Ying TianQi 應天齊

應天齊早年曾從事木版畫創作，以安徽皖南古鎮西遞村的古建築為題，回應深厚文化傳統在當代的處境，並寄託對歷史文化的感懷。 代表作《西遞村系列》奠定了他在中國版畫界的重要位置。

Beginning with woodcut printmaking, Ying TianQi focused on the architectural memory of Xidi Village in southern Anhui. The series registers how cultural inheritance meets the conditions of the present—establishing his standing within contemporary Chinese printmaking.

在《西遞村系列》中，純黑色域與皖南民居古建築並置；現代抽象構型與古典具象寫實交疊。 這種並置並非形式遊戲，而是讓理性與感性在同一畫面中交織；最終導向 1994 年的《告別西遞》。

In the Xidi Village works, pure black fields stand beside vernacular dwellings; modern abstraction interlocks with classical figuration. Reason and feeling are held in tension, culminating in the pivotal moment of Farewell to Xidi (1994).

告別不是結束，而是超越。應天齊由「繪畫／版畫」的單一範疇轉向思考當代文化在歷史進程中面臨的問題， 亦反思在攝影與現代印刷複製技術影響下，版畫藝術的文化功能與價值。

Farewell is not an end but a passage. From this point, his practice turns toward questions of contemporary culture and the role of printmaking under the conditions of photography and modern reproduction.

他長年對材質的思考與駕馭，在新作中得到更大發揮：實物拼貼、木版紋理、色料手繪的綜合媒材， 形成二維平面與三維空間共生的視覺效果。

His long engagement with material intelligence expands into mixed media: collage, woodcut grain, and hand-applied pigment. The result is a surface where the flatness of painting and the pull of space are experienced at once.

在應天齊的現代繪畫中，黑色的運用具有清楚的文化象徵：它莊重、肅穆、儒雅，也承載歷史的重量； 在大片黑色的沉著之中，觀看被引向更深的時間層。

Black is never incidental in Ying’s work. It carries cultural gravity—solemn, composed—holding the weight of history and slowing perception into depth.

2001 年 1 月 1 日新世紀到來的零點，應天齊在深圳大學校門口舉辦「砸碎黑色」行為藝術， 並將破碎的黑色玻璃圖形印製成《碎裂的黑色》系列。黑色裂痕之中顯現白色的光感—— 正如藝評家王林所言：「對應天齊而言，裂縫是一絲亮光，也是一種解脫。」

At the turn of the new century (Jan 1, 2001), Ying enacted “Smashing Black” outside Shenzhen University, later printing the shattered forms into the Fractured Black series. From within the fissures, light appears—an opening, a release.

以下為精選預覽；如需完整作品與文件，請依程序私洽現代畫廊。

Selected preview only. For full works and documents, please contact Modern Art Gallery via private inquiry.