胡明哲《中国“她”艺术》代表性艺术家
时间：2022-03-25 作者：阿特网 来源：阿特网
胡明哲
1953 生于北京
1988 中央美术学院硕士毕业，留校任教
中央美术学院实验艺术学院教授；上海美术学院特聘教授硕士博士导师
Hu Mingzhe
1953 Born in Beijing
1988 Graduated from The Central Academy of Fine Arts with a master's degree
Professor of Experimental Art School, Central Academy of Fine Arts; Distinguished professor, Master and doctor supervisor of Shanghai Academy of Fine Arts
都市幻影——生长 岩彩、箔 2007
Urban Phantom - growth
Rock color, foil
300x420cm
谈“岩彩”命名
——胡明哲
“岩彩”是近年来为中国美术界格外注目的一个新名词，也是许多青年画家十分喜爱的一种新材料。短短几年，以岩彩创作的画家已渐渐形成中国画坛上不可忽视的活跃群体。
一. 何谓岩彩
岩彩——指岩石之色彩。
岩彩画——指以五彩的岩石研磨成粉状，调和胶质为主的媒介，绘制在纸、布、板、金属及墙面上的作品。
一般地说，岩彩是一种颜料。但是它不同于传统美术常识中泛指的颜料。因为其具有明确独特的材质美感，所以，可以称之为“带颜色的材料”，或者更专业的说是“具有色相的粗大材质”。它与有光泽的油彩不同，也与能稀释于水的水彩、丙烯色不同。它拿在手中沉甸甸，画在画面上灰雅而突浮。虽然也要用媒介调和，但是不与其溶解而是“水落石出”。最主要的特征是，以明显的晶体颗粒呈现其材质之美，每一色相都按颗粒大小不同分为十四种色阶。其中一部分是用天然岩石直接研磨而成的岩彩，还有一部分以长石、石英等矿石为原料烧制的人工合成岩彩，称之为“新岩”。我认为，除拓展了色域之外，岩彩对于晶体颗粒的粗细区分具有革命性意义。因为这使其跨越了颜色与材料、古典与现代两个领域、两种概念。既可以偏倚一方，又可以兼而有之，画家从中任意选择，任意组合，具多向发展之可能性。
岩彩也是个开放的概念，包括泥土色、水干色、（用白土、蛤粉染制而成）金属色、箔类以及对于材质硫化及热变处理……。强调材质肌理意识，扩展材质肌理美感，各种材质对比交织共构同一空间，是岩彩画最大的特点。（注1）
The Nomenclature of Rock Color
By Mingzhe Hu
"Rock Color" is a new term within the field of Chinese art which has gained attention in recent years. In just a few years, enough artists have begun working with this mode of Chinese painting that it can no longer be ignored.
I. What are rock-color paintings?
Rock Color paintings refer to the works made by grinding colorful rock into powder, adding gum-based media, and then drawing on paper, cloth, plate, metal, or directly onto the wall.
Generally speaking, rock color is a kind of pigment, but it is different from traditional pigments because of its unique material and visual quality. As such, it can be described as a thick-particled material with a hue. It is not only different from oil paint, but also watercolor and acrylic which can be diluted in water. While heavy, it flows elegantly like floating ash when applied to a surface. Although the rock is blended with some kind of medium, it can still retain a special material quality unlike traditional paints. Its main distinguishing character is the material beauty of the crystal particles. The color and texture can change greatly depending on the size of the particle. One part of this material is simply a ground-up natural rock. The other part is called "new rock" which is heated along with other raw materials such as feldspar, quartz and other minerals, producing different colors and textural possibilities.
In my opinion, the visual and textural potential of rock color expands significantly when manipulating the thickness of the crystal particles. Also, the spectrum of colors is quite expansive with the addition of various minerals. As a medium, rock color offers an incredible range of creative possibilities. The medium presents the world of color and of materiality at the same time, and these two attributes can be adjusted and balanced to innumerable ends. As such a dynamic material, rock color bridges historical notions of painting, from classical in which the paint is a means for representing an image, to the modern, in which the materiality of the paint can be a vital source of content.
