世界以一种姿态呈现。董达峰的水墨系列“一花一草”，用简洁而有力的构图，神奇地展示着形象、抽象和表达。


看着董达峰的作品，我记起了T’ang Haywen(Chinese曾海文1964)说，他从不受外界影响和他把他的画定义为：“ 既不是具像也不是非具象的。” 他的意图是“超越意识世界，认同自然力量，通过绘画来实现”。


董达峰的姿态风格绘画，为图像空间注入了鲜明却又微妙的能量——同时具有动感、质感、奔放和表现主义。这些水墨画是抽象的符号和形式化具像表达的结合体，其技法接近书法，但抽象到足以把这个过程转化为视觉作品。我称它们为“视觉诗歌”，展示了一种更生动而非文学的诗歌创作方法，专注于整体的视觉效果。


他以一张白纸为背景，在上面描画自己的思想，这代表了他的风格特征之一，在他的许多水墨系列中都经常使用，体现了他丰富的笔触的整体稳固性。这些严格的平面构图，展示了典型的超现实主义的焦虑或欲望。


通过对人体缩减成形式化的片段的方式避免了完全抽象。灵感来自植物或汉字的结构。但是，董达峰系列作品的创作水平，远远超出了简单的姿态写实，直达一个平静的宇宙世界，在那里精神力量充盈着。


“一花一草”是一个关于艺术家灵魂状态的系列，他对草和花的描绘超越了表面的观察。他富有情感的表达形式，是基于鲜花本身就能表达人类的爱这一事实。爱的存在，通常是由花来呈现的，花的美丽是爱的符号。而且，多叶茎的外观通常给人以力量和尊严的想象。


这个系列让我想起Georges Battailes的散文《花的语言》，他在文中说：“事实上，爱可以被认为是花的自然功能。男人们把鲜花的灿烂与他们的多情联系在一起。”


众所周知，花和植物对情绪有长期的积极影响。花创造了亲密的联系，我认为这是董达峰这个系列最重要的概念。
作者: 戴安娜·罗曼
中文翻译：白    蓉


The world lies in a gesture. Dong Dafeng’s ink series “One Flower, One Grass” magically embodies figuration, abstraction and expression in simple, yet powerful compositions.


Looking at Dong Dafeng’s works I remember T'ang Haywen affirmation (1964) that he was free from external influences and would define his painting as “neither figurative nor non-figurative”, his intention being “to go beyond the conscious world, to identify with the forces of nature and materialize them through painting”.


Dong Dafeng’s gestural paintings imbue the pictorial space with flagrant yet subtle energy – simultaneously dynamic, textured, unrestrained and expressionist. These ink paintings are a combination of abstract signs and stylized figurative, in a technique close to writing calligraphy, but abstract enough to translate this process into visual works.


I would call them “visual poems”, revealing a poetic method of composition that is more graphic than literary, concentrating on the overall visual effect. The presence of the white paper as background on which he traces his floating forms represents one of his stylistic traits, frequently used in many of his ink series, participating to the overall solidity of the succulent brushstrokes. These rigorously flat compositions,


displaying a typically surrealist expression of anxiety or erotic drive, avoid total abstraction by reducing human bodies to stylized fragments inspired by plants and/or Chinese characters anatomy. But the level of creation in Dong Dafeng’s series goes well beyond the simple gesture of writing to reach a general universe of calm, where a fullness of the spirit reigns.


“One Flower, One Grass” is a series about the artist’s state of soul, his depiction of grass and flowers going beyond the superficial observation. He creates expressions of emotions based on the fact that flowers alone can designate human love. The presence of love is generally rendered by flowers, their beauty symbolizes adoration. Also, the appearance of leafy stems generally gives the impression of strength and dignity.


This series reminds me of Georges Battailes’ essay “The Language of Flowers” in which he asserts: ”In fact love can be considered as the natural function of the flower. Men have linked the brilliance of flowers to their amorous emotions.” and it is well-known that flowers and plants have a long-term positive effect on moods. Flowers create intimate connections and I think this is the most important concept of Dong Dafeng’s series.