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中国山水画在传统形式向现代形式转换的过程中,存在着诸多的困惑。一方面,传统山水画丰厚的积淀使得画家在进行艺术探索中,无法绕开沉重的背景;另一方面,现代社会的丰富多变常常使我们内心产生无所适从的迷失,笔墨形式如何表达依然折磨着画家的艺术思考。韩步勇的画作立意精巧,没有山水画中常见的奇峰峭壁、苍松怪石、秀木飞泉,没有点缀其中的高人隐士、茅舍溪桥、沉沉苍山,而是把视角投入一坡一岭、一丘一壑、
Chinese landscape painting in the traditional form to the modern form of conversion process, there are many confusion. On the one hand, the rich accumulation of traditional landscape painting makes the painter unable to bypass the heavy background during the exploration of art. On the other hand, the richness and diversity of modern society often make us lost in our heart, how the expression of brush and ink still afflicts the painter Artistic thinking. Han Buyong’s paintings are ingenious and sophisticated. There are no Qifeng cliffs, bonsai rocks, Xiu Mu Fequan common in landscape paintings. There are no high hermits, cottage bridges and heavy Cangshan. Instead, A gully,