Rock color is an open and flexible medium. One can include soil color, water color, ground clam powder, dye, metallic color, foils, sulfides, and also use heat to produce further chemical and visual changes of the materials. The biggest feature of a rock color painting to emphasize the awareness of the material texture, extend the aesthetic feeling of the material texture, and interweave various materials into the same space. (Note 1)
都市幻影——生长 岩彩、箔 2007
Urban Phantom - growth
Rock color, foil
300x420cm
广义地说，岩彩指岩石之色彩，它存在于大自然当中，并不特指某种商品。我的作品中用过不少黄沙、白沙、金刚砂，还用过不少学生送给我的自制岩彩，采集于他们下乡写生的山野里。在新疆去克孜尔的途中拾过非常好看的红石，在湖北美术学院讲学时试用过红砖、黑瓦，效果都出人意料的好。福建省艺术馆的青年画家用本地红土、黄土画出了不少精彩大作也是一例。我认为这些都是“岩彩”。理解岩彩的人，以岩彩为起点，举一反三地认识了许多材质之美，生活中眼光变得敏锐起来，于熟视无睹的景物中不断有所发现，往往，创作的灵感是生发于采集材料之中的，创作的含义也大大延伸。
岩彩画也有自己独特的制作方式。必须画在平展硬底的承接物上，并以扁笔、板刷、刮刀等为主要工具。作画时将岩彩颗粒与媒介混合，注重色彩语言的运用，注重材质肌理的抽象构成，以层面叠加的思路生成画面，最终形成与水墨、油画、水彩等其他材料和画种全然不同的斑斓、晶莹之美，这种美具有强烈的视觉和触觉效果。画面从自然幻觉及虚体空间回到物质性存在，使一个单纯的平面具有凹凸不平、闪亮与乌光、粗放与精细等多种材质肌理的区别，还可容纳拼贴、压印、打磨、刀刻等各种技法，材料与技艺也由手段升华为审美对象，绘画的语言——形、色、肌质自身的抽象意义清晰而实在地浮现出来。这些，模糊了“绘画”与“制作”的界限，其意义已超越了纯粹绘画性，似乎变成非绘画之绘画。岩彩画大大丰富了当代视觉艺术的形式语汇，成为现代绘画中新兴的表现形式，带给我们“柳暗花明又一村”的新境界。
In a broad sense, rock color refers to the color ofthe rock, which exists in nature and is not specific to a commodity. I have useda lot of rock colors in my works, such as yellow sand, white sand, emery, andthe rock colors made by my students, which were collected in the mountains when they sketchin the countryside. I have picked out very nice redstones on trips to Kizil inXinjiang, and in my lecture of Hubei Institute of Fine Arts I have tried out redbricks as well as black tiles, and the effects are surprisingly great. As another example, the young artists in FujianMuseum of Art have painted a lot of wonderful masterpieces with the local redclay and loess. All of these examples can be regarded as"rock color." Those artistswho explore rock color take on a journey in which they seek out newpossibilities of material beauty. Their sharp eyes have constantly foundsomething surprising, opening up some new kind of material or aestheticawareness that they had not noticed earlier in their lives. Usually, thecreative inspiration begins with the collection of materials, and from therethe concept of creation continues to grow.
The rock color medium is produced in its own uniqueway. It must be painted on a backdrop or object with a flat hard surface, andusing a paint brush, a scrubbing brush and a scraper as the main tools. When paintingwith it, one should mix rock particles with the media, focussing on the use of colorlanguage and the abstract composition of the material texture, then generating imagesby adding layers of the material. andultimately form a kind of gorgeous beauty that is completely different from thebeauty of other materials and paintings. The beauty produced with this mediumis unike any produced with methods such as wash paintings, oil paintings,watercolor paintings and so, as this kind of beauty is of strong visual andtactile effect. The rock particles givethe picture a powerful physical existence. Then, based on the stylistic choices of the artist, one can createnatural illusions and virtual space. Theartist can play with compositional qualities such as even and uneven textures,shiny and dark surfaces, and can also employ a variety of techniques such collage,stamping, polishing, and knife engraving. The differences in materials and techniques expandwhat we consider the conventional elements of painting language such as shape,color, texture. The process of producingthis medium along with its dimensionality and textural nature blurs the boundariesbetween “painting” and “production”, so that it has become something beyondjust “painting.” Rock color paintingshave greatly enriched the vocabulary of contemporary visual art and become anew means of expression in modern painting.
