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长槐画山求其动,画水则求其活。水流有声,每观长槐画水之作,总似有喧声在耳畔作响,我不知凡亲临过水畔的人见到他的这些作品是否都会有此通感。 在长槐作品中,或小溪潺潺,或水平如镜,或远水接天,或激流飞溅,或高瀑直泻,或白浪齐涌,总之,几乎无一幅没有水。80年代初,长槐画水还偏重于具象摹写。在当时所绘的《一江春水来》中,对江水波纹的描绘,便是如此。而《一叶轻舟入胜来》和《长征古道》中的水,还有概念化之嫌。及至十年之后,画家寻到了自己独有的表现水的样式。 贵州多瀑布。长槐画瀑布时,未依傍古法“旁渍色而水自明”,靠加重周围山石衬托,而是
Longhuai painting Hill seeking action, drawing water is to live on. Sound of water, each painting for a long Sophorai painting, there seems to be noisy ringing in the ear, I do not know anyone who met his waterfront to see these works of his will have this sense of sympathy. In the works of Chang Huai, or brook murmur, or level as a mirror, or distant water pick-up, or splash, or high waterfall straight diarrhea, or whitewater waves Chung, in short, almost no water. In the early 1980s, Chang Huai still drew more attention on figurative painting. At the time of the painting “a spring river”, the description of the ripples of the river, is so. The “one leaf Qingzhou to victory” and “Long March Trail” in the water, as well as the concept of suspicion. Until ten years later, the painter found his own style of expressing water. Guizhou more waterfalls. Longhuai painting waterfalls, according to the ancient law, “next to the color of the water and self-evident”, by increasing the surrounding mountain rocks set off, but