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清代著名画家戴熙淡绘画之审美体验时认为,画有令人喜者,有令人惊者,有令人思者。我认为王明亮先生的作品应属于第二种。其韵趣之跃然,情思之飞动,意兴之勃发,的确令人惊叹不已。在面对王明亮先生的作品时,我首先被他那把握物象的方式和能力所打动。无论是花鸟虫鱼还是山水人物,都不着力于物象的观察描绘,而是最大限度地关注形式本身的感人力量,以形式调动神似及其相关的一切视觉形迹。他笔下的禽鸟、游鱼,无不进行出人意想的变形和精练,在率性的点写中,显示出激越险仄的味道,将有形的实体包蕴于干湿浓淡、粗细疾徐的笔墨张力中。荷花小鸟,枝头青禽,古木顽石,如同打开一道道水墨的大门,还原出浑化未开、初始末凿的朴与真《鱼乐图》中那相对应的两条游鱼,一屈一伸,互相注目,皆现出讶异之神色,其活泼之态与笔墨之脱略、离披,都让人感受到瞬间突现、顷刻即逝一样的来去无踪。如古人所说,以形似之外其求画则形似在其间矣。
The aesthetic experience of the famous painter Dai Xitian in the Qing Dynasty argues that there are striking, shocking and thought-provoking things to draw. I think Mr. Wang Mingliang’s work belongs to the second category. Its rhyme of the vibrant, emotionally moving, prosperous prosperous, really amazing. In the face of Mr. Wang Mingliang’s work, I was first touched by his way and ability to grasp the object. No matter whether it is a flower, bird or fish, or a landscape figure, neither focuses on the observation and depiction of objects, but focuses on the touching power of the form itself to mobilize the similarities and all visual traits associated with it. His birds, fish, all the unexpected deformation and refining, in the rate of point writing, showing the danger of exacerbated the flat taste, the tangible body wrapped in dry and wet shades, thick and thin Tension in the pen and ink. Lotus birds, branches and birds of poultry, ancient wood stone, as a way to open the door of ink, restore the muddy is not open, the initial end of the chisel Park and True “Fish Music” that corresponds to two fish, Reciprocating and observing each other, they all showed astonishing looks. Their vivacity and their indifference and dismissal all made people feel the sudden appearance of a fleeting moment without any trace. As the ancients said, in the shape of the outside of their drawings are similar in the meantime carry on.