符號矩陣，既呼應(yīng)了蒙特里安對基本元素的極致簡化，又深度激活了漢字作為"表意符號"的文化基因。</p> <p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">伏羲八卦／藝禪彩繪</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">作品／坤 卦（地）</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">材質(zhì)／布上丙烯</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">尺寸／1.50X1.50</span></p> <p class="ql-block"><span style="color:rgb(128, 128, 128); font-size:15px;">On the other hand, he creatively transformed the abstract tradition of Western modernism. Malevich's Supremacy, Kandinsky's Cold Abstraction, and Monterian's New Stylism are not objects of imitation in their artistic trajectory, but rather serve as catalysts for activating local symbols. Taking the "Civilization on Oracle Bones" series as an example, the artist removes the characters of Oracle Bones from their historical context, deconstructs their pictographic structures, and transforms them into visual symbols with constructivist characteristics. In the "Lucky Hundred Family Surnames" series, surnames such as "Zhao Qian Sun Li" have been reconstructed into "artistic Zen painting symbols" that combine textual research value with modern design sense. More than 100 works form a huge symbol matrix, which not only echoes Montellian's ultimate simplification of basic elements, but also deeply activates the cultural gene of Chinese characters as "ideographic symbols".</span></p> <p class="ql-block" style="text-align:center;"><span style="color:rgb(237, 35, 8); font-size:15px;">伏羲八卦／藝禪彩繪</span></p><p class="ql-block" style="text-align:center;"><span style="color:rgb(237, 35, 8); font-size:15px;">作品／坎 卦（水）</span></p><p class="ql-block" style="text-align:center;"><span style="color:rgb(237, 35, 8); font-size:15px;">材質(zhì)／布上丙烯</span></p><p class="ql-block" style="text-align:center;"><span style="color:rgb(237, 35, 8); font-size:15px;">尺寸／1.50X1.50</span></p> <p class="ql-block">伏羲八卦系列作品則是東方哲學(xué)與當(dāng)代藝術(shù)語言融合的典范。藝術(shù)家以"乾、坤、坎、離"等卦象為原型，通過幾何化的圖式重構(gòu)與飽和色彩的碰撞，將傳統(tǒng)易學(xué)的抽象思維轉(zhuǎn)化為具有強(qiáng)烈視覺沖擊力的當(dāng)代藝術(shù)符號。這種創(chuàng)作路徑打破了"傳統(tǒng)符號=陳舊表達(dá)"的認(rèn)知定式，證明古老智慧在當(dāng)代藝術(shù)語境中仍具有鮮活的闡釋可能。</p> <p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">伏羲八卦／藝禪彩繪</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">作品／離 卦（火）</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">材質(zhì)／布上丙烯</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">尺寸／1.50X1.50</span></p> <p class="ql-block"><span style="color:rgb(128, 128, 128); font-size:15px;">The Fuxi Bagua series of works is a model of the integration of Eastern philosophy and contemporary artistic language. The artist uses hexagrams such as "Qian, Kun, Kan, and Li" as prototypes, and through geometric pattern reconstruction and the collision of saturated colors, transforms the abstract thinking of traditional learning into contemporary art symbols with strong visual impact. This creative path breaks the cognitive stereotype of "traditional symbols=outdated expressions" and proves that ancient wisdom still has fresh interpretation possibilities in the context of contemporary art.</span></p> <p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">吉祥文化／藝禪畫符</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">作品／境由心轉(zhuǎn)</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">材質(zhì)／布上丙烯</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">尺寸／1.50X1.90</span></p> <p class="ql-block" style="text-align:center;"><span style="font-size:20px;">當(dāng)代藝術(shù)的本土化路徑探索</span></p><p class="ql-block">"天垂象派"的理論與實(shí)踐，為中國當(dāng)代藝術(shù)的本土化建構(gòu)提供了三重啟示：</p><p class="ql-block">其一，在文化基因的激活層面，該學(xué)派突破了"傳統(tǒng)/現(xiàn)代""東方/西方"的二元對立框架，證明傳統(tǒng)文化資源并非惰性存在，而是可以通過創(chuàng)造性轉(zhuǎn)化成為現(xiàn)代藝術(shù)的活水源頭。甲骨文字符的當(dāng)代轉(zhuǎn)譯、敦煌色彩的解構(gòu)重組，均表明本土符號系統(tǒng)具有強(qiáng)大的再生能力，關(guān)鍵在于找到傳統(tǒng)精神與現(xiàn)代語言的"轉(zhuǎn)譯密碼"。</p> <p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">吉祥文化／藝禪畫符</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">作品／問天1號</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">材質(zhì)／布上丙烯</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">尺寸／1.50X1.90</span></p> <p class="ql-block"><span style="font-size:15px; color:rgb(128, 128, 128);">Exploration of the Localization Path of Contemporary Art</span></p><p class="ql-block"><span style="font-size:15px; color:rgb(128, 128, 128);">The theory and practice of the "Tian Chui Xiang School" provide three inspirations for the localization construction of contemporary Chinese art:</span></p><p class="ql-block"><span style="font-size:15px; color:rgb(128, 128, 128);">Firstly, at the level of activating cultural genes, this school breaks through the binary opposition framework of "traditional/modern" and "Eastern/Western", proving that traditional cultural resources do not exist passively, but can be creatively transformed into the source of modern art. The contemporary translation of oracle bone script characters and the deconstruction and reorganization of Dunhuang colors indicate that the local symbol system has a strong regenerative ability, and the key lies in finding the "translation code" between traditional spirit and modern language.