都市幻影——错位，岩彩、箔 2011
Urban Phantom - malposition
Rock color, foil
350x450cm
二. 为何创造“岩彩”新词
创造“岩彩”这个新词，基于“以开放的心态，从轻松的角度给自己及相关作品起一个易于理解的名字”的想法。绘画的材料虽然是“形而下之器”，但却是精神和观念的载体，不容忽视。某种材质美感和某种表现意欲往往有着深刻的联系，开发材质之美或许可以产生出十分有意思的作品。
使用岩彩的日本画，在一些技法书中也被称为“岩绘”。（注2）同样使用岩彩的台湾画家林之助先生在1977年提出“胶彩画”名称，并被正式纳入美术大学课程。（注3）为了便于世界上使用同种材料的人能够相互交流，取了岩绘的“岩”字和胶彩的“彩”字，以求大同小异，相互理解。
浏览世界艺术史，会得出这样的结论：可以用任何方式命名。尤其进入现代社会，无权威，无规范，跨领域，追求模糊性及不定性……，标新立异已是明显特征。不同的命名方式往往代表着不同的艺术观念。我认为对于绘画的种类，以物质性材料命名比较轻松和开放。如油画、漆画……以调和媒介命名；如岩彩画、水墨画、版画（铜版、木版、石版、丝网）……以材质特色命名。（注4）因为从某种意义上说，视觉艺术的基本语言和基本材料都属世界语，可以超越地域和民族的界限，理应给予其自然发展的广阔空间。
同时，时代是变化的、发展的，作为反映内在精神的一切表象，如材料技法、语言特征、审美情趣也有鲜明的时代性。名词和称谓更是作为时代需要应运而生的产物，也必然会随着历史前进和观念更新而消亡。任何事物都是一时的，不具永恒性。创造“岩彩”这一新词，正是因为没有合适的旧词可以代表，也只在意其当下之意义。
Ⅱ Why do we create the new term of “rock color”?
The creation of the new term of “Rock Color” is to distinguish this medium from other painting mediums. Although painting materials are the “physical device”, they are also the carrier of the spirit and these implications of material choice can not be ignored. Some sense of the medium’s inherent material beauty is translated into the meaning of the final piece.
Japanese painting which uses rock color are also called “rock painting” in some technique books. (Note 2) Taiwan artist Mr. Lin Zhizhu, who also used rock color, advocated the name of “glue color painting” in 1977, and was formally incorporated into the University of Fine Arts curriculum. (Note 3) In order to facilitate the communication among those who use the same kind of materials in the world, I have taken the word of “rock” from rock painting and the word of “color” from glue color, with the hope of clarity and mutual understanding.
If we look at art terminology throughout history we can draw a conclusion: names and terminilogy can come about in almost any way. Especially in the modern society, there is no authority and no standard to verify the legitimacy of new art terminology. Often seeking to be different is the most common feature of new art terminilogy. Different ways of naming often represent different artistic concepts. I think to adopt the substance of the material to name the painting types is relatively easy and open. For example, oil painting, lacquer painting, and so on are named by the media; wash painting, printmaking (copperplate, xylograph, lithograph, silk screen), and in our case rock color painting ... are named by the material characteristics. (Note 4) In a sense, the basic language of visual arts and the basic materials are of Esperanto, which can transcend geographical and national boundaries, allowing for a vast space for its natural development.
At the same time, the age is changing and developing. All such appearances that reflect the inner spirit, such material techniques, language features, aesthetic tastes are of distinct epochal characters. Nouns and titles are the products emerging as the time requires, and will surely wither away with the advance of history and the update of concepts. Everything is temporary, and impermanent. To create the new word “Rock Color” is precisely because there is no suitable old word to represent this medium, a situation which needs a difinitve remedy.
