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Antiquities-moderation
By putting the ancient character abstraction, after a time the abrasion performance revealed by the spirit, a symbol of the Confucian.
Zhao Feng
Antiquities-wander
By putting the ancient character abstraction, after a time the abrasion performance revealed by the spirit, a symbol of the Taoist.
Zhao Feng
Antiquities-insight
By putting the ancient character abstraction, after a time the abrasion performance revealed by the spirit, a symbol of buddhist enlightenment.
Zhao Feng
奧林匹亞
长×宽×高 65×28×52
Dong Ziyuan
創世紀
长×宽×高 65×28×52
Dong Ziyuan
在海灘上奔跑的兩個女人
长×宽×高 65×28×52
Dong Ziyuan
归家的光影
作品拍摄的是高中门口的街道。那年，晚上十一点下晚自习，回家必定会经过这条路。晚上路边的行人很少，但路上匆匆归家的车流却不停息。故拍摄此作品，记录那归家的光影。
Wan Boren
隐者的视线01
作品《隐者的视线》组画 创作感想 清华大学美术学院 孙天龙 我一直认为绘画的创作不能随心所欲。依我个人的创作角度讲，一个题材或是构图在开始之前一定经过反复的筛选与对比。犹如选择强迫症一般非要找到一个对的观察点或是视角，一个满意的场景，满意的光照度，满意的色温和满意的灰色系对比，把种种这些融合在一起。然后，按下心里的快门，试图在绘画作品的创作中呈现。 古斯基一直是我偏爱的摄影师，我也一直深信一个艺术家的视角就代表了他的艺术。我想在绘画中反复挑战的不仅仅是反复折射而近乎消融的室内光线，而更想用绘画中的“润”去冲淡摄影里温和的眩目。摄影器的极限在一天天进步也一天天的更为冷酷，反观倪瓒的一河两岸，却在冷酷中遇见温润，我想大也可以用绘画的温度去调和我们每天所处在的数码图像的环境，用版画手工纸和融水颜料的美妙反应去对抗颜色在计算机中的运算法则，创作便轻松的离开了心里快门咔嚓下的图像，变的不那么生硬了，视线和在我选择图像的倾斜线中交叉，光线成为控制颜色的调节器，在光影反复折射的室内通道里依存着。 通道本身就是通道，是在我往返于燕郊画室和清华园的最后一班地铁里低头抬头就会依偎着的图像，但创作不是图解生活，心底的感动一版一版都印在纸上
Sun Tianlong
隐者的视线02
Sun Tianlong
隐者的视线03
Sun Tianlong
POWER
Dongzhengcun yellow river in Linfen, Shanxi
Zhao Zhenyu
PORT-SUN-SAIL BOAT
Qingdao Olympic sailing center
Zhao Zhenyu
WAIT
Sanchagoucun mountain, Meng Lianggu mountain, Linyi city, Shandong province
Zhao Zhenyu
Hometown Rhythm
这张风景画是我在家乡一个村落里的写生作品（地点：山西省平遥县），当时选这处景首先是因为黄土墙是黄土高原的标志之一，可以表达浓浓的黄土情。其次，黄土墙的破碎和枯树的肌理也是自己喜欢和想用绘画技巧表达的。
Jiang Pengfei
The Wall
取材于老家斑驳破碎的老墙，拥有岁月留下的痕迹。将这种痕迹再一实物化进行表现。进入不惑之年不知为什么开始变得怀旧起来，老墙常常会把我带入美好的回忆中，撩动了尘封已久的岁月流金。常常情不自禁地回首曾经远去的事情，它载满了美好记忆和甜蜜感受。
Jiang Pengfei
The Power Of Art
我想借这幅作品希望可以鼓励更多有梦想、热爱艺术的人，为了梦想努力坚持。一个身体残缺的人都如此努力,对于我们身体健全的人有何理由不去努力、不去坚持呢。同时呼吁社会给那些身体有缺陷怀有艺术梦的人一些帮助，为他们点赞。
Jiang Pengfei
ENCHANTMENT
《ENCHANTMENT》is a self portrait。
Li Zhenyu
THE FIVE YUN
《THE FIVE YUN》is a self portrait。
Li Zhenyu
NO GOD
Li Zhenyu
Aegean Sea Sunglow
In fact, my works embody the trace of ideality, reality, thinking and progress. Unconsciously, I seem to have become my own lives screenwriter, have become my own director of art. "Describing" the ideality and "telling" the reality is on the canvas. It is precisely such "describing" and "telling" constantly leads me to identify and choose.
Yu Wanying
Aegean Sea Thinking
For a long time, I have been fascinated by my own fantasies in painting, which includes both those "ideal reality" and "realistic ideality". With the spirit beyond the material, I tried to reflect the reality by the ideality.
Yu Wanying
Romantic Oval Garden
I tried to achieve the ideality by the reality and reflect the spirit by the material. Tradition is my ideality and contemporary is my reality, perhaps quite the contrary. But they are concrete and real.
Yu Wanying
Empty
This painting is showing about my wish about my mind
Li Yuxin
No Mountain-2
look like the mountains but it is not.
He Jiqing
No Mountain-3
look like the mountains but it is not.
He Jiqing
No Mountain-4
look like the mountains but it is not.
He Jiqing
All Things Grow
Ideas: everything in the world there is always a containment, the influence of the sometimes-complex mix-and-match I have you, in this work using black, grey, yellow three colors as the main color , each color represents one kind of things they mutual constraint, mutual competition, closely linked to compare in the level of black and white ash the bright way. hope Through the work to reflect our understanding of some of the subtle connections between things, as if we have no ability to interpret the world, but we live The is to realize some tiny behavior by changing or to feel the existence of the world.
Feng Jianda
边
Shu Ziyun
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