文化的力量，“天垂象派”哲學維度與時代啟示

AAbc原創(chuàng) / 中國藝術(shù)&線上國際

吉祥文字／一禪畫符作品／心向光明材質(zhì)／布上丙烯尺寸／1.20X1.90 文化的核心力量，體現(xiàn)為對人類精神世界的建構(gòu)與超越，而藝術(shù)作為文化的具象載體，往往通過哲學思維的滲透，實現(xiàn)對生命感知的深層解構(gòu)。李剛·一禪先生提出的“天垂象派”藝術(shù)學術(shù)理論，以“身、心、靈”三維框架為核心，將東方哲學中的“本體世界”認知與藝術(shù)形態(tài)融合，既構(gòu)建了獨特的藝術(shù)美學體系，也為文化力量的當代傳遞提供了重要范式。 吉祥文字／一禪畫符作品／山河大地是如來材質(zhì)／布上丙烯尺寸／1.50X1.90 The core power of culture is reflected in the construction and transcendence of the human spiritual world, and art, as a concrete carrier of culture, often achieves deep deconstruction of life perception through the infiltration of philosophical thinking. Mr. Li Gang Yi Chan proposed the "Heavenly Hanging Elephant School" artistic academic theory, which takes the three-dimensional framework of "body, mind, and spirit" as its core, integrates the cognition of the "ontological world" in Eastern philosophy with artistic forms, and not only constructs a unique artistic aesthetic system, but also provides an important paradigm for the contemporary transmission of cultural power. 吉祥文字／一禪畫符作品／天問一號材質(zhì)／布上丙烯尺寸／1.50X1.90? 一、身體感知材質(zhì)美學與文化符號的直觀聯(lián)結(jié)“身”的維度是藝術(shù)與觀者的初始對話界面，其核心在于通過材質(zhì)特性激活身體的感官認知，進而傳遞文化內(nèi)涵。李剛·一禪以布上丙烯為創(chuàng)作載體，該材質(zhì)的可塑性不僅造就了畫面豐富的肌理層次與斑斕色彩的視覺張力，更以其現(xiàn)代媒介屬性與東方文化符號形成“新傳統(tǒng)”對話——畫面中吉祥文字的線條起伏、甲骨文百家姓的紋樣肌理，通過丙烯材質(zhì)的具象呈現(xiàn)，讓觀者在觸摸式的視覺感知中，直觀捕捉到東方祈福文化的溫度。這種身體層面的感知并非單純的美學體驗，而是文化符號通過感官通道的直接植入，使“祈?！薄凹椤钡任幕夂瓱o需借助文字闡釋，即可通過身體直覺被接收，完成文化力量的初步傳遞。 吉祥文字／一禪畫符作品／天人合一材質(zhì)／布上丙烯尺寸／1.50X1.90 1、Physical Perception: The Intuitive Connection between Material Aesthetics and Cultural SymbolsThe dimension of "body" is the initial dialogue interface between art and the viewer, and its core lies in activating the sensory cognition of the body through material properties, thereby conveying cultural connotations. Li Gang Yi Chan uses acrylic on cloth as a creative medium. The plasticity of this material not only creates rich texture layers and colorful visual tension in the picture, but also forms a "new tradition" dialogue with Eastern cultural symbols through its modern media properties - the undulating lines of auspicious words and the patterned textures of oracle bone inscriptions with hundreds of surnames. Through the concrete presentation of acrylic material, viewers can intuitively capture the temperature of Eastern blessing culture in a touch based visual perception. This bodily perception is not simply an aesthetic experience, but a direct implantation of cultural symbols through sensory channels, allowing cultural meanings such as "blessing" and "auspiciousness" to be received through bodily intuition without the need for textual interpretation, completing the initial transmission of cultural power. 