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一丁中一先生的山水有种雅致的气息,仿佛王渔洋的诗歌和董其昌的绘画,让人想起那个雅道尚存的古典时代,想起文人化了的吴江山水和江南韵致。他不是复古主义者,他的绘画也非南宗嫡传,但他的山水作品却传达出不随时间流逝而湮灭无痕的意蕴——那是久已陌生却令人一见如故的境界。中国画在现代化的进程中,走得已远。在民族的保守复古和国际的全球化两种形式主义交互激荡下,许多人笔下的中国画已经失去了作为民族艺术的精神传承和吐故纳新。评论丁中一先生的山水绘画,依然基于我的一贯认识:一种艺术真正意义的穷途末路,不是形式的改变,而是精神的失守。丁中一先生的山水画创作,在包括笔墨在内的形式上,并不一定讨得那些复古主义者的激赏,也不一定会得到
Mr. Ding Zhongyi’s landscape has a kind of elegant atmosphere, as if Wang Yuyang’s poetry and Dong Qichang’s paintings reminiscent of the surviving Ya-era classical era, remembered the literati of the Wujiang landscape and southern charm. He is not a retroist, nor is his painting an ancestor of Nanzong, but his landscape works convey the implication of not being oblivious as time passes - a long time ago but a once in a lifetime sight. Chinese painting has gone a long way in the process of modernization. Under the interaction and agitation of the two nationalist conservative traditions and the international globalization formalism, many Chinese paintings have lost their spiritual heritage and extroversion as national arts. Commenting on the landscape paintings of Mr. Ding Zhongyi is still based on my consistent understanding that the end of the real meaning of art is not a change in form but a fall in spirit. Mr. Ding Zhongyi’s landscape painting, in the form including the brush and ink, does not necessarily appeal to those who appreciate the relics, will not necessarily get