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马骏的绘画,跟元明清以后的文人画不同。他的绘画中有高古的痕迹,用笔用线,不像是在软材料上附着的那种线。一般的年轻人不会太较真,但马骏却很计较对特种纸的把握,对线的质量要求,这是很难得的。这种骨子里的好古,不是学院给他的,从他的绘画里看不到太强的学院气。我想这和他喜欢收藏有关,影响马骏的东西是金石和瓷器,所以他的用线有一种石刻的味道和力量,厉害的是他能把这种力量转换到宣纸上。同时也是因为收藏,马骏的眼力很好,格调也很高。他的审美可以说是站在巨人的肩膀上,老成但不迂腐,构图形式上有他的个性,好像老树开新花一样。
Ma Jun’s paintings are different from literati painting after the Yuan, Ming and Qing dynasties. His painting contains traces of ancient antiquity, pen lines, unlike the kind of lines attached to soft materials. Ordinary young people will not be too serious, but Ma Jun is very careful about the grasp of specialty paper, the quality requirements of the line, it is very rare. This kind of bones in the ancient, not college gave him, from his paintings do not see too strong academic atmosphere. I think this is related to his favorite collection. The things that affect Ma Jun are stone and porcelain, so his line has a kind of stone flavor and strength. What he does amazingly is that he can transfer this power to rice paper. At the same time also because of the collection, Jun Ma’s eyesight is very good, style is also high. His aesthetic can be said to stand on the shoulders of giants, old but not pedantic, the composition of the form of his personality, like the old tree like a new flower.