都市幻影——错位，岩彩、箔 2011
Urban Phantom - malposition
Rock color, foil
350x450cm
三. 岩彩画与工笔重彩画的关系
翻开悠久浩瀚的世界绘画史，会看到在科技不发达的古代，在一个十分漫长的历史时期，画家们普遍使用矿物质岩石粉末为颜料。
以矿物质岩石粉末作画也曾是中国的文化传统，是中国绘画的主流，并且达到过灿烂辉煌的鼎盛时期。（注5）古代中国称这种颜料为“矿物色”或“石色”，这是岩彩的前身。现在可以考察的尤以克孜尔、敦煌、麦积山、西安、西藏等地的众多壁画为代表。它们经历了上千年的兵荒马乱、风雨沧桑，至今依然浓郁夺目，神采飞扬。这些古代壁画运用大量不透明矿物材质直接厚涂；讲究制作基底并有凹凸；点线面自由而抽象地交织共组画面；以色面为骨架重视色彩对比；尽量呈现材质本色之美；用笔随意自由无程式；视觉效果开阔博大深厚。从制作技术、视觉效果等许多方面可供今日岩彩画学习和研究。不幸的是唐代以后，这种画风日渐衰微，技法也日渐失传。取而代之的是以纸和绢为载体的卷轴画形式。画面出现大面积空白，不再制作肌底，追求轻薄、细腻、淡雅之情调，形成墨线勾勒、三矾九染、以薄见厚的工笔绘画程式。即使是强调重着色的工笔重彩，也是以工细繁琐的线描为骨架，以水墨和淡彩为对比参照。虽然也运用一些不透明色彩，但仅仅是以极其细微的材质局部的罩染和勾填而已，这与大量运用不透明材质，直接的大面积的彩绘在硬质底色之上的手法有着性质的不同。显而易见，不透明画法和矿物质肌理之美已经失去主要地位。无疑，工笔重彩画也是不可忽视的古老画种，有着自身的演变脉络和美好前景，岩彩画也并不排斥它。但是，如果认为岩彩画必须纳入工笔重彩画的思维框架，必须沿用“重彩画”的称谓，则实在牵强。
ⅢRelationship between rock color paintings and traditional Chinese realisticpaintings
Looking upon the history of painting around the world,we will see that artists generally used rock powder as pigment since ancient times,but with underdeveloped science and technology
It was also a Chinese cultural tradition to paint withmineral rock powder. (Note 5) This pigment was called “mineral color” or“stone-color” in ancient China, which was the predecessor of rock color. Now it is particularly represented by manymurals in Kizil, Dunhuang, Maijishan, Xi’an, and Tibet. They have experiencedthousand of years of turmoil through wars and vicissitudes, yet still they remainstrong eye-catching features. These ancient murals are painted directly andthickly with a large number of opaque mineral materials. These murals payattention to the contours of concave and convex; their points, lines andsurfaces weaving together to form a picture. In these paintings, the contrasting colors actas the skeleton of the composition. These pieces also present the beauty in material qualities, and thepaintbrush is used freely with no clear formula, producing a deep and extensivevisual effect. We can study thesehistorical works today for their many technical and visual qualities. Unfortunately, after the Tang Dynasty, thiskind of painting style began to decline, its techniques being lost day by day, andreplaced by the style of scroll painting on paper and silk. This kind ofpainting, with the pursuit of a light, delicate, elegant, and emotional quality,contains large areas of blank space, and no longer uses a rigid foundation. Also,these fine brushwork paintings used outlines of ink, andmany layers of color, but still maintained a thin, delicate feeling. Although the fine brushwork paintings also uses someopaque colors, it is only partly dyed and filled with extremely tiny particles,which is different from the Tang Dynasty murals in which a large area of thecolored drawings were painted directly on a hard base and with much largerparticles. With this transition we cansee that the opaque way of painting and the emphasis on the beauty of mineraltexture had lost its primary position. There is no doubt that the fine brushworkpainting is a distinct ancient painting style with its own evolution and development.Due to these notable differences, it is far-fetched to insist that the rockcolor painting should be brought to the mental framework of the fine brushworkpainting and remain under the name of “strong color painting”.
