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我对曾健勇作品的第一印象应属他笔下所流露出的那种特有的现代水墨精神。在其之前的作品系列里,常常可以看到各种现代人物形象的缩影,而少有关于过去的或抽象的存在。但于本次展览《迷路》中,曾健勇改变其一贯作风,脱离了人物和动物等表现主题,致力于呈现一片幽邃的山水风貌。在我的理解中,自然风景画是中国(东洋)绘画的原点所在,也是至今仍广为好之的题材之一。由于曾健勇在人物系列上
My first impression of Zeng Jianyong’s work should be the unique modern ink and wash spirit that is revealed in his works. In its previous series of works, it is often possible to see the microcosm of various modern portraits, with little about past or abstract existence. However, in the “Lost Path” of this exhibition, Tsang Kin-yung changed his usual style and deviated from the performance themes of figures and animals and devoted himself to presenting a secluded landscape. In my understanding, natural landscape painting is the origin of the painting of China (Toyo) and is one of the subjects that are still very good. As Zeng Jian Yong character series