论文部分内容阅读
对我来说，对着模特儿。也许是人物画的“现代造型观念”与“老写”总是顶牛夹生地相处不好;也许是充斥画坛的洋腔洋调与“老写”言语不通,话不投机,也许……。然而,处来处去,我还是觉得“老写”实在是个英明而宽厚的高手,一旦与它亲近了,它能让你脱胎换骨,大获益处。所谓大疑大悟者也。 写是一个且大且小,且明且暗,且虚且实的活物。它是法,亦无定法,或行于画内,或游于画外,乃由心而出,对人对画,皆呈大观照。“写”出自于“书”,落在画里,则有个取其何处,用其何方的问题,这一点,虽然是见仁见智,可以各持一说。但我以为,写在画里是一种绵延流动的、活生生的惯性,从“书”到“画”,它必须既“立地成佛”,又“入乡随俗”,心法要定,身法要活。实际动作时,则宁大勿小,宁暗勿明,宁虚勿实。此外,若舍去了这一层活动的精神,或贫困潦倒,或远遁他乡,不在话下。
For me, facing the model. Perhaps the portrayal of “modern styling” of portraits and the “old writing” always get along well with the cow. However, it is perhaps the case that the foreign language full of painting circles is incompatible with the “old writing.” However, everywhere I go, I still think that “old writing” is really a wise and generous master. Once it is close to it, it can make you reborn and benefit greatly. The so-called suspicious person also. Written is a large and small, and bright and dark, and false and real living creatures. It is a law, there is no fixed law, either within the painting or traveling outside the painting. “Write” from the “book”, falling in the painting, there is a whichever place to use the question of what side, although it is a matter of opinion, you can hold one. However, I think writing in the painting is a kind of flowing and living inertia. From “book” to “painting”, it must be “established Buddhahood” and “practiced as usual”. The actual action, then rather big small, rather dark unknown, rather virtual not real. In addition, if we abandon the spirit of this layer of activity, or impoverished, or far away from hometown, without exception.