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对于绘画我觉得自己最大的能耐莫过于对自然中撞击我灵感的一瞬有一种快慰的关照。在这一瞬我融汇在对象中,似梦非梦,感觉进入一种状态,一种欲望,一种唯恐即逝的表现欲,它诱惑我,驱使我…… 我作画素不起稿,比划、踌躇、更易。运思于下笔之前,临纸如临阵,作画如肉搏,恣意纵横:汗汗漫漫,一笔耕一笔扫,指头大的人头像也用大笔点成,不图形似,而求神韵。 在强烈的对比中求和谐。线的节奏,笔的力度、墨色的韵味,墨与色相破,渗透、融混、流淌,面与空间的变幻,构成一种律动。大笔淋漓,不拘细节而细节却意外地精到,绘制过程中的随机应变,情感与笔墨的交融,力求作品的“无复制性”。 画马之道古往今来大师辈出,流派纷
For painting I feel that my greatest strength is the comforting attention I have given to the moment when I hit my inspiration in nature. At this moment I blend in the object, like a dream, into a state of feeling, a desire, a kind of fear of fleeting performance desire, it seduces me and drives me ... ... I make a prime from the draft, gestures, Hesitant, easier. Before thinking about writing down, the paper comes to the fore, painting like melee, arbitrary aspect: sweat sweat long, a sum of a sweep, the big man with a large finger point into the point, not graphics like, and seeking charm. Harmony in strong contrast. The rhythm of the line, the force of the pen, the charm of the ink color, the breaking of the ink and hue, the infiltration, the blending, the flowing, the change of the surface and the space form a rhythm. Big dripping, detail and detail are unexpectedly fine, drawing the process of adaptability, emotion and the blending of ink, and strive to work “without duplication.” Draw the horse from ancient to modern master, genre