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江西国画家杨石朗为人质朴木讷,不善交际,数十年来默默耕耘,自甘寂寞。数年前,他曾刻有一方闲章,印文为“百年以后人论定”。这是借用董其昌在《容台集》中记述的“元季四家”之一吴镇颇有自信,虽穷而不以所画媚世的一个典故,杨先生以此自勉。故事说:“吴仲圭本与盛子昭比门而居,四方以金帛求子昭画者甚众,而仲圭之门阒然,妻子颇笑之。仲圭曰:二十年后不复尔。果如其言。” 如今,使杨石朗感到欣慰的是他的作品已经得到社会的承认。今夏他在中国美术馆举办个人画展,出乎意料地获得行家和观众们的赞誉。中国美术馆馆长刘开渠先生说:“杨石朗的画传统功夫很深,在传统的基础上有创新。中国画要做到既有传统,又有新意,很不容易。”著名山水画家李可染对杨石朗说:“今天我连看了三个展览,不过你的画我是一张一张
Yang Shilan, a painter in Jiangxi Province, is a pristine man with a poor personality and has been working quietly for decades. A few years ago, he engraved with a loose stamp, printed text as “a hundred years later,”. This is borrowed from Dong Qichang’s “Rongtai set” recorded in the “Quarter Four,” Wu Zhen quite confident, though poor and not drawn by the pro-world an allusion, Mr. Yang as Mianzui. The story said: “Wu Chung-kwan and Sheng Zhaosu than door, the Quartet in the gold and the cloth of Prince Zhao who is very popular, and Chung-kyu’s door suddenly, his wife rather smile.Zhonggui Yue said: twenty years after the complex. As its words. ”Now, Yang Shilang feel pleased that his work has been recognized by the community. This summer he held a solo exhibition in the National Art Museum of China, surprisingly gaining acclaim from experts and audiences. Liu Kaiqu, curator of China National Art Museum, said: “Yang Shilang’s traditional painting tradition is very deep and innovative on the traditional basis. It is not easy for Chinese painting to be both traditional and innovative,” said Li Keran, a famous landscape painter, to Yang Shilang : "Today I even read the three exhibitions, but you painted me one by one