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漆的艺术,从悠悠远古传到了近万年后的今天,最值得称道的就是:它已从单纯实用美术的形态,兼有了纯艺术的内容。半个世纪以来,在中国,漆的纯艺术几乎就是清一色的平面漆画。但也有人认为,博大精深的中国漆艺,从来就是在立体和平面的广阔领域中展现和传承的。而其凝重的颜色、神妙的辉光,往往因体面的转折而更见精彩。所以他们认为现代的纯欣赏性的漆艺创作,不可局限于平面漆面,更应该研究立体造型。汪天亮就是这样一位另辟蹊径的漆艺家。
The art of lacquer has spread from the ancient time to the present nearly ten thousand years ago. The most commendable thing is that it has taken the form of pure and practical art with pure art content. For half a century, in China, the pure art of lacquer is almost an entirely flat lacquer. However, some people think that the profound Chinese lacquer art has always been demonstrated and inherited in the vast fields of solidity and plane. And its dignified colors, wonderful glow, often due to a decent turning point and even more wonderful. Therefore, they think that modern pure appreciative lacquer creation should not be confined to the flat lacquer, but should also study the three-dimensional shape. Wang Tianliang is such a different way of the paint artist.