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1997年5月,香港回归前夕,我参观了一个不平常的画展,就是李延声创作的《魂系山河》画卷的展览。当我走近展厅,首先被六十多米的空前巨著的强大气势、张力和沉沉的历史感所震撼。细细观赏后,我又为画面所表现的强烈的艺术感染力所深深感动。这是我参观画展极少有的感觉。为此,我当场表示,要为这样艺术巨构写点什么。我不想就作品好在什么地方,作太具体的分析,这可以留给评论家去做文章,只想作为一个画家,一个同是人物画的同行,来谈几点感想。第一,我为画家的魄力与勇气、不赶时髦不追潮流的精神叫好。中国画在80年代,向西方现代派学习是大潮流,追求前卫、先锋是时髦。90年代以来,进入艺术市场成为一个大潮流,而以笔墨中心论的回归传统,又成为新的时尚。十多年来,种种原因使
In May 1997, on the eve of the reunification of Hong Kong, I visited an unusual exhibition, which is an exhibition entitled “The Soul and Mountain Rivers” created by Li Yan Sheng. When I approached the exhibition hall, I was shocked by the powerful momentum, tension and deep sense of history of the unprecedented monumental works of more than 60 meters. After watching carefully, I am deeply moved by the intense artistic appeal expressed by the picture. This is a very rare feeling of visiting the exhibition. For this reason, I said on the spot that something should be written for such an artistic giant. I do not want to make too specific analysis of where works are good, which can be left to commentators for an essay. I just want to talk about feelings as an artist and a colleague of portraits. First, I applaud the artist’s courage and courage, not to catch the trend of fashion without chasing the trend. Chinese Painting In the 1980s, learning from the Western modernists was a major trend, the pursuit of avant-garde, pioneer is fashionable. Since the 1990s, entering the art market has become a big tide, and the return tradition of writing-centered theory has become a new fashion. For more than a decade, for various reasons