吉祥文字／一禪畫符作品／上善若水材質(zhì)／布上丙烯尺寸／1.50X1.90? 二、心靈共鳴文化基因與個體認知的深層共振“心”的維度是藝術(shù)與文化的精神聯(lián)結(jié)節(jié)點，指向個體心靈與民族文化根脈的共鳴。“天垂象派”藝術(shù)以祈福文化為主線，其核心創(chuàng)作如甲骨文吉祥百家姓系列，并非簡單的文字符號陳列，而是將每個姓氏轉(zhuǎn)化為“文化密碼”——當觀者在作品中識別出自身姓氏符號時，個體認知便與甲骨文承載的千年文明記憶、吉祥文化蘊含的集體祈愿產(chǎn)生共振，形成從“個體觀照”到“民族文化認同”的心理躍遷。這種心靈感悟的本質(zhì)，是文化力量對個體精神的喚醒：通過藝術(shù)語言將分散的個體認知錨定在民族文化的共同語境中，使“祈?！睆乃饺饲楦猩A為具有普遍意義的文化精神，構(gòu)建起觀者與東方文化的心靈紐帶。 吉祥百家／一禪畫符作品／趙氏材質(zhì)／布上丙烯尺寸／0.50X0.60 2、Spiritual Resonance: Deep Resonance between Cultural Genes and Individual CognitionThe dimension of "heart" is the spiritual connection node between art and culture, pointing to the resonance between individual hearts and the roots of national culture. The art of the "Tianchuixiang School" focuses on the culture of praying for blessings, with its core creation such as the oracle bone script auspicious hundred surnames series. It is not simply a display of textual symbols, but transforms each surname into a "cultural code" - when the viewer recognizes their own surname symbol in the work, individual recognition resonates with the millennium civilization memory carried by oracle bone script and the collective wishes contained in auspicious culture, forming a psychological transition from "individual observation" to "national cultural identity". The essence of this spiritual perception is the awakening of individual spirit by cultural forces: by anchoring dispersed individual cognition in the common context of national culture through artistic language, "blessing" is elevated from personal emotions to a cultural spirit with universal significance, and a spiritual bond between viewers and Eastern culture is constructed. 吉祥百家／一禪畫符作品／丁氏材質(zhì)／布上丙烯尺寸／0.50X0.60? 三、靈魂通透縫隙美學與本體世界的覺醒通道“靈”的維度是“天垂象派”藝術(shù)的哲學終極指向，以“縫隙美學”為核心符號，實現(xiàn)對“本體世界”的藝術(shù)詮釋。李剛·一禪在《心向光明》《問天1號》《山河大地是如來》等作品中，將“通向天地的縫隙”作為核心視覺語言，這一符號恰與喬達摩·悉達多“從縫隙之間擊穿就是本體世界，就是覺醒的本體”的哲學認知形成互文。此處的“縫隙”并非斷裂的象征，而是“身、心、靈”三維認知的突破點——當觀者的精神注意力聚焦于畫面縫隙時，靈魂得以脫離現(xiàn)實的浮躁語境，通過“圣光通道”的藝術(shù)意象，觸摸到“天人合一”的本體覺醒狀態(tài)。這種靈魂通透的體驗，是文化力量對精神世界的超越：以藝術(shù)為媒介，將東方哲學的“覺醒”智慧轉(zhuǎn)化為可感知的精神體驗，完成從“藝術(shù)觀照”到“靈魂覺醒”的升華。 