Feng Lianghong's clear abstract paintings open a window onto a strange yet familiar meditative landscape that draws the beholder's view into the depth of its own reality. The colors used by the artist are crisp, metallic and soothingly cool. 

　　Feng Lianghong moved to Brooklyn, New York in the 1990s and lived and worked there for more than a decade before he returned to China in 2006. His interest in abstraction was already ignited when he arrived in the United States. In Brooklyn he was exposed to the concept of abstraction and abstract art, which has been a subject for American artists for the past seventy years. 

　　Abstract art in Western art history is considered a non-figurative art movement, beginning in the late 19th and early 20th century and starting as the search by artists to find new means of expressing themselves in art - by abandoning realistic depictions and relying on the power of form and color. Wassily Kandinsky is generally considered as the ?inventor" of abstract art, and there have been abstract tendencies before him, like Cézanne with his analysis of the form. In the 1940s and early 1950s, American artists took a leading role in developing abstract art. Jackson Pollock, Mark Rothko, Willem De Kooning and Cy Twombly among many others developed a new artistic language exploring the possibility of the form and color and inventing personal symbols. However, abstraction is not an invention of Western art. There is a long tradition of abstraction in oriental art, with calligraphy being one prominent example. Feng Lianghong's work echoes the infinite depth of Mark Rothko and the dynamics of Jackson Pollock. Feng Lianghong explores the relationship of form and space, and the effect of the paint on the canvas. He allows the paint to drip, he dilutes it to change its texture, he scrapes and scratches into the half dried paint. These effects - the relationship between form and color, the paint and the canvas - are the essence of the paintings.

　　Feng Lianghong has found an intimate and new expression of the abstract concept. He draws from a heritage of both oriental philosophy and Western abstract expressionism combining Western and Asian traditions in his own personal and spiritual way.

　　All reality is a phantom, and all phantoms are real. The form is nonexistence, and nonexistence is the form."

from the Heart Sutra

冯良鸿的抽象绘画

　　冯良鸿风格明显的抽象绘画仿佛为观众打开了一扇窗，呈现着一种奇特却又熟悉的风景。而风景中所蕴含的冥思将观众的视线引入风景自身的深刻现实。在开始创作前以及绘画过程中，艺术家通过参禅清空自己的思绪，从而在专业艺术知识引导下赋予作品属于自己的生命力。艺术家所使用的色彩清新明快，充满金属质感，如浅灰色、蓝色和绿色。

　　冯良鸿20世纪90年代移居纽约布鲁克林，在那里生活了十几年，之后于2006年返回中国。冯良鸿赴美之前就已经对抽象艺术颇感兴趣，在布鲁克林，他经常有机会接触到抽象作品和抽象艺术，而这也是近70年来美国艺术家所一直关注的主题之一。

　　抽象艺术在西方艺术史上被认为是一种非具象艺术运动，始于19世纪末和20世纪初。当时艺术家们摒弃了现实主义的描绘手法，开始依靠形式和颜色的力量探寻表现自己的全新艺术方式。康定斯基通常被认为是“抽象艺术的发明者”，虽然在他之前已经出现了抽象艺术的倾向，如保罗·塞尚的形式分析。在20 世纪40年代和50年代早期，美国艺术家在抽象艺术的发展中发挥了主导作用，在众多艺术家中，杰克逊·波洛克、马克·罗斯科、威廉·德库宁和塞·托姆布雷，创造了一种全新的艺术语言，探索形式和色彩的可能性，同时创造个人的符号与标志。但是，抽象艺术并非西方的发明，东方艺术具有更加悠久的抽象传统，书法就是最突出的例证之一。

　　​冯良鸿的作品既具有马克·罗斯科的深遂，又体现出杰克逊·波洛克的动态。冯良鸿探讨了形式与空间的关系，以及油彩在画布上的效果。他采用滴彩、泼色的技法，赋予作品不同的纹理及质感，他有时还会刮擦半干的油彩，这些展现材料与画布之间关系的效果是其画作的主题。艺术家清空思绪的行为赋予其作品禅修的特质，令作品具有他本人的独特风格。 冯良鸿已经找到了他本人对抽象概念的全新表达方式，他继承了西方抽象艺术与东方抽象传统，从中汲取灵感，将西方与亚洲传统与他自己的个人精神方式相结合。

作者：玛蒂娜·齐艾斯