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本来“知人论世”是中国古代文艺批评的一大传统,但笔者并不想从画家履历的角度切入去解读唐勤的绘画。不是对她不了解,而是因为在我看来,唐勤的画绝不是私密化、仅仅对她个人而言才有价值的东西,她的作品即使同她的个人身份和经验剥离开,也能获得读者的认同。因此,我完全从画面出发,从自己的观画体验和知识经验出发来阐释她的作品。我更愿意把我的阐释看作一种发现,是因受其作品的激发而产生的种种体验、联想与思考。至于是否符合画家本人创作初衷也许并不重要,因为作品一旦诞生,从某种意义上就获得了它自己的生命,读者诸君包括画家本人或许对笔者的阐释有些许认同也未可知。一般说来,风格化是一个艺术家成熟的标志,唐勤显然已经很好地做到了这一点。
Originally, “knowing people on the world” is a tradition of ancient Chinese literary criticism, but I do not want to cut from the painter’s resume point of view to interpret Tang Qin’s paintings. Not because she did not understand her, but because it seems to me that Tang Qin’s paintings are by no means personal and only valuable to her personally. Even her work is peeled away from her personal identity and experience Can get the reader’s approval. Therefore, I completely set out from the picture and set out from her own viewing experiences and knowledge experiences to explain her works. I prefer to see my interpretation as a discovery, because of the experiences, associations and reflections of the works inspired by it. Whether or not it conforms to the original intention of the artist himself may not be important because once the work is born, it obtains its own life in a certain sense. It is not yet known to the readers, including the painter himself, that the artist himself may somewhat interpret the author. In general, styling is a hallmark of an artist’s maturity, and Tang Qin apparently did exactly that.