吉祥百家／一禪畫符作品／朱氏材質(zhì)／布上丙烯尺寸／0.50X0.60 3、Soul Transparency: The Awakening Channel of Gap Aesthetics and the Ontological WorldThe dimension of "spirit" is the ultimate philosophical direction of the "Heavenly Hanging Elephant School" art, with "crevice aesthetics" as the core symbol, to achieve artistic interpretation of the "ontological world". In works such as "Heart Towards Light," "Question of Heaven 1," and "Mountains, Rivers, and Earth as Tathagata," Li Gang Yi Chan uses "the gap leading to heaven and earth" as the core visual language. This symbol intertexts with Siddhartha Gautama's philosophical cognition that "breaking through the gap is the ontological world, the awakened ontology. The "gap" here is not a symbol of rupture, but a breakthrough point in the three-dimensional cognition of "body, mind, and spirit" - when the viewer's spiritual attention focuses on the gap in the picture, the soul can detach from the restless context of reality, and through the artistic image of the "holy light channel", touch the awakening state of the "unity of heaven and man". This experience of soul transparency is the transcendence of cultural power over the spiritual world: using art as a medium, transforming the "awakened" wisdom of Eastern philosophy into perceptible spiritual experiences, completing the sublimation from "artistic observation" to "soul awakening". 吉祥百家／一禪畫符作品／韓氏材質(zhì)／布上丙烯尺寸／0.50X0.60 四、“天垂象派”藝術(shù)的時代價值與文化意義在文明快速迭代的當代語境下，人類對“精神寧靜”與“文明意義”的追問愈發(fā)迫切，“天垂象派”藝術(shù)的價值正體現(xiàn)為對這一需求的文化回應：其通過“身、心、靈”的三維建構(gòu)，為個體提供了對抗浮躁的精神錨點，引導人們在藝術(shù)感知中重思文明進步的本質(zhì)，這是其核心時代貢獻。 吉祥百家／一禪畫符作品／楊氏材質(zhì)／布上丙烯尺寸／0.50X0.60 4、The Era Value and Cultural Significance of the "Tianchuixiang School" ArtIn the contemporary context of rapid iteration of civilization, the questioning of "spiritual tranquility" and "cultural significance" by humans has become increasingly urgent. The value of the "Tianpiaopian" art is reflected in its cultural response to this demand: through the three-dimensional construction of "body, mind, and spirit", it provides individuals with a spiritual anchor to resist restlessness, guiding people to rethink the essence of civilization progress in artistic perception. This is its core contribution to the times. 吉祥百家／一禪畫符作品／曾氏材質(zhì)／布上丙烯尺寸／0.50X0.60 對當代藝術(shù)而言，“天垂象派”打破了“技巧至上”的創(chuàng)作誤區(qū)，啟示創(chuàng)作者回歸藝術(shù)的文化本質(zhì)——藝術(shù)應成為承載哲學思想、傳遞文化精神的載體，而非單純的形式炫技，這為當代藝術(shù)的“精神轉(zhuǎn)向”提供了重要參照。 吉祥百家／一禪畫符作品／田氏材質(zhì)／布上丙烯尺寸／0.50X0.60 For contemporary art, the "Heavenly Hanging Elephant School" breaks the creative misconception of "technique first" and inspires creators to return to the cultural essence of art - art should become a carrier of philosophical ideas and cultural spirit, rather than simply showing off skills in form. This provides an important reference for the "spiritual turn" of contemporary art. 