论文部分内容阅读
宋文治:保文具有极强的写实能力。长期以来,他坚持到真山真水中画速写,练就了一手硬功夫。他深悟传统手法“目极心传”的体悟。傅抱石先生写生是先记对象的一个大概,回来后认真默记;李可染先生则要画七成后再在定稿时仔细推敲;至于历代画家如范宽、黄公望等大师们不论用何种方法观察记录,几乎每一个有成就的山水画家都得益于写生。保文正是从大师们成就中感悟到这一点并付诸实践的。保文的速写不是如实地记录生活,而首先立足形似,并在形似基础上用夸张浪漫的手法去表现对象的神韵。我认为现实主义和浪漫主义的结合,是保文速写与国画之间的创作原则。魏紫熙:保文的实践正在于他师法古人师法造化的同时,有着坚实的中西绘画的功力和全面的文化素养。在探索中国山水画的传统过
Song Wenzhi: Baowen has a strong realistic ability. For a long time, he insisted that true mountain water paintings sketches, practiced hardcore hand. He deeply comprehends the “super-hearted” understanding of traditional techniques. Mr. Fu Baoshi’s sketch was a presupposition of an object. He came back and listened silently; Mr. Li Keran drew 70% of the painting and then carefully scrutinized it for finalization. As for the ancient masters such as Fan Kuan and Huang Gongwang, Observing records, almost every successful landscape painter has benefited from sketching. It is from the achievements of masters that this is something that Baoguang realized and put into practice. Paul’s sketch is not a true record of life, and first of all based on the shape, and on the basis of the shape with exaggerated romance to show the charm of the object. I think the combination of realism and romanticism is the principle of creation between the sketch writing and Chinese painting. Wei Zixi: The practice of Baowen is based on the fact that when he taught Falun Gong teachers, he made a solid contribution to the skill of Chinese and Western painting and comprehensive cultural accomplishment. In the exploration of traditional Chinese landscape painting too