《香江畫刊》宇宙視野：羅唐生超驗繪畫九幅系列評論

罗初，罗鑫，唐鑫，张天

超验绘画鼻祖、香江画派领军人物谭延桐题

[香江畫刊]丨宇宙視野：羅唐生超驗繪畫九幅系列評論

這九幅羅唐生超驗繪畫系列，筆者將之命名為《九淵·升維手稿》。以下是這九幅作品擬定的題名，以及從「宇宙升維」視角切入的美術評論。

一、 系列題名（九幅）

· 圖1：《太初裂隙》

灰白底色被黑色凌厲的線條撕裂，彷彿宇宙大爆炸初期的時空「第一道裂痕」，閃爍著冰冷的幽藍。

· 圖2：《星燼狂舞》

藍與橙的強對比，打破了灰暗的沉寂。畫面猶如黑洞邊緣的吸積盤，恆星在解體前釋放出極度的熱烈與冰冷的糾纏。

· 圖3：《黑曜峰巒》

濃重的黑色墨塊堆疊成巨大的山峰或陰影，微小的橙、藍光點如孤懸的量子，象徵著虛無與厚重物質間的寂靜邊界。

· 圖4：《斷空極光》

對角線式的黑色長痕切割天際，亮藍色塊如高維宇宙的星門，在粗礪的肌理中爆發出超絕的穿透力。

· 圖5：《雲質息壤》

方形的構圖中，灰色如被揉皺的紙張或雲海。淡藍色的柔和浸潤，呈現出微觀宇宙般的靜謐與原始物質的流動。

· 圖6：《燃極生冰》

中央的藍色瀑布與橙色的火光交相輝映，線條如閃電般游走。這是宇宙能量的裂變與耗散，在極端中求得平衡。

· 圖7：《流光羽化》

筆觸化作流動的霧氣和光影，藍色與橙色拉出長長軌跡。畫面呈現出一種升維過後的輕盈感，如同靈魂脫離重力的束縛。

· 圖8：《荒原張力》

凝聚了極強的擴張欲望。黑色炭筆般的粗糙線條粗獷有力，是原始荒野在低維空間的怒吼。

· 圖9：《地脈青痕》

底部巨大的藍色色塊如深海中爆發的寒氣或地底的岩漿，上方的灰褐與黑線勾勒出風的形狀，似天地初開時的混沌動力。

---

二、 宇宙升維美術評論

羅唐生這組「超驗」繪畫，並非是在描繪我們肉眼可見的三維物理世界，而是直接介入了一場關於「升維」的感官實驗。

在傳統繪畫中，空間講究透視，色彩講究冷暖的物理明暗。而這九幅畫作，在視覺上構建的是一種「維度的震動」。我們能看到三個極其強烈的「升維」特徵：

1. 色彩升維：極寒與極熱的宇宙對峙

畫作摒棄了傳統的大紅大綠，而是大量運用冷灰、米白、煤黑作為「基底」，這代表著四維空間裡沒有色彩、只有本質的「虛空」。在此之上，他大膽嵌入了極冷的「鈷藍」與極熱的「橙紅」。這兩種高飽和度的色彩並非為了寫實，而是作為能量的具象——它們像星塵、像暗物質，在灰度中爆發，打破了視覺惰性，讓觀者的視線從「看畫」被迫升維到「感受能量」。

2. 筆觸升維：理性的撕裂與感性的暈染

羅唐生的線條極具攻擊性（如黑曜石般的銳利刮擦、閃電狀的折線），這些硬朗的幾何線在畫面中常常橫衝直撞，打破二維畫面的重心平衡。這彷彿是在模擬高維物體穿過低維空間時留下的「投影」與「截面」。同時，輔以大面積如雲霧、如流水的柔和暈染，這種「硬切割」與「軟融合」的雙重筆觸，賦予了畫面一種四維空間的視錯覺——時間與空間在那裡被揉碎重組。

3. 構圖升維：消解重力與透視

如果我們仔細審視這些畫作，會發現它們沒有明確的地平線、絕對的上下，甚至沒有明確的視覺中心。畫面是彌散性的、去中心化的。圖5的方型畫作甚至帶有一絲微觀（如細胞壁）與宏觀（如星雲）交疊的視角。這種捨棄了經典物理空間秩序的畫法，正是「超驗」的內核：它不依賴理性定義三維世界，而是將觀者拋入一個高維的、直觀的、充滿神性與生命力的混沌宇宙。

結語：

羅唐生的這九幅超驗之作，是一場從「物理感知」向「精神維度」的躍遷。他畫布上的裂痕、色彩與霧氣，超越了具體的意義，它們更像是宇宙在呼吸時留下的氣象圖，邀請我們在駐足凝視間，完成一次意識上的升維。

英文共频

Here is the English synchronized version of the previous editorial, formatted to maintain the same professional, gallery-style structure and artistic depth as the traditional Chinese piece.