</span></p> <p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">吉祥文化／藝禪畫符</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">作品／格物致知</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">材質(zhì)／布上丙烯</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">尺寸／1.50X1.90</span></p> <p class="ql-block">其二，在藝術(shù)語言的創(chuàng)新層面，李剛?藝禪的實(shí)踐揭示了一條"從符號到抽象"的創(chuàng)作路徑。區(qū)別于西方抽象藝術(shù)的"形式自律"，其作品中的抽象形態(tài)始終與文化符號保持著深層關(guān)聯(lián)，如《格物致知》《天人合一》等文字系列，將哲學(xué)概念轉(zhuǎn)化為視覺隱喻，在抽象與具象之間開辟了"第三空間"，為中國抽象藝術(shù)的本土化提供了新樣本。</p> <p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">吉祥文化／藝禪畫符</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">作品／山河大地是如來</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">材質(zhì)／布上丙烯</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">尺寸／1.50X1.90</span></p> <p class="ql-block"><span style="font-size:15px; color:rgb(128, 128, 128);">Secondly, in terms of innovative artistic language, Li Gang's practice of Yi Chan reveals a creative path from symbols to abstraction. Different from the "formal self-discipline" of Western abstract art, the abstract forms in its works always maintain deep connections with cultural symbols, such as the text series "Exploring Things to Achieve Knowledge" and "Harmony of Heaven and Man", which transform philosophical concepts into visual metaphors and open up a "third space" between abstraction and concreteness, providing new samples for the localization of Chinese abstract art.</span></p> <p class="ql-block" style="text-align:center;"><span style="color:rgb(237, 35, 8); font-size:15px;">吉祥百家／一禪畫符</span></p><p class="ql-block" style="text-align:center;"><span style="color:rgb(237, 35, 8); font-size:15px;">作品／史 氏</span></p><p class="ql-block" style="text-align:center;"><span style="color:rgb(237, 35, 8); font-size:15px;">材質(zhì)／布上丙烯</span></p><p class="ql-block" style="text-align:center;"><span style="color:rgb(237, 35, 8); font-size:15px;">尺寸／0.50X0.60</span></p> <p class="ql-block">其三，在藝術(shù)史敘事層面，"天垂象派"的提出挑戰(zhàn)了以西方現(xiàn)代主義為中心的藝術(shù)史書寫邏輯。長期以來，中國當(dāng)代藝術(shù)的評價體系深陷"接軌國際"的迷思，而該學(xué)派通過構(gòu)建獨(dú)立的理論話語與創(chuàng)作體系，證明非西方藝術(shù)完全可以在保持文化主體性的前提下實(shí)現(xiàn)現(xiàn)代性突破。這種突破不是對西方藝術(shù)的對抗性敘事，而是以平等姿態(tài)參與全球藝術(shù)對話的建設(shè)性實(shí)踐。</p> <p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">吉祥百家／一禪畫符</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">作品／柳 氏</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">材質(zhì)／布上丙烯</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">尺寸／0.50X0.60</span></p> <p class="ql-block"><span style="color:rgb(128, 128, 128); font-size:15px;">Thirdly, at the narrative level of art history, the emergence of the "Tianchuixiang School" challenged the writing logic of art history centered on Western modernism. For a long time, the evaluation system of contemporary Chinese art has been deeply trapped in the myth of "aligning with the international community". However, this school of thought has proven through the construction of independent theoretical discourse and creative systems that non Western art can achieve a breakthrough in modernity while maintaining cultural subjectivity. This breakthrough is not a confrontational narrative of Western art, but a constructive practice of participating in global artistic dialogue with an equal attitude.</span></p> <p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">吉祥百家／一禪畫符</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">作品／任 氏</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">材質(zhì)／布上丙烯</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">尺寸／0.50X0.60</span></p> <p class="ql-block" style="text-align:center;"><span style="font-size:20px;">在斷裂中重構(gòu)文化主體性</span></p><p class="ql-block">在當(dāng)下"圖像爆炸"與文化認(rèn)同危機(jī)并存的時代，"天垂象派"的價值更顯深遠(yuǎn)。當(dāng)數(shù)字技術(shù)催生的快餐式視覺文化消解著深度體驗(yàn)，當(dāng)全球化浪潮導(dǎo)致本土藝術(shù)陷入身份焦慮，李剛?藝禪的探索揭示了一條重返文化本體的路徑——如喬達(dá)摩?悉達(dá)多所言，從"兩點(diǎn)之間"的當(dāng)下縫隙切入本體世界，在藝術(shù)創(chuàng)作中實(shí)現(xiàn)覺性的覺醒。其作品《境隨心轉(zhuǎn)》《上善若水》等，正是通過視覺符號的建構(gòu)，引導(dǎo)觀者超越表象，抵達(dá)對宇宙本體與人文精神的深層體悟。