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我在大学里给留学生上了多年的书画艺术鉴赏课,在我印象中,他们提到最多的问题就是两个:一是宋体字为什么不是书法?二是画梅花为什么不能太像?每次回答的时候,总怕自己的解释不够清楚。前几天,巧遇老朋友老王,喝茶时我顺便向他请教这两个问题。他并没有直接回答,而是从他系统的笔墨观说起。当时没有记录,印象最深的几点大致如下:第一,笔墨不光是技巧问题,还是哲学问题。老王说,现在不少年轻的书画家在作品中大玩笔墨,为了达到满纸云烟的效果,一幅巴掌大的宣纸上,一会儿涨墨,一会儿
I have given many years to college students in painting and calligraphy art appreciation class, in my mind, they mentioned two problems are the most: First, why the body is not calligraphy calligraphy? Second, why not draw too much Plum? Each answer When, always afraid that their explanation is not clear enough. A few days ago, coincidentally met Pharaoh, when I was drinking tea, I consulted with him these two questions. He did not answer directly, but rather from the perspective of his system. At that time, there were no records. The most impressive points are as follows: First, ink and brush are not just technical problems, but also philosophical issues. Pharaoh said that now many young calligraphers in the works play pen and ink, in order to achieve the effect of clouds, a palm-sized rice paper, while ink, for a while