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10年前,徐晓燕以她一组描绘旷野土地的作品一鸣惊人。她的《秋季风景》系列作品,以深沉、开阔与大度,使观众的精神为之一振。连续多年,在多次大型展览的作品评选中,徐晓燕的画获得一致赞扬。参与评选的人们并不是被徐晓燕的绘画技巧、形式语言所感动,而是因徐晓燕为中国画坛带来了人们所期盼的一种精神。这种精神包含着对自然与人的生命存在的正面思考,也包含着对艺术的意义与价值的正面回答。对自然的礼赞是中国文化的传统,古典诗人和画家思考和追求的最高境界就是人与自然的关系。唐宋山水画的核心精神就是对崇高、辽远的山水的赞颂和沉思。而这种赞颂的基础之一是山水本身所具备的崇高、深沉和静谧的品性。从吴道子、李思训到荆浩、李成、关仝、范宽,他们以崇敬的心态描绘高峻的山岳,这成为中国山水画的主流样式。20世纪的中国风景画受中西两方面艺术传统的影响,传统山水画和西方风景画的不同样式并行不悖。在油画创作方面,景物的历史人文内涵成为画家选择题材的出发点。吴作人的《黄河三门峡》,董希文的长征路线写生,吴冠中的井冈山写生是50年代风景画的代表作。20世纪80年代以后,与“乡土写实”绘画的兴起同时,风景画家开始在那些“未开化”的自然中寻求灵感,于是,寂静辽远的北方高山旷野进入中国风景画家的视野。朱乃正有名言:“中国的画家要画好画,非到西北不可”(大意)。他注意到中国现代绘画在精神力度上的欠缺。詹建俊、闻立鹏、张钦若、赵友萍、朱乃正、钟涵等人气魄雄健、大气磅礴的风景画作品,疏浚了久已壅塞的传统精神河川,使中国绘画形成新的风神气度。特别值得注意的是90年代中期出现的以北方原野为题材的风景画,靳之林、朝戈、徐晓燕、谭涤夫、丁一林、庄重、何卫等人都有这一类作品问世,但他们的风格和感情内涵不尽相同。靳之林以爽朗的笔法,表现阳光下积雪的群山,他的《陕北宜君大雪山》等作品,使人耳目一新;朝戈的《阳光下的克鲁伦》、《阴山辽远》以高视点俯瞰内蒙原野,在表现大地的辽阔无垠时
Ten years ago, Xu Xiaoyan made her a blockbuster by painting portraits of the wilderness. Her “Autumn Landscape” series of works, with deep, open and generous, so that the audience’s spirit of the vibration. For many years, Xu Xiaoyan’s paintings won unanimous praise in the selection of works of many large-scale exhibitions. The people who participated in the selection are not moved by Xu Xiaoyan’s painting skills and formal language, but because Xu Xiaoyan brings the spirit people look forward to for the Chinese painting circles. This spirit contains positive thinking about the existence of nature and human life, and also contains a positive answer to the meaning and value of art. Praise of nature is a tradition of Chinese culture. The highest level in which classical poets and painters think and pursue is the relationship between man and nature. The core spirit of the Tang and Song Dynasties landscape painting is the tribute and meditation on the lofty, distant landscapes. One of the foundations of this tribute is the lofty, deep, and serene nature of the landscape itself. From Wu Daozi and Li Sijun to Jing Hao, Li Cheng, Guan Tong and Fan Kuan, they depict the steep mountain with a revered mentality, which has become the mainstream style of Chinese landscape painting. The 20th century Chinese landscapes are influenced by the artistic traditions of both China and the West. The traditional landscape paintings and the different styles of Western landscapes go hand in hand. In the field of oil painting, the historical and cultural connotation of the scene becomes the starting point for the artist to choose the theme. Wu Zuoren’s “Yellow River Sanmenxia”, Dong Xiwen’s long march route sketching, Wu Guanzhong’s Jinggangshan sketching is a masterpiece of 50’s landscape painting. Since the 1980s, with the rise of “Native Realism” paintings, landscape painters began to seek inspiration in those “uncivilized” nature. As a result, the still distant northern mountain wilderness entered the field of Chinese landscape painters. There is a famous saying of Zhu Naizheng: “Chinese painters should paint well, not to the northwest” (effect). He noticed the lack of spiritual power in modern Chinese painting. Zhan Jianjun, Wen Lipeng, Zhang Qinruo, Zhao Youping, Zhu Naizheng, Zhong Han et al. Are magnificent and magnificent landscape paintings that dredge the long-congested traditional spiritual river and make the Chinese painting form a new feng shui spirit. Of particular note are the landscapes of the Northern Wilderness, which appeared in the mid-1990s, and Jin Zhilin, Zhao Ge, Xu Xiaoyan, Tan Tunfu, Ding Yilin, Zhuang Zhong, He Wei and others have come out of this genre, but their style And emotional content is different. Jin Zhilin with hearty style of writing, showing the sun under the snow-covered mountains, his “Northern Shaanxi Yijun Snow Mountain” and other works, refreshing; North Korea’s “Klulun under the sun”, “Yinshanliaoyuan” to high View point overlooking the Inner Mongolia wilderness, in the performance of the vast expanse of the earth