都市幻影——高架 岩彩 2011
Urban Phantom - Elevated
Rock color
320x400cm
中国及世界的古代壁画以及民间彩绘中，有许多材料技法有待于岩彩画继承；彩陶、青铜器、瓶画、玻璃画、蛋彩画、油画的一些视觉效果，岩彩画也可以借鉴。站在岩彩画的角度看“重彩”之词，无论从审美角度还是从技法角度解释，都过于局限和含混；重彩画所描绘的创作理念，也根本不能代表岩彩画的立场和追求。我与许多岩彩画家一样都出身于工笔重彩。运用岩彩材料创作时，我们深深体会到：一切都在原有创作经验之外。作品成败的关键，恰恰在于是否能够挣脱工笔重彩的思维模式和技法模式，非此便不能展现岩彩特质以及这种特质带来的新鲜感觉和现代观念。材质的引导和创作的实践使我们越来越明确，岩彩画不应把自己狭隘地定位在工笔重彩画的框架中。只有走出传统的思维方式，从材质这个新角度看问题，才能有更宽泛的包容性和更自由的前景。
至于“石色”与“岩彩”的概念也不能同一。虽然它们同是岩石之粉末，但是，岩彩可以涵盖石色，却不能说“石色就是岩彩”。因为石色种类稀少、质感单一，千百年来无任何变化，根本不能涵盖色域宽泛、种类繁多、肌理丰富的岩彩。况且，“石色”一词已使用千余年，在人们心目中早已形成约定俗成的古典联想，又怎么能涵盖岩彩之现代意义？
岩彩画要求我们具备现代空间观、造型观、色彩观；具备明确的材质意识及原创性技法意识，将创作灵性直接注入材质技艺，在一个制作过程中不断生发拓展创意；在绘画语言的整体构成中展现个性和智慧。还要求我们吸取东西方文化之精华，从宏观的高度拓展审美视野和表现能力。在岩彩创作群体中，我们的共同追求是——尽量开放的心态和尽量个性的立场，面向未知，无框架。因为，新材料带给我们的是思想的解放和心灵的自由，而并非是任何既定的模式。
There are many materials and techniques of the ancientmurals and folk paintings in China and the world that have been inherited byrock color paintings. Furthermore, therock color painting also learns some visual effects from painted pottery suchas vase painting, bronze, glass painting, tempera painting and oil paintingInother words, the creative concept of the strong color painting can not sufficientlyrepresent the position and the pursuit of the rock color painting, which hashad influences from such a broad variety of historical traditions. Like many other artists, I began painting from thedisciplines of fine brushwork painting. However, when using rock color to paintone can realize a movement and potential beyond the thinking patterns andtechnical patterns of the fine brushwork painting. This is how the truecharacteristics of the rock color method are revealed. The guidance ofmaterials to the creative experience make it increasingly clear that the rockcolor painting should not be positioned in the narrow framework of the finebrushwork painting. Only by stepping out of the traditional way of thinking andconsidering a new perspective of materials can painting have a more inclusiveand free future.
The concept of “Stone Color” and “Rock Color” are alsonot the same. Stone color is of a rarekind, with a single texture, and without any changes for thousands of years,and therefore can not stand for the rock color, which can contain a wide rangeof styles and a unique variety of textures. Moreover, the expression “Stone Color” hasbeen used for over a thousand year, which has formed a conventional and classicalassociation in people’s mind. This is yet another reason why rock color needsits own distinct name.
To appreciate rock color painting requires us not onlyto possess a clear sense of the materials and techniques, but also to be equiptwith a modern concept of space, form, and color, as these details reveal aunique, perhaps even spiritual sensibility regarding materiality. A deep understanding of rock color paintingalso requires us to learn the essence of eastern and western culture in abroader sense. Amongst the group of rockcolor painters, our common pursuit is to face the unknown with an open mind, promotingindividuality as much as possible. Thisnew process of painting is a manifestation of liberal ideas and spiritualfreedom, rather than ascribing itself to any established pattern or system.
