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在当代中国画界,徐文的牦牛写意画独树一帜,颇为世重。其画风犹如词坛上苏、辛豪放派,充满阳刚之气,镗镗大音,气象博大,令人过目难忘。司空图《二十四诗品·豪放》:“观花匪禁,吞吐大荒。由道反气,虚得以狂。天风浪浪,海山苍苍。真力弥满,万象在旁。”画面展示了中国文化的精神意蕴,具有传统品格,又有现代意识,开拓出一种审美的新境界。笔墨是中国画的安身立命之本,舍弃笔墨不是中国画。笔墨不仅是视觉形式和技术规范,更是传
In contemporary Chinese painting circles, Xu Wen’s yak freehand brushwork is unique and quite world-renowned. Its style is like the cicada Shang Su, Xin Hao to send, filled with masculinity, boring boring loud, meteorological, memorable. Sikong “Twenty-four poems, bold”: “Flower bandit, swallow Great Wilderness .Air anti-gas, virtual madness .Sky winds, seamounts .Magnetic force filled, Vientiane in the next.” The spiritual connotation of Chinese culture, with the traditional character, but also the modern consciousness, open up a new realm of aesthetics. Brush and ink is the foundation of Chinese painting and life, discarding ink and brush is not a Chinese painting. Pen and ink are not only visual forms and technical specifications, but also pass on