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不知不觉之中,已与笔墨厮守数十年。小坂奇石先生有诗曰:我与笔墨有何缘,一回书了又一回。年青时看了觉得好笑,像打油诗,现在想起来,几多感慨。年青时候于笔墨时亲近,时倦怠。现在是有点相见亦无事,不来忽忆君的意思出来了。我喜欢今天这样的感受。二生活在一座具备完整写意传统的城市,写意地生活着,却在工笔花鸟中讨生活,似乎有不合逻辑的成份。不过回过头来这样的选择还是庆幸和安然的,过于写意的文人化创作,大概有“那种沼泽般摧人沉溺的巨大力量。”三工笔花鸟的好处在于具象的成份始终处于核心的位置。这是镣铐,但也未尝不是风筝的牵曳之线。我总觉得,我们细致入微地去观察天地万物时,胸中会有一种很充沛的生气,一花一草,常常能带给我们最真实的感动。
Unconsciously, with the pen and stick together for decades. Mr. Koshiba stone there is a poem said: I have any edge with the pen and ink, a book once again. Looked funny when young, like a hit oil poem, now think of it, how much emotion. When young, close in ink, when tired. Now it is a bit of a meeting with nothing, not to suddenly remember the meaning of the king out. I like what I feel today. II living in a city with a complete tradition of freehand writing, freehand to live, but live in life, it seems illogical composition. However, this option is fortunate and safe to turn around, and the overly liberal literati creation probably has the great power of swamping in. "The beauty of the penmanship is that the figurative element is always at the core position. This is shackles, but it is also not a draw line for the kite. I always feel that when we meticulously observe all things in the world, there will be a very abundant anger in the chest, and it always gives us the most realistic impression.