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大凡读过聂干因画的人,都会有这样的一和感觉,他的画轻松随意、自由自在,丝毫没有那些立志“创新”的水墨画家作品中的紧迫之感。在他的画面中,形式和色彩都只是给人们提供了一种认识传统和创新的一个有趣指导,就像他画面的主题——戏剧一样,对人生的体味也只是一个指号。当然,这样说并不意味着聂干因的艺术缺乏一种明确、深刻的追求,在《探索中的近10年水墨画》一文中,我对20世纪中国水墨画的创新实验作了这样三种分类:一、在不牺牲
Anyone who has read Nie’s painting because of his painting will feel that his painting is free and free, with no immediate sense of urgency among those ink-and-wash artists who aspire to be “creative”. In his picture, both form and color provide an interesting guide to understanding traditions and innovations. Just like the theme of his screen, drama, the appreciation of life is just a sign. Of course, this does not mean that there is a lack of an explicit and profound pursuit of art in Nie Gan. In his article “Ink and Wash Painting in the Past 10 Years of Exploration,” I made such three categories of innovative experiments on Chinese ink painting in the 20th century : First, do not sacrifice