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浙江,山灵水秀之地。两宋及明,开风气,立画派。今观浙江八人(刘国辉、吴宪生、王赞、何加林、顾震岩、周晋、刘佳、叶文夫)画作,感其风物浸润之深,文化底蕴之厚,以为诚如邓福星先生笑语解之:杏花春雨看江南。江南,为文化类型学上一大概念,以地域为标尺,匡定风格。人对自然的即时经验渐成知识,而绘事必在某一知识体的结构性关系中。历来学者谈浙派特色,非止于山川之秀、人物之媚,且更重于笔墨之工细、气势之挺拔。南北宗之论者,将其归于北宗。“无论南北,只要有笔有墨,便是名家。”([清]钱泳《履园画学》)国画传统,以笔墨论高下;国画创新,以笔墨为动因。每每大家,于山川人物花卉,汲精采气,变化神思:动以笔墨,弃之陈规。浙派画家,向来从笔墨起家,唯形式是问。此八人画作,当不例外。
Zhejiang, Lingling beautiful place. Two Song and Ming, open culture, legislature school. This view of eight people in Zhejiang (Liu Guohui, Wu Xian-sheng, Wang Zan, He Jialin, Gu Zhenyan, Zhou Jin, Liu Jia, Ye Wenfu) painting, the sense of infiltration of the depth of its objects, thick culture, that as Mr. Tang Fuxing smile: Apricot spring rain look Jiangnan. Jiangnan, a major concept of cultural typology, with the region as a ruler, Kuangding style. People gradually become acquainted with the natural experience of nature, and painting must be in the structural relationship of a body of knowledge. Historically, scholars have talked about the characteristics of the Zhejiang school, not only in the show of mountains and rivers but also in the beauty of the characters, and more emphasis on the fine workmanship of the ink and brush. North and South Zongzhi theory, will be attributed to North Zong. “Regardless of the north and south, as long as there are pens and ink, it is a famous one.” ([Qing] Qian Yong “Park Painting”) The tradition of traditional Chinese painting is based on the theory of ink and brush; Everyone, in the mountains and rivers, flowers, learn from gas, changing mind: move to pen and ink, abandoned the rules. Zhejiang school painter, has always started from the pen and ink, the only form is asked. This eight-person painting, when no exception.