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作为一个中国画家,不管其以怎样的姿态看待“笔墨”,笔墨的存在及其对国画视觉效果的决定作用,总是一个不争的事实。不管是继承它还是批判它,首先要研究它,了解它,而站在什么立场怎样认识它,不仅成了每个中国画家构成自己画风的认识基础,也反映出每个画家所处的思想境界。 “笔墨”是虚的,说它虚是因为它是一种文化感觉。就和春的气息一样,无形无色,不能单独成为一个东西拿出来明示大家。
As a Chinese painter, no matter what kind of gesture it regards “ink and brush”, the existence of ink and ink and its decisive effect on the visual effects of Chinese painting are always an indisputable fact. Whether it is to inherit or criticize it, we must first study it and understand it, and from what standpoint we know it, we not only become the basis for each Chinese painter to form his own style of painting, but also reflect the thinking of each artist realm. “Pen and Ink” is imaginary, because it is a cultural feeling. Like the atmosphere of spring, invisible and colorless, can not be alone as a thing out to express everyone.