杨国辛 传说 600x150cm 2008年
当我体察了解杨国辛近二十年来的作品，可以看到，他的作品表达经过了一场逐步的自我蜕变最后走向一种彻底平面化、器具化、局部化与复制的呈现姿态。但在这一过程的后期同时有另一条线索在不断生发，让我看到了他的另一种思考和表述方式。
在第四第五届“深圳国际水墨双年展”上，他将摄影与数码合成作品转换为用水墨的方式做出来，而后又在2006初“亚洲交通-当代艺术展”上，有意识地将水墨的方式与当代艺术的视觉方式结合创作了巨幅的手工纸上作品《巨济桥》。其后的系列布面油彩作品《传说》，无论是构图还是画面所呈现的中国画式的留空以及翻卷绵长的线条，都有着明显的对传统资源的吸取与借鉴。这一吸取与借鉴与他惯用的当代图像方式有机的结合在一起，使得传统有了强烈的当代性。
我知道他一直考虑的一个问题便是如何在全球化的格局中，突出自己作品的文化身份。众所周知，中国当代艺术无论在视觉上，还是观念上，更多借鉴的是西方当代艺术。当然，这几年情况正在发生变化。水墨在中国已有一千多年的历史，在很大程度上，也具有了中国的身份，它决不能等同于一般的画种。杨国辛近期的一些探索是一种对传统的重新认识。作品中也保持了他坚持的文化批判精神和所具备的社会学层面的丰富内涵。在一个所谓由时髦的政治、文化冲突“宏大”的题材和日益浮躁和表面固定符号化的当代艺术现实的时期，他却探索并用一种个人化的语言方式表达个体对于历史文化的个体生命化的体验。这样的语言方式也许更有利于形成一种新的个人化风格，并给语言和题材日益枯竭的当代艺术提供了另一种精神气质、文化逻辑和语言方式。
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By Lu Hong
The recent works of Yang Guoxin show more planar, partial character, but if we view his works for 20 years, it is not difficulty to find for him the recent work is a metamorphosis along with the transfer of his thinking mode and express mode.
In the 4th Shenzhen International Ink-painting Biennial, he showed the work made by digital camera and ink-painting, and another work Juji Bridge, shown in 2006 Asian Traffic Contemporary Art Exhibition is a large-sized piece that combined contemporary visual arts and traditional ink-painting. Later, he brought us the piece the Legend, oil painting, which obviously adsorbed the skills of Chinese painting in the tradition.
I know that he has been considering the question of how to stand out self style in the globalized cultural context. Sure most of us may agree Chinese contemporary art has learned much from the western art, whatever the form or concept, but Chinese ink-painting rooted in Chinese culture for over a thousand years and already become the cultural symbol of Chinese nation, and we can not regard it merely a common painting of a sort. Yang’s recent exploration is reconsidering the tradition, how to stand out cultural critique to people, politic, and society, and how to find out and express individual experiences for history that is often distorted by a magnificent narrative way. This is his cultural logics and discourse on what it the way of ink-painting, a good approach with spiritual force.
【编辑：姚丹】
