利立浦特理想国——中国新绘画案例研究（四）
​Liliput utopia: a case study of chinese new painting (iv)

“利立浦特”（Lilliput）是《格列佛游记》中一个充满奇幻色彩的小人国，这个国度以其微缩的尺度和独特的秩序，象征着一种理想化的乌托邦世界。本次又生空间中国新绘画案例研究（四）以“利立浦特理想国”为主题，借由小人国的意象，对照展览中作品的精致尺幅与丰富内涵。每一件作品都如同一个微缩的乌托邦，承载着艺术家对理想国的独特诠释。我们借用这一概念，探讨王梵僧、颜秉卿、张书笺、张云迦、张庆祝如何通过他们的作品构建各自心中的上古之国、戏剧之国、幻想之国、假面之国和变形之国的理想国度。 “Lilliput” is the miniature nation, imbued with fantastical elements, from Jonathan Swift’s Gulliver’s Travels. This nation—with its scaled-down dimensions and unique order—symbolizes an idealized utopian world. In this fourth installment of Cycle Space’s Case Study of Chinese New Painting, the theme “Lilliput Utopia” is adopted. By invoking the imagery of the miniature nation, the exhibition contrasts the delicate scale and rich connotations of the works on display. Each piece is like a tiny utopia, embodying the artist’s unique interpretation of an ideal state. Through this concept, we explore how Wang Fanseng, Yan Bingqing, Zhang Shujian, Zhang YunJia, and Zhang Qingzhu construct, through their works, the ideal realms of antiquity, theater, fantasy, masks, and metamorphosis.