</p> <p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">吉祥百家／一禪畫符</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">作品／方 氏</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">材質(zhì)／布上丙烯</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">尺寸／0.50X0.60</span></p> <p class="ql-block"><span style="color:rgb(128, 128, 128); font-size:15px;">Reconstructing Cultural Subjectivity in Fracture</span></p><p class="ql-block"><span style="color:rgb(128, 128, 128); font-size:15px;">In the current era of "image explosion" and cultural identity crisis coexisting, the value of the "sky hanging image faction" is even more profound. When the fast food style visual culture driven by digital technology dissolves deep experiences, and when the wave of globalization leads to identity anxiety in local art, Li Gang Yichan's exploration reveals a path back to the cultural essence - as Siddhartha Gautama said, entering the ontological world from the current gap between "two points" and realizing the awakening of consciousness in artistic creation. His works such as "The Realm Flows with the Heart" and "The Goodness is Like Water" guide viewers to transcend appearances and reach a deep understanding of the universe and humanistic spirit through the construction of visual symbols.</span></p> <p class="ql-block" style="text-align:center;"><span style="color:rgb(237, 35, 8); font-size:15px;">吉祥百家／一禪畫符</span></p><p class="ql-block" style="text-align:center;"><span style="color:rgb(237, 35, 8); font-size:15px;">作品／于 氏</span></p><p class="ql-block" style="text-align:center;"><span style="color:rgb(237, 35, 8); font-size:15px;">材質(zhì)／布上丙烯</span></p><p class="ql-block" style="text-align:center;"><span style="color:rgb(237, 35, 8); font-size:15px;">尺寸／0.50X0.60</span></p> <p class="ql-block">這種藝術(shù)追求不僅是對個體創(chuàng)作路徑的開拓，更是對中國當(dāng)代藝術(shù)精神維度的補(bǔ)位。在裝置、行為、影像等多元媒介狂歡的今天，"天垂象派"以繪畫與雕塑為載體，重申了架上藝術(shù)在觀念表達(dá)中的可能性；以文字與符號為媒介，證明了傳統(tǒng)文化元素在當(dāng)代藝術(shù)中仍能生長出新的意義系統(tǒng)。它為中國當(dāng)代藝術(shù)提供的，不僅是一種新的風(fēng)格或流派，更是一種在文化斷裂中重構(gòu)主體性的方法論——一種既扎根于"天垂象"的宇宙觀，又直面當(dāng)代生存境遇的藝術(shù)哲學(xué)。</p> <p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">吉祥百家／一禪畫符</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">作品／尹 氏</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">材質(zhì)／布上丙烯</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">尺寸／0.50X0.60</span></p> <p class="ql-block"><span style="color:rgb(128, 128, 128); font-size:15px;">Secondly, in terms of innovative artistic language, Li Gang's practice of Yi Chan reveals a creative path from symbols to abstraction. Different from the "formal self-discipline" of Western abstract art, the abstract forms in its works always maintain deep connections with cultural symbols, such as the text series "Exploring Things to Achieve Knowledge" and "Harmony of Heaven and Man", which transform philosophical concepts into visual metaphors and open up a "third space" between abstraction and concreteness, providing new samples for the localization of Chinese abstract art.</span></p> <p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">吉祥百家姓／一禪畫符</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">作品／袁 氏</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">材質(zhì)／布上丙烯</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">尺寸／0.50X0.60</span></p> <p class="ql-block" style="text-align:center;"><span style="font-size:20px;">在傳統(tǒng)與未來之間架設(shè)橋梁</span></p><p class="ql-block">李剛?藝禪的"天垂象派"，本質(zhì)上是一場靜默的文化突圍。它拒絕在傳統(tǒng)的窠臼中因循守舊，也反對在西方范式中亦步亦趨，而是以藝術(shù)家的敏銳直覺與學(xué)者的思辨精神，在傳統(tǒng)符號與當(dāng)代語言、東方哲學(xué)與西方抽象之間架設(shè)起創(chuàng)造性轉(zhuǎn)化的橋梁。這一學(xué)派的價值或許不在于立刻構(gòu)建完整的藝術(shù)史坐標(biāo)，而在于啟示我們：真正的當(dāng)代藝術(shù)突破，從來不是對傳統(tǒng)的背離，而是對其精神內(nèi)核的深度激活；不是對西方模式的復(fù)制，而是以本土智慧參與全球藝術(shù)話語的重構(gòu)。在這個意義上，"天垂象派"的提出與實(shí)踐，或?qū)⒊蔀橹袊?dāng)代藝術(shù)從"模仿創(chuàng)新"走向"本體創(chuàng)新"的重要路標(biāo)，為新中式文化理論在藝術(shù)領(lǐng)域的深化提供極具價值的研究樣本。