都市幻影——浮光 岩彩 2010
Urban Phantom - Floating light
Rock color
320x400cm
四. 岩彩画与日本画之关系
岩彩画是一个广义的概念，泛指一切以岩彩为主要材料绘制的作品。岩彩画不等于日本画。
日本画产生于中国文化母体之中，沿着唐绘、大和绘、浮世绘的脉络成长，十九世纪末，为了区别进入日本的西洋油画，才称这一体系为日本画。（注6）一百年来日本画接受了西方的影响渐渐与中国绘画拉开距离，突变的来临是二十世纪五十年代。战后的日本，社会生活有了根本的变化；新一代画家有了全新的价值观；科学技术也飞速发展。日本画材专家们使绘画的材料从制作到使用都有了性质的不同，除了变异拓展了中国的古典矿物色，还创造了人工合成的材料——新岩。变革后的材料和现代的艺术观念，使日本画走出了古典审美定式和语言体系而跨入现代范畴。今天的日本画更是样式新奇，已走向综合材料，并由平面进入立体装置。（注7）
ⅳ Relationshipbetween rock color painting and Japanese painting
Rock color painting is a broad concept, which refersto all the paintings that mainly draw with rock color. However, the rock colorpainting does not mean the Japanese painting.
Japanese painting was born in China’s cultural matrixand devoloped through three stages: the Tang stlyle of painting, Yamato-e, and Ukiyo-e. The name of Japanese painting wasadopted to distinguish itself from the Western painting in Japan that enteredJapan in the late nineteenth century. (Note 6) During the last hundred years Japanesepainting has accepted the Western influences and gradually distanced itselffrom Chinese painting. This mutation tookplace in the 1950s, when post-war Japan had experienced a fundamental change insocial life. The new generation of artists had formed new values, and scienceand technology had also experienced rapid development. Japanese experts of painting materials had changedthe nature of materials, both in terms of developing the material technically,and ways of applying the material. Inaddition to the radical expansion of China’s classical mineral color, they havecreated a synthetic material----the new rock. The materials and the modernconcepts of art after the revolution have helped Japanese paintings step out ofthe classical aesthetic formula into a modernity. Today’s Japanese paintingstyle is more novel, integrating more experimental materials and expandingfurther into three-dimensional space. (Note 7)
都市幻影——红尘 岩彩 2010
Urban Phantom - Red Dust
Rock color
320x400cm
近代，日本画从单一的农业文明步入多元的现代文明的变革经验给予我们诸多启示，也与我们心中的长久追求不谋而合。同时，岩彩这个来自中国文化传统内部的材料，在我们身边停滞千年却漂洋过海在异国发扬光大的事实也不能不令人深思。虽然，现在我们使用的是经由日本人变革过的材料，并且移植了一些日本画制作技法，但却不能认为这就是在画日本画。因为岩彩只是一种材料，与其他任何材料一样是物质性的。材料与技法只有与精神层面相连接，才能变为语言，才能产生意味。日本画家运用岩彩表现的是日本人的精神，属于日本文化，而中国画家运用岩彩要表现的是中国人的丰富感受，这属于中国文化。如今传统绘画的封闭界限正在逐渐模糊，造型艺术的基本概念正在逐渐扩大；世界上根本没有绝对纯粹的事物，异质文化相互融合、相互交流已成为时代特征。不能再认为坚持使用细微柔弱的花青赭石、坚持细线勾勒、原色罩染就是民族形式的象征，就具有所谓的民族性。也不能认为色泽丰富、肌理强烈的岩彩及相关材质只属于日本。更不能认为对比色、同类色、冷暖鲜灰这些色彩原理以及色彩思维方式只属于西方。越是现代艺术家越追求开放的国际视野，越重视独特的个性精神，并且相信民族性已经包容在每个个体之中。无数事实证明民族性是不会丢失的，因为它是一种遗传基因，一种生存背景，是流动在每个人血管里的血浆。只有走出精神的误区，真正面对自己的内心，才能够轻松自然地选择适合自己的材质和技法并且为所欲为，也才能够直接触及艺术创造的实质。这对于中国本土画家尤为重要，也是坚持以材质命名的原因。
