论文部分内容阅读
我与中国画学结缘始于文革。那时为躲避“上山下乡”,我惶惶不可终日地忍受着岁月的煎熬。后经亲戚介绍,我认识了曾著有《历代画论名著汇编》的老画家沈子丞先生,不久又有幸拜在陆俨少先生门下。在那个精神枯索的年代,能有机会获得沈、陆两位名师的启蒙,亲炙其气息神采,这对我今后整个中国画理念的形成影响至深。文革结束后,当时上海还没有一所美院,我参加了首次恢复的高考,进了复旦大学中文系。因当时陆俨少先生受邀去浙江美术学院任教,我一度中断了学画。著名导演丁荫楠(他后来因拍《孙中山》、《周恩来》等片而扬名)曾为我那时写的一个伤痕电影剧本与我有过几次通信,还来上海专门找过我,但那个剧本最终没能投拍。在一阵迷乱烟
My relationship with Chinese painting began with the Cultural Revolution. At that time, in order to avoid the “going to the countryside”, I was in a state of anxiety to endure years of suffering. After I introduced my relatives, I met Mr. Shen Zicheng, an old painter who had compilation of famous works of ancient painting theory, and soon passed by Mr. Lu Yanshao. In that era of calamity, I was able to gain the enlightenment of two masters, Shen and Lu, and gave my deep impression on it. This will have a profound impact on the formation of the concept of Chinese painting in the future. After the Cultural Revolution ended, Shanghai did not yet have an Academy of Fine Arts. I attended the first resumed college entrance examination and entered the Fudan University Chinese Department. Since Mr. Lu Yanshao was invited to teach at Zhejiang Academy of Fine Arts, I once interrupted the study painting. Famous director Ding Yinan (who later became famous for films such as “Sun Yat-sen” and “Zhou Enlai”) once communicated with me for a scary movie script I wrote at that time and went to Shanghai to find me, but the script Eventually failed to vote. Smoke in a confusion