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剑客系列
Swordman Series 布面丙烯 Acrylic on Canvas |
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宋代也许是中国古典辉煌迈向世俗化的转折点，令当代艺术家迷恋的花鸟画与宋江式的草莽英雄、七侠五义泥沙俱下，其社会精神的变迁与当代中国形成有趣的参照，为我们的精神冲突与救赎提供了一个支点。有别于洪磊宋代题材作品惊悚的悲剧现场，杨涛颠覆宋代经典图式的方式是无厘头的智慧。他的蒙面剑客跳上汴梁宣德门鸱吻之上，惊飞瑞鹤；占据莲台、登上宋代花鸟画的枝头。杨涛的剑侠不是白玉堂，更不是韦小宝，作为无奈的被日益边缘化的当代文人之一，他的剑侠是禅者，剑指空无，于坐禅中半睁睡眼，在无法逃遁的喧嚣中企图恪守片刻的宁静，在风暴来袭之前抱紧宋代伸过来的一片凋零的树枝。
Song Dynasty is perhaps a historical milestone before the magnificence of Chinese classical spirit faded into secularism. Its dramatic social and mental transformation provides an intriguing frame of reference for contemporary Chinese artists. Different from well-known conceptual photography artist Hong Lei's intensely tragic scenes are Yang Tao's Song Dynasty classical paintings which intrude in a frolicsome way with black humor. Inspired by Song Dynasty emperor/artist Zhao Ji's famous painting (which depicts cranes soaring above the splendid palace in BianLiang, then the capital city), Yang's swordsmen jump onto the palace roof, flushing cranes out of the sky. In other pieces, Yang rests in the heart of a lotus holding a blood-splattered sword, or plants himself on a branch; with half-opened eyes, he can hardly fall asleep. Yang Tao's swordsman is a pursuer of Zen and at the heart of inescapable hurricanes, he tries to hold a piece of foliage from Song Dynasty. |
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