</p> <p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">吉祥百家／一禪畫符</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">作品／俞 氏</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">材質(zhì)／布上丙烯</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">尺寸／0.50X0.60</span></p> <p class="ql-block"><span style="color:rgb(128, 128, 128); font-size:15px;">Building a Bridge between Tradition and the Future</span></p><p class="ql-block"><span style="color:rgb(128, 128, 128); font-size:15px;">Li Gang's Yichan's "Tianchuixiang School" is essentially a silent cultural breakthrough. It refuses to follow the traditional mold and opposes blindly following the Western paradigm. Instead, it builds a bridge of creative transformation between traditional symbols and contemporary language, Eastern philosophy and Western abstraction with the sharp intuition of artists and the speculative spirit of scholars. The value of this school may not lie in immediately constructing a complete artistic historical coordinate, but in inspiring us that the true breakthrough of contemporary art is never a departure from tradition, but a deep activation of its spiritual core; It is not a replication of Western models, but a reconstruction of global artistic discourse with local wisdom. In this sense, the proposal and practice of the "Tian Chui Xiang School" may become an important landmark for contemporary Chinese art to move from "imitation innovation" to "ontology innovation", providing valuable research samples for the deepening of new Chinese cultural theory in the field of art.</span></p> <p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">吉祥百家／一禪畫符</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">作品／衛(wèi) 氏</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">材質(zhì)／布上丙烯</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">尺寸／0.50X0.60</span></p> <p class="ql-block" style="text-align:center;"><span style="font-size:15px; color:rgb(237, 35, 8);">吉祥百家／一禪畫符（視頻）</span></p><p class="ql-block" style="text-align:center;"><br></p> <p class="ql-block" style="text-align:center;"><span style="font-size:15px;">????????????</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">李剛·藝禪／雕塑家 畫家 書法家</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">（生于新疆）原籍貫江蘇省 徐州市</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">1985年在中央美術(shù)學(xué)院油畫系學(xué)習(xí)</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">1993在中央美術(shù)學(xué)院雕塑系助教研修班學(xué)習(xí)</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">1995年在中央美術(shù)學(xué)院城市雕塑高級研修班學(xué)習(xí)</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">（俄羅斯列賓美術(shù)學(xué)院 庫巴索夫主講）</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">曾經(jīng)任教新疆藝術(shù)學(xué)院</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">1996年創(chuàng)辦新疆城市雕塑創(chuàng)作設(shè)計(jì)研究中心</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">中國雕塑家學(xué)會理事</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">中國當(dāng)代雕塑研究院副院長</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">中國工藝美術(shù)學(xué)會雕塑專業(yè)委員會委員</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">匈牙利中旬美術(shù)家協(xié)會副主席</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">新疆雕塑學(xué)會副會長</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">北京城市規(guī)劃研究會公共環(huán)境與雕塑委員會副主任</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">原北京城市雕塑辦公室專家 顧問</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">????????????</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">乙巳年</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">2025年5月25日</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">北 京</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">文／尚柔</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">圖片/謫仙</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">翻譯／心語</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">總監(jiān)／一禪</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">百度 搜索</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">“天垂象派”</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">“雕塑家李剛”、“李剛立體主義”</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">可以了解更多有關(guān)</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">雕塑家李剛作品及藝術(shù)評論</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">致謝“百度“支持</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">致謝“抖音”支持</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">部分圖片（視頻）來自“百度”“抖音”支持</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">歡迎您</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">互相交流 相互支持</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">誠摯建立一個良好的交流平臺，</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">為能量文化做好自己</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">北京通州區(qū)宋莊園領(lǐng)部落C幢4單元102室</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">李剛雕塑藝術(shù)工作室</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">AAbc?原創(chuàng)/中國藝術(shù)&線上國際</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">感謝閱讀能量文化</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">歡迎支持轉(zhuǎn)摘.轉(zhuǎn)發(fā)中國能量文化</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">本?平臺無嘗為一線各類優(yōu)秀藝術(shù)家服務(wù)</span></p><p class="ql-block" style="text-align:center;"><span style="font-size:15px;">可在留言處留言</span></p>