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刘曦林(中国美术馆研究员)：在长安画派之后,陕西的画家怎么做?石鲁是超前的,他那“一手伸向传统,一手伸向生活的”的主张,今天有些画家还没意识到。石鲁把山当人来画,强调主观,强调自我。我觉得把黄土高原画出一种新的面貌是很不容易的,崔振宽经过了这么多年的探索终于找到了自己的路。崔先生的山水画那种苍厚的用笔,并不影响基本格调,还丰富了境界。崔先生除了苍厚的笔墨还有色调,这种赭和绿都不是中国古代那种浅绛加水很多的赭石或花青,而是干的赭石,干的墨绿,这确实是西北山河的一种苍厚的雄风。在崔先生的艺术中,写生、意象、抽象都有所表现,但是能寻出一种西北的味道来,感到一种丰富性的表现。崔先生大部分山水平面化的处理,有一种整体的效果和抽象性结构。
Liu Xilin (Researcher, China National Art Museum): After the Chang’an School of Painting, how did the Shaanxi painters do? Shi Lu is the advanced one. Some of his artists today are not aware of the idea of “one hand to the tradition and one hand to life” . Shilu mountains when people come to paint, emphasizing the subjective, self-emphasis. I think it is not easy to draw a new look on the Loess Plateau. Cui Zhenkang finally found his own way after so many years of exploration. Mr. Cui’s landscape painting kind of thick pen, does not affect the basic style, but also enriched the realm. In addition to Cang thick ink and color, this ocher and green are not the kind of light purple ancient China, a lot of water or ocher or cyanine, but dry ocher, dry dark green, which is indeed a kind of northwest mountains and rivers Thick and thick treasures. In Mr. Cui’s art, sketching, imagery and abstraction all show his performance. However, he can find a taste of Northwest China and feel a rich performance. Most of Mr. Cui landscapes have an overall effect and abstract structure.