论文部分内容阅读
贺成是继新金陵画派傅抱石古典人物画的后起之秀,所不同者傅抱石是钟情于魏晋南北朝的历史故事并以此为素材。技法上则采用顾恺之的高古游丝描法,以线为主来刻画人物,其造型力求高古。而贺成是从泼色泼墨中以线为破法,常以唐诗宋词为主题依托。除高人韵士之外,更长于表现婉约优美的妇女形象,因此他的古装仕女, 既有发思古之幽情的地方,也有近代人物的美感、诗感、色彩感而贴近时代。在贺成笔下,善于张扬一种隐士风和女性美。我以为任何美术家中的才智之士,对于前人的继承只能增益,万不能割断,贺成是深明这一点的。贺成既有对古诗、古词、古人物画的醉心追摹,也有新艺、新风、新笔墨。
He Cheng is the rising star of the new Jinling School of Painting Fu Baoshi classical figure painting, the difference is that Fu Baoshi is in love with the history of the Wei, Jin and Northern and Southern Dynasties and as a material. Techniques are based on Gu Kai’s ancient ancient silk slimming method, the main character to describe the character, its style and strive to high ancient. The He Cheng is from the splash ink to break the line, often based on the theme of Tang poetry and Song. In addition to being a human being, the image of a woman is graceful and graceful. Therefore, his costume ladies have both modern and ancient beauty, poetic sense and color sense. In He wrote, good at publicizing a hermit style and female beauty. I think that the wise men in any artist can only gain gains in the inheritance of their predecessors and must not be severed. He Cheng understands this. He has both ancient poetry, ancient words, ancient paintings obsessed with tracing, but also new art, fresh air, new ink.