文/蒂齐亚娜·达基莱

    佩鲁贾美术学院院长

蒂齐亚娜·达基莱佩院长在罗马国立现代及当代博物馆刘佑局个人画展媒体发布会上发言

当东西方这两种拥有数千年历史的具象艺术文化，在当今图像广泛传播与语言共享的背景下相遇时，会催生出许多原创性的解决方案——刘佑局便提出了这样的艺术探索。他的最新作品正在罗马的国家现代与当代艺术美术馆展出。

刘佑局是一位艺术家，尽管他的艺术训练根植于中国美术坚实的技法体系，但他的视野已拓展至西方艺术的表现形式——从19世纪末的前卫运动直至当代。他以色彩、符号、自由的笔触构建出极具个人特色的现实视像，这些笔触带有抽象表现主义的手势性语言，但又保持着绘画形象的可见性，很少完全消失在他的视野里。

作品《神秘的小岛》70x70cm

因此，在分析像刘佑局这样的艺术家的作品时，我们必须考虑一个极其复杂的转换——即从东方那种被收纳、被限定在“微观表面”的具象空间，转向西方那种由透视法则支配的开放性空间。两种文化在空间与现实感知上的差异，不仅决定了这种融合与对话的复杂性，在色彩的使用与强度上亦是如此——在刘佑局的作品中，色彩迸发出自然而纯粹的力量。

在中国的具象艺术传统中，空间与构图的感觉表现为一个封闭而有界的宇宙，由经年累积并固定下来的严格规范所调和；在此体系中，饱含墨色的毛笔细微的用力变化，以及水性色彩的运用，都遵循着经过长期沉淀的审美规则与节奏感。将油画媒介引入这一语境，体现了东西方两种具象文化日益开放的交流趋势：早在19世纪末，“东方主义”与装饰性的花卉图案就已经对西方艺术家形成特殊吸引，书法艺术也在某些抽象表现主义流派中进入了更广泛的表现语言；而当东方艺术家，尤其是中国艺术家，开始将目光投向西方时，一种更具现实感的自然与风景认知逐渐扎根成形。

蒂齐亚娜·达基莱佩院长参与刘佑局个人作品研讨会

在中国绘画中，艺术家力求捕捉的是“神韵”，受道家思想影响，自然的精神内核才是需要被把握与诠释的目标，而非对现实的精确复制。这种方法的核心是寻求人与环境的和谐，它依赖的是一种灵活的“移动视角”，邀请观者以精神的方式沉浸其中，而不像西方透视那样设定一个预定的焦点。在这种创作逻辑中，光影与细节遵循作品内部的固有规则，体现了“平远”、“深远”等传统空间观念。这种千年遗产在大胆跨向西方艺术诗学时，可能会成为一种障碍，而当面对过去两个世纪西方艺术语言的迅速演变时，这一跨越显得更为艰难。

因此，像刘佑局这样的艺术家，不得不与那些造就了西方艺术辉煌、却又同时解构其规则的传统进行对话。他跨越了20世纪前卫艺术的无垠之海，并在创作中实验那种自由的表达——这种自由反映在他对色彩充满喜悦、毫无保留的运用中。

然而，记忆化的图像和平远的空间依然弥漫在刘佑局的作品中：那些被晨曦或暮光笼罩的风景，以宽广的色域定义其形象，既借鉴了西方“户外写生”的伟大传统，又保留了东方精神视野中的情感冲击力与富有幻想色彩的魔力。

Vibrant chromatisms redefining space and reality

Tiziana D’Acchille

Director of the Academy of Fine Arts of Perugia

The encounter between two millennia-old figurative cultures, Eastern and Western, can today, in light of the widest circulation of images and the sharing of languages, give rise to original solutions such as those proposed by Liu Youju, who presents his recent works at the National Gallery of Modern and Contemporary Art in Rome.

Liu Youju is an artist who, though trained within the solid foundations of Chinese academies, has broadened his gaze towards the expressive forms of Western art, from the avant-gardes of the late nineteenth century to the contemporary, offering his highly personal vision of reality – one made of colour, of signs and free brushstrokes, of gestural practices connected to Abstract Expressionism, yet still bound to a visibility that rarely vanishes from his horizon.

In analysing the works of artists such as Liu Youju, we must therefore take into account a highly complex transition: the passage from a figurative space contained and circumscribed within a microcosmic surface, as in the East, to an open space governed by perspectival laws, as in the West. Not only differing perceptions of space and reality determine the complexity of the encounter between the two cultures, but also the use and intensity of colour, which in Liu Youju’s work burst in all their spontaneous force.

作品《三生万物》71x72cm

In Chinese figurative culture, indeed, the sense of space and composition assumes the characteristics of a closed and circumscribed universe, regulated by rigorous norms crystallised over time in measured harmonies, with the slightest variations of pressure in the ink-laden brush and the use of water-based colours. Introducing oil painting into this context reflects the growing openness between the two figurative cultures: if Orientalism and decorative floral motifs had already exerted a special fascination upon Western artists from the late nineteenth century, and calligraphic art had entered the wide repertoire of expressive languages in certain currents of Abstract Expressionism, a more realist perception of landscape and nature began to take hold from the moment Eastern artists, and Chinese artists in particular, turned their gaze Westward.

​In Chinese painting, the artist seeks to capture essence, and in deference to Taoist thought, the spirit of nature becomes the goal to be grasped and interpreted, rather than a faithful replica of reality. The search for harmony between man and environment is the dominant aim of such an approach, which relies upon a mobile perspective inviting the viewer to immerse themselves mentally in the scene, without a predetermined focal point as in Western perspective. Light, shadow, and detail here respond to a logic internal to the composition itself, according to traditional concepts such as “horizontal distance” or “deep distance”. This millennial heritage may represent an obstacle in the bold leap towards a Western poetics, a leap rendered all the more arduous when faced with the rapid evolution of Western artistic languages in the past two centuries. And thus, artists like Liu Youju find themselves engaging with what made Western art great and simultaneously deconstructed its rules, crossing the boundless sea of the twentieth-century avant-gardes and experimenting with an expressive freedom reflected in his joyous use of colour.

Yet mnemonic images and horizontal distances continue to pervade Liu Youju’s works: the chromatic breadths that define glimpses of landscape caught in auroral or crepuscular light are indebted to the great Western tradition of en plein air, yet at the same time retain all the emotional impact and visionary magic of a spiritual outlook.