谈论绘画总不外乎运用一些有关空间、虚实关系、体、面、明暗对比……等的比喻,尤其在最近的绘画中,“虚”的观念有着极重要的意义。 或许这种现象不仅限于绘画。似乎不言而喻,现在与其他各个以满密为特征的时期相反,一种崇尚虚无的风尚已经在艺术、诗歌、建筑与素描,甚至服装式样等各个领域内占据了主导地位:空间要大,装饰要少,线条要简洁,以简约甚至“贫乏”为好。 Speaking of painting is nothing more than the use of some metaphor about space, the relationship between reality and reality, body, face, light and shade, and so on. Especially in the recent paintings, the concept of “virtual” is of great significance. Perhaps this phenomenon is not limited to painting. It seems self-evident that nowadays, in contrast to every other period characterized by total secrecy, an advocating nirvana has prevailed in various fields of art, poetry, architecture and sketching, and even dress patterns: space is larger , Less decoration, lines should be simple, simple or even “poor” as well.