论文部分内容阅读
看理勤功的花鸟画,似有一种浓烈的生活气息和泥土芳香扑面而来;细细品味,他的花鸟画没有那种冷傲涩晦之感,没有奇峭怪诞的陈腐情趣,倒是在那含苞欲放的花蕊中,在绽开花朵的枝头上,让我们看到了欢悦、希望和盎然的春意。这一切都是因为画家自身是从沸腾的生活中走出来的,也都是因为他以一颗热爱生活、拥抱生活的心去驾驭灵感的;因而,他的作品都充溢着时代精神,都是诗化的结果。他以诗意的眼光看待生活,看待自然。所以,理勤功的花鸟作品极重意象的诗化意蕴,在他那诸多作品中,不论牡丹、梅花、菊花、竹、鸟儿等等,其给人感受都是对感性形象的神韵、情趣等的超越。最终结构为一种新的艺术境界。我们注意到,在那看似寥寥数笔的作品中,包含着画家在直观景物的刹那间地、同时地、完整地把握。而景物的形与神、景与情、形态与意味、外境与内境、外意与内意等,使欣赏者从画家及其作品那里获得了一种神奇的理解领悟与神领会心—即从描绘的花鸟对象那里把感知与领悟、观察与体验、目睹与心会、观看与发现等在瞬间同时聚焦实现。
Looks like Qin and Gong flowers and birds painting, it seems there is a strong atmosphere of life and the fragrance of the earth blowing; Savor, his flowers and birds do not have the kind of sense of cold and arrogant obscurity, Hanbaoyu spent the flower in the blooming branches of flowers, let us see the joy, hope and full of spring. All this is because the painter himself came out of boiling life, also because he was inspired by a love of life, embracing life; therefore, his works are filled with the spirit of the times, are The poetic result. He looks at life in a poetic way and looks at nature. Therefore, the poetic connotation of the imagery of the birds and flowers of Li Qin’s work, in many of his works, regardless of peony, plum blossom, chrysanthemum, bamboo, bird and so on, gives people the feeling of the sensual image of the charm, Beyond. The final structure is a new artistic realm. We notice that in the seemingly few works of writing, the painter contains the immediate, complete and complete grasp of the visual scene. The shape and the god of the scene, scene and love, form and meaning, outside and inside, external meaning and intention, so that the appreciator received a magical comprehension comprehension and God’s comprehension from the painter and his works - That is, from the objects of birds and flowers pictured, perception and comprehension, observation and experience, witness and mind, observation and discovery are all focused on in an instant.