绘画

In painting she tries all kinds of methods – including chickens, watermelons, bad taste, dirty paint, wisecracks, the mundane, commercial paintings, pretense, cheapness, clumsy imitation, girlishness, etc – to make a mockery of painting.

于是，绘画在自嘲中获得了解脱，对，在绘画中想尽各种办法——包括鸡、西瓜、坏趣味、脏颜料、插科打诨、俗、行画、装腔作势、廉价、幼稚的模仿、小女人气等等——来嘲笑绘画，这正是段建宇使绘画获得自由的办法。

Their common vision is to release painting from the obsession of the virtual 3D dimension created by perspective and from the dependence on formula with an aim to clarify the identity of contemporary art of painting. Their effort helps painting restore to the painting process and to the effective presentation of simple and unique material and idiosyncracy.

他们有着一个共同的目标就是想通过自己的角度来澄清当代绘画艺术的本体论问题，使绘画摆脱对图式的依赖和借助透视法制造虚拟的三维空间的执迷，使绘画回到了绘画的"过程"之中、回到对朴素而又极具个性的材料特质的有效表现之中。

The features of the "Red Fillet On Earth" is summarized to six unites of the opposites as follows:(1) the unity of the historic authenticity based on the documents and the art authenticity based on the unique painting skills;(2) the unity of the continuity of the development of the works as a whole and the independent appreciation of each single work;(3) the unity of the construction of the stories in the paintings and the clue of it;(4) the unity of the content of the stories and the style of the paintings;(5) the unity of the positiveness of the people depicted in the work and the negativeness of the environment in it;(6) the unity of the modesty of aesthetic pursuing and the enrichment of the painting.

笔者将该作品概括为6大特点：(1)基于文献的历史真实性与基于独特绘画技巧的艺术真实性之间的辩证统一；(2)宏观的整体线索上的连续性与微观的单幅作品的独立欣赏性之间的辩证统一；(3)复杂的外在叙事结构与有机的内在情节联系之间的辩证统一；(4)全面庞杂的故事内容与多样统一的绘画形式之间的辩证统一；(5)坚毅乐观的人物形象与严峻恶劣的环境态势之间的辩证统一：(6)质朴无华的美学追求与繁复丰茂的绘画本体之间的辩证统一。该作品的教育价值主要在于：不仅是一种难能可贵的绘画鉴赏的视觉教材，更是一个对青少年进行革命历史传统教育的经典视觉范本。

But, even though I like to paint in today"s condition of ever increasing solitude, it is because the impression given by a painting of "obsoleteness might be exactly what gives meaning to the fact that paintings still exist today.

另外，我喜欢绘画在当今倍受冷落的境遇，只是在这样一个角度：绘画的"过时感"在我看来，它恰恰可能成为绘画在今天存在的意义，它以这样的方式发人深省，激动人心，我是说绘画被抛入到充满活力的自言自语式的吟咏独白的角色之中。

In western painting it came from the primitive society when a few space factors appeared in the mural paintings sketched out by single line, the Greek bottle picture with the simple perspectivity, the Rome mural painting in which the perspectivity was originated, the Middle Ages when the perspectivity develop relatively slowly, the Renaissauce when the perspectivity highly developed, the Post Impressionism when Cezanne reformed the structure of space subjectively and orderly to open the gate of Modern Art, the 21 Century when the space was des-constructed and the idea of space developed pluratislically, at last the beginning of Actionism , to reach the end of the development of the space in painting, so to achieve the return from the three-dimensional illusion to the reality.

西方绘画由原始社会单线勾勒的壁画中极少的空间因素的运用，继而希腊瓶画中简单的透视。罗马时期透视法的萌芽，中世纪的相对滞缓的发展，文艺复兴时期对自然完善的表现至塞尚，则开启了现代艺术中空间主观化、秩序化的先河，进而出现二十世纪绘画空间解构、重组、多元化发展的状况，行为艺术的产生，实现了绘画空间由三维幻象到真实的还原，成为西方绘画的空间发展历程的终结点。

Simultaneously,we should guard against the materialization and the Philistinism resulted by the consumptive culture and the des.

消费主义是全球化过程申的一个文化现象，是我国入世后绘画艺术发展的一个重要方向，我们应以全球文化的眼光正视绘画艺术的消费主义倾向，同时我们也要警惕消费文化造成的绘画文化的物化和庸俗化以及对绘画文化意义的销蚀。

The works exhibited this time is the production under this thinking. I will not limit myself in such an abstract or traditional label. The direct or indirect calligraphy, Taiji, sculpture, poem and philosophy, aesthetic thoughts absorbed from paintings allow me to realize that the form of paintings is not just a key problem, no one shall find the freedom exit as when Duchamp's works were completely destroyed. And there is no one who is as frank and smart as Picasso to change the form game into the local snack. In some history phases, a kind of thinking ways and a kind of language styles may gain the upper hand. But comparing to stable accumulation of the history of culture and aesthetic, the pure quality of painting spirant will forever be an important premise of painting criticism.

这次展览的作品，便是这样的思考前提下的产物，我不会把自己定身在抽象或者传统这样的标签之下，我在绘画过程中所吸收的书法、太极、雕塑、诗歌和哲学、美学思想的直接和间接的营养，让我体会到，绘画作品的形式远不是一个最关键问题，没有人可以在杜桑完全彻底的破坏面前找到自由的出口，也没有人可以像毕加索那样把形式游戏变成地方小吃一般的率性和机灵，在某一个历史阶段，一种思想方式，一种语言风格或许会占上风，但相对于文化史、美学史坚实的积淀，绘画精神性的纯粹质量将永远是绘画批判的一个重要前提。

The academic direction of image painting applies itself to the vague limit between image and painting. If the direction of image art uses an image language creating independent and flowing spaces, then the painting should use the painting language to complete the component reality.

影像绘画的学术方向是致力于将影像和绘画之间的界限模糊，如果说影像艺术的方向是通过影像的语言来创造独立的、流动的空间，那么绘画就应该是通过绘画的语言来完成构成的现实。

In a word, my painting is neither a precise abstract painting, nor precise figural painting; I prefer to call it "specific painting."

总之，我的绘画既不是确切的抽象绘画，也不是确切的具象绘画，我更愿意称之为"具体绘画"。

In a word, my painting is neither a precise abstract painting, nor precise figural painting; I prefer to call it "specific painting."

总之，我的绘画既不是确切的抽象绘画，也不是确切的具象绘画，我更愿意称之为&具体绘画&。

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称；三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起，称之为挽歌体诗人或者史诗诗人，他们被称为诗人，似乎只是因为遵守格律写作，而非他们作品的模仿本质。

The relationship between communicative competence and grammar teaching should be that of the ends and the means.

交际能力和语法的关系应该是目标与途径的关系。