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我画中国山水画,注重气势、厚重、深度、情调四者合一。中国古代对中国山水画意境,大多在“势”。我国宋代绘画在技巧上已全面成熟并注重精微度。我从范宽山水画中得到很大启发。范宽的山水画,在整体上体现了充实、严密、一丝不苟的写实画风。在审美角度上,注重情理,体现了诗意之妙趣。看他的画(特别是代表作《溪山行旅图》)的完美体现,看他的画“开门见山,顶天立地,山如铁铸,坚不可摧,让人震撼”。多少年来,我在中国山水画构图上,力求整体,注重表现山的巨大力量,强周山体的强度与张力。尽量膨胀,尽量往深度画,这就是山的精神,山的无穷生命,绝不是山的外形表面。在观察处理上,近景
I draw Chinese landscape painting, pay attention to the momentum, thickness, depth, the mood of the four in one. Ancient Chinese landscape painting mood, mostly in “potential ”. The techniques of the Song Dynasty paintings in our country have been fully matured and focused on the subtlety. I get great inspiration from Fan Kuan landscape painting. Fan-wide landscape painting, on the whole reflects the full, tight, meticulous style of writing. In the aesthetic point of view, pay attention to reason, embodies the poetic charm. Look at his paintings (especially the masterpiece “River Travel”) the perfect embodiment of his painting “go straight to the point, topless, mountain iron cast, indestructible, people shocking.” In the past few years, on the composition of Chinese landscape painting, I have tried my best to focus on the great strength of the mountain and the strength and tension of the mountain. As far as possible expansion, as far as possible to draw, this is the spirit of the mountain, the infinite life of the mountain, not the appearance of the mountain surface. In the observation and processing, close-range