论文部分内容阅读
郭:作为中国当代先锋水墨的领军人物,您怎么看待石鲁的作品?陈老铁(陈铁军,以下简称陈):石鲁不仅仅是长安画派的领军人物。不仅仅是地方面派的大师级人物,他的作品具有深远的国际意义,可惜我们当前的批评家没有认识到石鲁作为国际级大师的学术意义。石鲁的作品已经跨越了陕西黄土高原的区域文化。我们从他早期“转战陕北”“枣园”等主题性创作中,看到的是陕西本土文化属性,这时期他的作品处于他创作的中近斯孕育状态,这就像暴风雨来临前的某种准备,他真正震撼世界的作品是他的偏抽象的、偏表现的花鸟画、书法、山水画,这时期他的作品开始摆脱自然本身对他的束缚,从而呈现出表现主义的文化特征,这种非理性的、暴力的、强劲的、外张的使用大瘦金体的艺术语言,有力地提升了中国水墨从古典主义发展到现代主义的文化转型。这种提升的可贵之处,在于处于上世纪70年代封闭的状态里,石鲁并没有与波洛克、德库宁、毕加索等
Guo: As a leader of Chinese contemporary avant-garde ink and wash, what do you think of Shilu’s work? Chen Laotie (Chen Tiejun, hereinafter referred to as Chen): Shi Lu is not only the leader of Chang’an School of Painting. His works are far-reaching international significance, not only for the local face masters, but unfortunately our current critics do not realize the academic significance of Shi Lu as a master of international rank. Shi Lu’s work has crossed the regional culture of Shaanxi Loess Plateau. From his early works such as “fought in northern Shaanxi” and “Zaoyuan”, we can see that the local cultural attributes of Shaanxi Province are his works in the middle and proximal areas of his creation, which is like Some preparations before the storm, his real world-shaking works are his abstract, partial performance of the birds and flowers, calligraphy, landscape painting, during which time his works began to get rid of the shackles of nature itself, showing the expressionism This irrational, violent, powerful and out of thinly-grained artistic language has effectively enhanced the cultural transformation of Chinese ink painting from classicism to modernism. This promotion is valuable, is that in the closed state of the 1970s, Shilu did not and Pollock, Dekkonen, Picasso, etc.