和明清文人画那种秀骨清像相比,蔡知新的人物画具有健硕丰盈的世态。这或许是他出入于古今、推演于中西的一种审美归宿。蔡知新为画坛所熟知始于上个世纪50年代他在报刊上发表的近千幅作品。他的《玉米姑娘》和《我们的朋友遍天下》等作品,因擅于发掘现实生活的诗意和明快敏捷的木刻语言而给人以清新爽朗的印象。表现生活是五六十年代艺术创作的主题,蔡知新的黑白木刻往往从日常生活的细节中发现不平凡的寓意,他的作品从不生硬地说教,也不做政治图解或政策的传声筒,而是以“情”和“景”的渲染来打动人们的心灵。60年代江苏水印木刻兴起,成为上个世纪60年代与新金陵画派并驾齐驱的重要画派。作为这个画派的骨干,蔡知新的水印木刻以“水味”和“木味”更加酣畅淋漓地演绎了他在黑白木刻中呈现出的抒情性。和他的黑白木刻一样,他喜爱用线造型,以景抒情,特别是这种线在饱含水分的宣纸上形成氤氲渗化的效果,一直是他追求的一种艺术趣味。 Compared with the Ming and Qing dynasties who painted the kind of Xiu Bian, Cai Zhixin’s new figure has a healthy and rich world. This may be his access to ancient and modern, implied in an aesthetic end of the West. Cai Zhixin is well known in the art world as he started nearly a thousand works published in the press in the 1950s. His works such as “Maid girl” and “Our friends all over the world” give fresh and refreshing impression because they are good at discovering poetic realism and woodcut language that is clever and agile. Life is the theme of artistic creation in the 1950s and 60s. Cai Zhixin’s new black and white woodcut often found extraordinary meanings in the details of daily life. His works are never abruptly preached or politically illustrated or policy-driven Impress people’s hearts with the rendering of “Love” and “Scenery.” In the 1960s, the rise of Jiangsu watermark woodcut became an important school of painting that kept pace with the Jinling School of Painting in the 1960s. As the backbone of this school of painting, Cai Zhixin’s watermark woodcut interprets his lyricism in black and white woodcuts with “watery” and “woody” flavors. Like his black-and-white woodcut, he loves to use lines to express emotions, especially this line in the water-saturated rice paper forming osmanthus osmosis effect has been his pursuit of an artistic interest.