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近年来,中国画也像其他艺术品类一样,有一种分别向极工、极简演化的倾向。金鸿钧是向极工、极写实演变的画家。特别是他90年代的《生生不已》、《石壁榕根》一类作品,以繁笔密皴般的语言表现树木的老根和石壁之间的关系,不仅有一种新的肌理、新的视觉样式,不仅“言之有物”,更有一种“咬定青山不放松”的顽强的生命力孕含其间。这种情思和手法不是在画室里想出来的,是他到西双版纳,到那些深山老林里去观察和体验得来的,是一位画家对人世沧桑或者生命的感受,或者说这也同时表达了艺术与艺术之根的一种关系,颇耐人寻味。
In recent years, Chinese painting, like other art genres, has a tendency to separate itself from extreme labor and minimalism. Jin Hongjun is a painter who has devoted himself to the development of extreme work and extremely realistic writing. Especially in his works of “Life and Death” and “Stone Wall Ficus Roots” in the 90s, the relationship between the old root and the stone wall of the tree is expressed in a dense and dense language. There is not only a new texture and new vision Style, not only “there is something in the world”, but also a kind of “insisted Aoyama do not relax,” the tenacious vitality pregnant with the meantime. This kind of thinking and tactics is not come up in the studio, is he to Xishuangbanna, to those deep forests to observe and experience come, is an artist’s feelings of the vicissitudes of life or life, or that at the same time expressed A relationship between the roots of art and art, rather thought-provoking.