春梦与秋山
──尹朝阳的新绘画
苏轼写得缱绻：人似秋鸿来有信，事如春梦了无痕。这句诗意在阐释真实与幻梦间的流动界限，但却未能超越故人不见、又付招魂的感伤。
Article
春梦与秋山
Spring Dreams and Autumn Mountains: New Paintings by Yin Zhaoyang
In 1082, Su Shi elegantly wrote: ‘As a migratory goose heralds autumn’s arrival, so do events vanish like spring dreams without a trace’.
一挥成风斤
──尹朝阳作为“精神固体”的风景绘画
最近几年，尹朝阳的“风景画”已经成为中国艺术界的一个“现象”，或者说是一个绕不过去的“话题”。
A Stroke Transforms into Wind
Yin Zhaoyang and the Landscape of the ‘Spiritual Solid’.
Yin Zhaoyang’s landscape paintings have evolved into a phenomenon within the Chinese art scene, becoming an inescapable discourse.
Enduring Ambition: The Landscapes of Yin Zhaoyang
My disdain for the current fascination with what’s termed ‘national studies’ runs deep.
猛志固常在
──尹朝阳的山水
我对现在所谓的“国学”热是很反感的。如果对传统中最具人文内涵的部分丧失了阅读能力，而一味热衷于其生活方式、生存技巧之类表面
Fractures and Extensions:Yin Zhaoyang’s ‘New Sceneries’
In 2007, Yin Zhaoyang unveiled a collection of new sceneries, marking a pivotal shift in his artistic expression.
断裂与绵延
──尹朝阳的“新风景”
2007年，以一批新风景，尹朝阳加速了画风的转变。我们不禁产生这样的疑问，什么原因让尹朝阳中断了自己的风格
嚮往與心境
──尹朝陽的自我敘事
尹朝陽的風景畫訓練，最早可以追溯到1990年代前期，當時他仍在中央美院學習。
Longings and Mental States: The Self-Narrative of Yin Zhaoyang
The journey of Yin Zhaoyang into the realm of landscape painting can be traced back to the dawn of the 1990s, a time when he was immersed in his studies at the Central Academy of Fine Arts.
