明丽清雅平和境--赏味刘亚璋的山水画

• 作 者: 贺万里
• 出 处: 美术界
• 发表日期: 2015年02期

记得是2008年前后,我和亚璋以及清代扬州画派研究会的诸位同仁,还有十余位研究生,一行前往浙江缙云采风写生。浙南山区,森林密布,除了山间溪流湍石,很少能够见到北方山脉那样裸露的巨岩,而遍被林木的连绵山岭,苔藓植物、蕨类植物、山茶树随处可见。这种林木葱郁的情景,让我不禁想起了陆俨少先生的山水画,他以留白云岚、墨点积连的方式表现浙南山川,从而有了创造性的山水语言。而我们习惯于表现传统式的株株杂树的画家往往无从措笔。

I remember before and after 2008, I and Aizhang and Yangzhou Painting School of the Qing Dynasty colleagues colleagues, there are more than a dozen graduate students, his party went to Zhejiang Jinyun Cai style painting. South of the mountainous area, the forest is densely covered, in addition to mountain stream turbulent rock, rare to be able to see the northern mountains as exposed rock, and over the forest of rolling hills, bryophytes, ferns, Camellia everywhere. This lush forest scene, I can not help but think of Mr. Lu Yan Shao landscape painting, he left the Baiyun Lan, dot plot Lianzong performance of southern Zhejiang mountains, so as to have a creative landscape language. And we are accustomed to the performance of the traditional strains of miscellaneous tree painter often can not do anything.