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回首二十世纪的中国画坛,在竞相标榜“巨匠”、“大师”的人流中,有一位默默寡语,潜心于他的艺术之中,呕心直言自己的真情实感。他也只是将自己比作一棵生命的小树,“纵然不开花,不结实,而不得到人们的欣赏和爱护,我的精神,仍是永远地埋藏于这个艺术的园里”。他,就是蒋兆和。蒋兆和从不自命不凡,却创作了不同反响的艺术。他确如一棵长青的大树屹立在二十世纪中国美术的史册上。我认为,蒋兆和能在艺术上达到如此的高度,源于其作品的巨大感染力。而这种不凡的感染力又是来自其作品中的一种深邃的精神。这种深邃的精神使得先生的画作具有最沉雄的艺术力量,使之远远超出一般概念化或叙事性的作品。我把这种精神性表现之所以动人归因于艺术家情感表达的真实性。蒋兆和的艺术人生以真诚为基点。他真诚地对待自己,真诚地对待艺术,真诚地对待他赖以生存的时代。最终,蒋兆和以自己的真诚,换
Looking back on the 20th century Chinese painting circles, there is an inaugural language among the crowd of people who are competing for “Master” and “Master.” They devote themselves to his art and make their own feelings. He only compared himself to a tree of life. “Even if it does not flowering or fruiting, it will not be appreciated and loved by people. My spirit is still forever buried in the garden of art.” He is Chiang Kai-shek. Chiang Kai-shek and never self-proclaimed, but created a different response to the art. He is indeed an evergreen tree standing in the annals of Chinese art in the twentieth century. I think Chiang Kai-shek can achieve such an artistic height by the immense appeal of his work. And this extraordinary appeal comes from a profound spirit in his work. This profound spirit has enabled Mr. Cheng’s paintings to have the most profound artistic power that goes far beyond the general conceptual or narrative work. I attributed this spiritual expression to the authenticity of the artist’s emotional expression. Jiang Zhao and the art of life in good faith as the starting point. He treats himself sincerely, treats art sincerely, and treats sincerely his era of survival in good faith. In the end, Jiang Zhao and his own sincerity, change