赵力：私自的风景

 

尹朝宇迷恋于风景，他的画也以风景为主，这一点在当下显得非常的特别。其实尹朝宇骨子里有非常特别的古典情节，这是他以风景入画的原因，也是他放弃在美院所学的版画转而创作油画的原因。

 

Yin Chaoyu is infatuated with the landscape and the themes of his paintings are mainly of the scenery, this appears very special at present. In fact there is a very special classicality complex in Yin Chaoyu’s heart, which is the reason that he adopts the landscape in his paintings, and it is the reason that he gave up the engraving specialty that he studied in China Central Academy of Fine Arts and turned to create oil paintings. 

 

对于风景画中的经典，尹朝宇则偏爱透纳和弗里德里希，而透纳和弗里德里希显然是古典风景画的两翼，透纳的风景是对自然的感受基础上的光色幻想，弗里德里希的风景则是人与自然的情感结合基础上的精神倡扬，从这一点来看尹朝宇既关注于风景画中的光色表现，又关注风景画的精神性表达。

 

Of the classic landscape painting artists, Yin Chaoyu prefers Turner and Friedrich. And apparently Turner and Friedrich are the two wings of the classic landscape painting. Turner’s landscape is the light and color fantasy based on the perception of the nature, while Friedrich’s landscape is the advocating of spirit based on the emotion combination of the nature and human beings. From this point, Yin Chaoyu not only cares the light and color representation in the landscape paintings, but also cares the expression of spirit in these paintings.  

 

然而作为当下的创作者，有关风景画的创作又早已迥异于古典，尹朝宇不再像古典的风景画家那样拿着画板画架而对着风景进行所谓的写生，而是在画室中对着画布编织着“私自的风景”，如果要找到这些作品与古典的表象联系的话，那就是那条似乎遥不可及且又异常明确的“地平线”。

 

However, as the artist at present, and since the creation of landscape paintings are quite different from those classic ones for a long time, Yin Chaoyu does not take the palette and the easels to carry out the so-called sketch of the landscape like the classic landscape painting artists, but weaves the “private landscape” in the atelier. If you want to find out the external relation between these artworks and the classic ones, which is the “apparent horizon” that seems distant but very clear.

 

“地平线”，是尹朝宇在很多画中非常强调的部分，甚至成为了他创作中的某种“原则”，但是这一在表象上让人联想到古典的“地平线”，除了像过去那样以此来强调景深之外，更多的则是画面的结构性的意义。

 

The apparent horizon is the factor that Yin Chaoyu emphasized a lot in many of his paintings, which has even turned certain “principal”, but except emphasizing the depth of field like the past, this “principal” that makes people associate the classicality of external images has more structural meaning of pictures.

 

通过“地平线”，尹朝宇取得了横向切割画面的结构方式，整个画面往往因为“地平线”被人为分割为上、下两块，这令整个画面有别古典而带有了更多的主观性，使得整个创作脱离开“自然的秩序”的束缚而呈现出“理念的模式”。

 

Though the “apparent horizon”, Yin Chaoyu acquired the structure mode of incising the picture breadthwise, and often the whole picture is intentionally divided into the upper and the lower parts because of the “apparent horizon”, which makes the whole different from the classicality and has more subjectivity, and makes the whole creation get rid of the bondage of the “order of the nature” and takes on the “mode of concept”.