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1994年,我在《东方书画》创刊号上撰文,剖析当时山水画的若干问题,曾指出青绿山水乏人研究,福建老画家杨启舆毅然放弃水墨转攻青绿,颇有建树,令人感佩。8年过去了,杨老的艺术更臻成熟,而全国的青绿山水却依然沉寂,使他在寂寞中凸显独特性与重要性。 山水画自东晋滥觞起,就以青绿为主色,那是大自然的本色,也是中国古代人民理想中的自然应有的色彩。青绿山水在唐代成熟并达到鼎盛,至宋代又出现第二个高峰,从此开始衰落,原因在于水墨画的崛起。水墨山水画起源于盛唐,五代两
In 1994, I wrote an article in the first issue of “Eastern Calligraphy and Painting” and analyzed some of the problems of the landscape painting at that time. I pointed out that the study of the lack of landscape in Qinghai and the admiration of the old painter Yang Qiyu of Fujian Province for abandoning ink and wash of green color. Eight years later, Yang Lao’s art has become more mature, while the country’s evergreen landscape remains silent, making him unique and important in loneliness. Landscape painting since the beginning of the Eastern Jin Dynasty, the green color to the main color, it is the nature of nature, but also the natural ideal of ancient Chinese people in the color. Green landscapes matured in the Tang Dynasty and reached its peak, to the second peak appeared in Song Dynasty, began to decline, because of the rise of ink painting. Ink and Wash Landscape originated in the Tang Dynasty, Five Dynasties and two