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对吴冠南的画,可以从不同的角度去看。从对文人书画延续和发展的角度去看,陈传席先生已经作了深入中肯的分析评价。本文想转换一个角度,即从对文人书画解体与重建的角度去看吴冠南的画。解体重建的态度不同于另起炉灶的态度,虽然两者都强调现代观念和当代意识,但前者不仅不主张抛开文人书画传统,反而强调深深地打入文人书画传统,强调沿着文人书画的自身逻辑和内部文脉去寻求现代重建的可能性。这是在传统与现代两极之间进行穿透的努力,成功者必然会显出极强的两极张力。从黄宾虹到谷文达显示的正是这样的一种努力。他们的艺术明显地区别于刘国松、吴冠中。吴冠南最独特的突破点在色彩。这里当然讲的是写意重彩,写意淡彩和工笔重彩历来就
Wu Guannan’s paintings can be viewed from different angles. From the perspective of the continuation and development of literati painting and calligraphy, Mr. Chen Chuanxi has made an in-depth analysis and appraisal. This article wants to change an angle, that is, Wu Guannan’s painting from the perspective of the disintegration and reconstruction of the literati painting and calligraphy. Although both emphasize the modern concept and contemporary consciousness, the former not only does not advocate the tradition of literati painting and calligraphy, but instead emphasizes deeply penetrating the literati tradition of calligraphy and painting, emphasizing that along the literati’s calligraphy and painting itself Logic and internal context to seek the possibility of modern reconstruction. This is an effort to penetrate the traditional and the modern poles, and winners are bound to show a very strong bipolar tension. It is just such an effort from Huang Binhong to Gu Wenda. Their art is clearly distinguished from Liu Guosong and Wu Guanzhong. Wu Guannan’s most unique breakthrough point in color. Of course, the emphasis here is on the freehand brushwork, the lightly colored handwriting and the meticulous workmanship