论文部分内容阅读
乐泉(中国文艺评论家协会理事、中国书法院研究员):与俊东面缘极少,当然对他的长处,了解也不够。近七八年中,有过短暂的几次接触。我喜爱他的爽朗,坦率,无形中被其谈吐所感染。我在其赠送的画册中,知他擅长写意水墨,文章平实,时见襟怀,修为很不错。我平时不出门,见到的书画家也少。然而,俊东却让孤陋寡闻的我,留下较为深切的印象。中国画历来讲究用笔,藉以写意、写心,乃至传神。这个“神”字,便是作者心相的还原。纵观当下画坛,尝若以此标准来衡量一个画者,或一件作品的优劣,难免困惑。往往画中见形不见笔,满纸烟云却笔不见性。不注重藉笔墨传神,已成为当下中
Lequan (Director, China Literary Critics Association, Researcher, Chinese Calligraphy and Calligraphy Institute): There are few facets with Jun Dong, of course, his strengths and understanding are not enough. Nearly seven or eight years, there have been several brief contacts. I like his hearty, frank, virtually infected by his conversation. In the book she presented, I knew he was good at freehand brushwork, the article was plain, the time was hard-pressed, and the repair was very good. I usually do not go out and see fewer calligraphers. However, Jun Tung let ignorant me, leaving a more profound impression. Chinese painting has always pay attention to pen, to freehand, writing heart, and even vivid. This “God ” character, is the author of the psychological restoration. Looking at the current art scene, try to use this standard to measure a painter, or a work of the pros and cons, it is inevitable confusion. Often see the picture invisible pen, full of paper clouds but not foreseeable. Do not pay attention to borrow ink pen vivid, has become the moment