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李也青在北京画院中国美术学院“中国人物画高研班”深造的时候,已掌握了笔墨程式、构图章法及传统审美趣味那一套,他从导师那里学到的母语绘画语言,加上他长期对人物画操练的功夫,已具备“好的人物画家”的条件。当这位早熟沉思青年远离家乡开始了艺术苦旅时,也已将命运置入动荡裂变让人迷失的艺术周遭中。人物画是中国画变革中难解的科目,它并非仅仅对人物自然属性和心理属性的单向度解决,更在于突破传统笔墨程式这一集体沉积之后,个人语的创建和感性自由的呈现,且同时保留人物画之作为人物画的某些基本特征(当然,我们尽可质疑画种划分的必要性)。
Li Yeqing at the Beijing Academy of Fine Arts Chinese Academy of Fine Arts “Chinese figure painting seminar,” further studies, has mastered the pen and ink program, the composition of chapter law and traditional aesthetic taste that he learned from his tutor language painting language, plus His long-term practice of figure painting Kung Fu, already have “good figure painter” conditions. When this precocious young man began his artistic journey far away from home, he had also placed his fate in the midst of the lost and volatile art of turmoil. Figure painting is an intractable subject in the transformation of Chinese painting. It does not merely solve the one-wayness of the natural and psychological attributes of characters, but also presents the creation of individual words and perceptual freedom after breaking through the collective deposition of the traditional pen and ink programs At the same time, the portrait painting is preserved as some basic characteristics of portraits (of course, we may as well question the necessity of division of painting).