吉祥百家／一禪畫符作品／孫氏材質(zhì)／布上丙烯尺寸／0.50X0.60 對中國藝術(shù)精神而言，“天垂象派”既是傳承也是創(chuàng)新：它以現(xiàn)代藝術(shù)語言（布上丙烯、抽象縫隙符號）重構(gòu)甲骨文、祈福文化等傳統(tǒng)元素，實現(xiàn)了中國藝術(shù)精神“傳統(tǒng)內(nèi)核”與“當代表達”的融合，同時通過“姓氏密碼”“天人合一”等意象的傳遞，讓東方文化的獨特性被更廣泛感知，為中國藝術(shù)精神的當代傳播拓展了路徑。 吉祥百家／一禪畫符作品／閻氏材質(zhì)／布上丙烯尺寸／0.50X0.60 For the spirit of Chinese art, the "Tianchuixiang School" is both an inheritance and an innovation: it reconstructs traditional elements such as oracle bone inscriptions and blessing culture using modern art language (such as acrylic cloth and abstract crevice symbols), achieving the integration of the "traditional core" and "contemporary expression" of Chinese art spirit. At the same time, through the transmission of images such as "surname code" and "unity of heaven and man", the uniqueness of Eastern culture is more widely perceived, expanding the path for the contemporary dissemination of Chinese art spirit. 吉祥百家／一禪畫符作品／羅氏材質(zhì)／布上丙烯尺寸／0.50X0.60 正如泰戈爾所言“活出一道光”，“天垂象派”藝術(shù)正是以文化為內(nèi)核、以哲學為指引的“精神之光”——它通過“身、心、靈”的三維建構(gòu)，讓文化力量在藝術(shù)中具象化、在時代中落地，既照亮了個體的靈魂覺醒之路，也為中國藝術(shù)精神的當代發(fā)展注入了新的活力。 吉祥百家／一禪畫符作品/王氏材質(zhì)／布上丙烯尺寸／0.50X0.60? As Tagore once said, 'Live out a ray of light.' The 'Tianpiaopian' art is the 'spiritual light' guided by philosophy and centered on culture. Through the three-dimensional construction of 'body, mind, and spirit,' it concretizes cultural power in art and brings it to fruition in the era. It not only illuminates the path of individual soul awakening, but also injects new vitality into the contemporary development of Chinese artistic spirit. 吉祥百家／一禪畫符作品／鳳氏材質(zhì)／布上丙烯尺寸／0.50X0.60? 吉祥文字／一禪畫符作品／本自具足材質(zhì)／布上丙烯尺寸／1.50X1.90? 吉祥文字／一禪畫符作品／致中和材質(zhì)／布上丙烯?不銹鋼尺寸／3.00X1.50? 吉祥文化/一禪畫符/作品/境隨心轉(zhuǎn)（視頻）?? ????????????李剛·一禪／雕塑家畫家書法家（生于新疆）原籍貫江蘇省徐州市1985年在中央美術(shù)學院油畫系學習1993在中央美術(shù)學院雕塑系助教研修班學習1995年在中央美術(shù)學院城市雕塑高級研修班學習（俄羅斯列賓美術(shù)學院庫巴索夫主講）曾經(jīng)任教新疆藝術(shù)學院1996年創(chuàng)辦新疆城市雕塑創(chuàng)作設計研究中心中國雕塑家學會理事中國當代雕塑研究院副院長中國工藝美術(shù)學會雕塑專業(yè)委員會委員匈牙利中旬美術(shù)家協(xié)會副主席新疆雕塑學會副會長北京城市規(guī)劃研究會公共環(huán)境與?雕塑委員會副主任原北京城市雕塑辦公室專家顧問????????????乙巳年2025年10月28日北京文／尚柔圖片/謫仙翻譯／心語總監(jiān)／一禪百度搜索“天垂象派構(gòu)建者”“雕塑家李剛”、“李剛立體主義”可以了解更多有關(guān)雕塑家李剛作品及藝術(shù)評論致謝“百度“支持致謝“抖音”支持部分圖片（視頻）來自“百度”“抖音”支持歡迎您互相交流相互支持誠摯建立一個良好的交流平臺，為能量文化做好自己北京通州區(qū)宋莊園領(lǐng)部落C幢4單元102室李剛雕塑藝術(shù)工作室AAbc?原創(chuàng)/中國藝術(shù)&線上國際感謝閱讀能量文化歡迎支持轉(zhuǎn)摘.轉(zhuǎn)發(fā)中國能量文化本?平臺無嘗為一線各類優(yōu)秀藝術(shù)家服務可在留言處留言

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文化的力量，“天垂象派”哲學維度與時代啟示

AAbc原創(chuàng) / 中國藝術(shù)&amp;線上國際

文化的力量，“天垂象派”哲學維度與時代啟示

AAbc原創(chuàng) / 中國藝術(shù)&線上國際