---

Editor's Note [Hong Kong Pictorial] | Cosmic Vision: A Review of Luo Tangsheng's Nine Transcendental Paintings

The nine transcendental paintings by Luo Tangsheng presented here are collectively titled by this author as "The Nine Abysses: Manuscripts of Dimensional Ascension." Below are the designated titles for each piece, along with an art critique from the perspective of "cosmic dimensional ascension."

---

I. Series Titles (Nine Pieces)

· Figure 1: The Primordial Fissure

The grey-white canvas is torn by sharp, black lines, resembling the "first rift" of space-time during the Big Bang, glimmering with a cold, deep blue.

· Figure 2: Dance of Stellar Embers

The intense contrast of blue and orange breaks the silence of the murky grays. The image resembles an accretion disk at the edge of a black hole, where a dying star releases an ultimate interplay of fiery passion and icy entanglement.

· Figure 3: Obsidian Peaks

Heavy black ink blocks stack into massive mountains or shadows, while tiny specks of orange and blue hang like solitary quanta, symbolizing the silent boundary between the void and dense matter.

· Figure 4: Aurora of the Severed Void

A diagonal black scar cuts across the heavens. Bright azure blocks appear like stargates of a higher-dimensional universe, bursting with transcendent penetrating power amidst a rough, textured surface.

· Figure 5: Nebulous Breath of the Primal Soil

In this square composition, the gray resembles crumpled paper or rolling sea clouds. The soft infiltration of pale blue reveals a quiet, microscopic universe and the flow of primal matter.

· Figure 6: Ignition Born of Ice

The central blue cascade and orange flames interplay, while lines dart across like lightning. This portrays the fission and dissipation of cosmic energy, seeking equilibrium at the extremes.

· Figure 7: Flowing Light Ascension

The brushstrokes morph into flowing mist and light, with blue and orange trailing long trajectories. The painting exudes a sense of weightless lightness after ascension, like a soul breaking free from gravity's pull.

· Figure 8: Tension of the Wasteland

Bursting with a powerful will to expand, rough charcoal-like lines are robust and forceful, embodying the roar of a primal wilderness within a lower-dimensional space.

· Figure 9: Azure Scar of the Earth's Vein

The massive blue color block at the bottom feels like a frigid eruption from the deep sea or subterranean magma. Above it, gray-browns and black lines sketch the shape of wind, resembling the chaotic dynamism of the primal sky and earth.

---

II. An Art Critique on Dimensional Ascension

Luo Tangsheng's "transcendental" paintings do not merely depict the three-dimensional physical world we see with our naked eyes; rather, they directly plunge into a sensory experiment concerning "dimensional ascension."

In traditional painting, space is defined by perspective, and colors abide by the physics of light and shadow. However, these nine pieces visually construct a "vibration of dimensions." We can distinctly observe three powerful characteristics of ascension:

1. Color Ascension: The Cosmic Confrontation between Ultimate Cold and Extreme Heat

The works abandon traditional, gaudy primary colors, instead utilizing large swathes of cold grays, beige, and coal-black as the "substrate." This represents the "void" of a four-dimensional space—where color is stripped away and only essence remains. Upon this foundation, he boldly embeds extremely cold "cobalt blue" and blazing "orange-red." These highly saturated hues are not applied for realism, but serve as the embodiment of energy—like stardust or dark matter bursting forth from the grayscale, shattering visual inertia and forcing the viewer's gaze to ascend from "looking at a painting" to "sensing the energy."

2. Brushwork Ascension: Rational Tearing and Sensual Blending

Luo Tangsheng's lines are highly aggressive (evoking obsidian-like sharp scratches and jagged lightning strokes). These rigid geometric elements often charge across the canvas, disrupting the traditional balance of the two-dimensional surface. This mimics the "projections" and "cross-sections" left behind as higher-dimensional objects pass through lower-dimensional space. Simultaneously, paired with soft, large-scale washes that resemble mist and flowing water, this dual technique of "hard cutting" and "soft merging" creates a four-dimensional optical illusion—where time and space are shattered and reassembled.

3. Composition Ascension: Dissolving Gravity and Perspective

If we scrutinize these works closely, we find no definitive horizon line, absolute top or bottom, or even a clear visual focal point. The compositions are diffusive and decentralized. Figure 5, in its square form, even carries an intertwining of microscopic (like cell walls) and macroscopic (like nebulae) perspectives. This abandonment of classical physical spatial order is the very essence of the "transcendental": rather than rationally defining a three-dimensional world, it casts the viewer into a higher-dimensional, intuitive, and chaotic cosmos full of divinity and vitality.

Conclusion:

Luo Tangsheng's nine transcendental pieces represent a leap from "physical perception" to "spiritual dimensionality." The fissures, colors, and mists on his canvases transcend concrete meanings. They are more like meteorological maps left behind by the breathing universe, inviting us to complete a conscious ascension of the mind as we pause and gaze contemplatively.

香江画派超验绘画课题组

本栏目由香港书画院

文曲星立雪书院

巴洛克艺术中心

海峡少儿美育文曲基地

张雄美术网即得生态文曲实践基地联合主持