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习书画者对“画外功夫”、“字外功夫”当不陌生,倒是“盆外功夫”的提法有点牵强了。然而读了南通尤无曲老人的盆景后(见《中国花卉盆景》2000年第10期),不但更坚信艺相通的至理,且以为对“盆外功夫”的明确肯定,对日趋僵化的盆景创作不无启示意义。老人是位画家,盆景我只当作是他的“画余”。与圈内人相比,他的作品具有一种独然的气息。正如画家书法一样,脱于理法,首重精神,虽形式稍有不逮,却气韵生动;不像书家书法自始尚法度,常因
Xi calligraphy and painting on the “Kung Fu painting”, “Kung Fu Word” is not unfamiliar, it touches on “pots Kung Fu” a bit far-fetched. However, after reading the Nantong Youguai bonsai (see “China Flower Bonsai” 2000 No. 10), not only more convinced that the arts are connected to the truth, and that the “pots Kung Fu,” a clear affirmation, the increasingly rigid Bonsai creation is not without enlightenment. Elderly is a painter, I only used as a bonsai is his “picture Yu.” Compared with the insiders, his work has a unique atmosphere. Just as the painter’s calligraphy, from the law, the first emphasis on the spirit, although the form of slightly less than uncomfortable, but elegant and lively; unlike the calligrapher law, often due to