文脉的绵延·线——中国新绘画案例研究（五）
duration of cultural vein - line: A case study of chinese new painting (V)

线”是中国传统绘画的“体”和“用”，它并未因当代媒介的更迭和全球化语境的碰撞而消散，反而在与西方绘画体系的交融中挣脱了传统程式的束缚，既保留了骨法用笔的精神内核，又吸纳了西方现代主义关于形式、结构与表现的多养料，获得了更为开放和多元的语义空间。又生空间中国新绘画案例研究系列展览五从“文脉的绵延·线”开题，探索当代视下八位艺术家——杨茂源、叶恒贵、王光乐、王梵僧、吕岩、陈督兮、张云迦、冯嫣，以线写神、以线记事、以线造景、以线抒情的新面貌。 高居翰曾提出，观看中国古代绘画的要诀之一是笔墨，经由线条和皴法，观者可在心理和情感上体悟画家的运笔及其作画行动，领略作画过程中那种受控运动的独特韵致、节奏感和音乐性。而时间，赋予了这场表演更多的故事性。线条承载着历史的时间，从汉画像砖“忽粗忽细的线条”所强化的动势，到唐宋山水画中“斧劈皴”“雨点皴”等肌理笔法，再到元以后文人画中“逸笔草草”的书法式表达，艺术史演进脉络，恰恰是一部以线条为载体的语言变迁。线条凝结着创作者倾注的物理时间与情感铭刻。线条从二维走向三维的潜能，由时间控制并实现。在线条的疏密、疾缓、干湿与转折中，在时间的绵延中，平面上的痕迹转化为可居可游的精神空间。 As the fundamental substance and functional medium of traditional Chinese painting, the “line” has never diminished amid the renewal of contemporary artistic media and the collision of global contexts. On the contrary, integrated with Western painting systems, it breaks free from the constraints of traditional formulas. Preserving the spiritual core of classical brushwork, it also absorbs the formal, structural and expressive essence of Western modernism, evolving into an open and diverse semantic field. As the fifth installment of the New Chinese Painting Case Study Series curated by Cycle Space, Duration of Cultural Vein - Line presents eight artists — Yang Maoyuan, Ye Henggui, Wang Guangle, Wang Fanseng, Lv Yan, Chen Duxi, Zhang Yunjia and Feng Yan — who reinterpret linear language in contemporary practice: depicting spirit, recording time, constructing landscapes and conveying emotion through lines. James Cahill once noted that the essence of appreciating traditional Chinese painting lies in brush and ink. Through lines and texture strokes, viewers can perceptually follow the artist’s movements, rhythm and controlled dynamism embedded in every brushwork, endowing the artistic process with profound narrative quality. The evolution of Chinese art is essentially a transformation of linear language: from the powerful, fluctuating lines of Han dynasty brick reliefs, to the textural axe-cut and rain-dot strokes of Tang and Song landscape painting, and further to the free, calligraphic brushwork of literati painting after the Yuan dynasty. Lines embody the artist’s physical time and emotional imprints. Enabled and shaped by duration, lines transcend two-dimensional traces. Through variations of density, tempo, dryness, wetness and turns, ordinary marks on the canvas expand into immersive, inhabitable spiritual spaces within the continuity of time.