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从陈丹青的“西藏组画”问世以来,藏区生活成了美术作品中的热门题材,特别是油画家们纷纷把目光投向青藏高原.但是陈丹青毕竟是高人一筹,慧眼独具,他表现的生活在青藏高原的藏民的粗犷、壮美以及那种雄浑深沉的历史感确实使每一个站在他作品前面的人心灵为之震撼而久久不能平静,因为陈丹青是用他的心灵在歌唱他对藏区文化的独特感受,而以后出现的西藏作品中除艾轩、韩书力等少数画家以外就很少有人另出新意、更多的是东施效颦式的模仿,表现藏胞五体投地的祈祷画面的拙劣重复使人不忍再看.郑波则不然.当郑波在1985年春季冒着来自大戈壁的凛冽刺骨的寒风骑着他那辆永久牌自行车在青海省巴颜喀拉山黄河上游艰难地行进的时候,他怎么也抑制不住满心的激动.沿着黄河考察民俗和民间艺术的念头已经魂牵梦绕地折磨了他好几个年头了,经过
Since the advent of Chen Danqing’s “Tibetan Group Painting ”, Tibetan life has become a hot topic in art works, especially oil painters have turned their attention to the Qinghai-Tibet Plateau .But Chen Danqing, after all, is superior, glamorous, he showed The rough, magnificent and magnificent sense of history of Tibetans living in the Qinghai-Tibet Plateau really made every soul who stood in front of his work shocked for a long time because Chen Danqing was singing with his soul The unique feelings of the Tibetan culture, and later appeared in the works of Tibet in addition to Ai Xuan, Han Shu Li and a few other artists rarely found anything new, more is the imitation of the East application of style, the performance of the five Tibetan praying pictures of the poor Zheng Bo is not the case .When Zheng Bo in the spring of 1985 risking the biting cold winds from the Great Gobi riding his bike permanent bike in Qinghai Province, Bayanhala upstream of the Yellow River difficult When he was moving, how could he suppress the excitement of fullness? The idea of examining folk customs and folk art along the Yellow River had tormented him for several years.