The Japanese transformation from a simpleagricultural civilization to its current modern condition has enlightened Chinaso much and has coincided with the country’s long-term pursuits. Meanwhile, itis a thought-provoking fact that rock color, coming from the materials ofChinese cultural tradition, has stagnated for about a thousand years whileflourished in Japan. Although now wepaint with the reformed material by the Japanese and has transplanted someJapanese painting techniques, we can not be regarded as drawing the Japanesepainting, because the rock color is just a kind of natural material and medium.Only on a spiritual level can these materials and techniques transform intolanguage and represent a cultural identity. Japanese artists use rock color to representa Japanese spirit and culture, while Chinese artists use it to the spirit andculture of Chinese people. Nowadays, theboundaries of traditional painting is somewhat vague, and the basic concept ofthe plastic arts is gradually expanding. There is no absolutely pure truth inthe world, and it has become the stamp of the age that different culturesexchange and merge together. There is no longer any art medium that can beregarded in a possessive way as a symbol of national character. We can notconsider the rock color and related materials which are rich in color andstrong in texture to only belong to Japan. Artists are free to pursue an open,international outlook, to explore their own nationalism, and also to focus on theirown personalized spirit. Theseprinciples are fundamental to our human spirit, and are not subject to anyboundaries. Only with our own hearts canwe choose our materials, techniques, and means of expression. This is why the genre should be named by itsmaterial nature, rather than being bound to a nationality.
都市幻影——红尘 岩彩 2010
Urban Phantom - Red Dust
Rock color
320x400cm
岩彩以其丰富宽阔的表现魅力连接了东西方文化尤其是现代艺术观念。在中国，它显现出深刻的历史文化背景，在新世纪，它反映了当代中国绘画变革的要求。以它命名一个年轻的新兴画种有着非同寻常的意义。以岩彩为契机，转变一下凝固已久的思维角度，目的是激励出创造的灵感和探索的热情，跨越一切表层的界限，回归艺术以人为本的理念，努力开拓出一方中国现代艺术的崭新空间。
Ultimately, my aim is to promote the term rock color as a genre of modern paintingwith broad expressive possibilities, not bound by any geographic boundaries orcreative limitations. In China, itreveals deep historical and cultural roots, while also promoting the reform andexpansion of the new century. It is ofextraordinary significance to adopt a name for a young, emerging painting genrein order to distinguish it from other approaches and allow the art community toexplore it’s unique characteristics. Togive the genre a term is to legitimize a new channel of creative inspiration andexplorative passion; to step beyond boundaries, and return art to the spirit ofthe individual, thus opening a new avenue of Chinese modern art.
注：
1. 请参阅《岩彩画艺术》——岩彩画技法讲座P25～P46 胡明哲编著黑龙江美术出版社出版2001
2. 日本语中，称“画”为“绘”。如：油画为“油绘”。水墨画为“墨绘”。有的书中也称日本画为“岩绘”。称材料为“具”，如：油绘の具、墨绘の具、岩绘の具……。
3. 请参阅《胶彩画之渊源、传承及其影响学术研讨会论文专辑》P266～P267 台湾省立美术馆1995
4. 岩彩的主要媒介是胶，但也可以用丙烯结合剂、油、丹培拉调和，媒介不是我们的关注点，所以没有称之为胶彩。
5. 请参阅《岩彩画艺术》——岩彩画技法讲座P4～P13 胡明哲编著黑龙江美术出版社出版2001
6. 请参阅《近代日本美术的轨迹》——日本美术院创立一百周年纪念特别展画集东京国立博物馆出版1998
7. 请参阅《岩彩画艺术》——岩彩画技法讲座P13～P20 胡明哲编著黑龙江美术出版社出版2001《美术》杂志2002年第十期发表
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