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选择写实绘画道路,对我来说好像是命中注定的,是命运。上世纪80年代初,我刚进大学校门的时候,即遭遇了多种艺术形式的冲击,我毅然选择了写实道路。我感到对其他造型手段有一种本能的“抵触”,觉得它们无法“实实在在”表达自己的感情。于是我在大量临摹了伦勃郎等一批古典绘画作品的基础上,逐步尝试着创作了一些静物作品。在向大师、向传统学习借鉴过程中,逐渐形成了自己以西部人文环境为背景、通过貌似古老的视觉形式展现我所思索的写实绘画取向。有人认为我近期作品的地域性太重,手法传统,缺少当今社会环境下的激情。这就涉及到写实绘画的两个基本问题,即表现什么和怎么表现的问题。
Choosing a realistic painting path seems to me a fate, a destiny. In the early 1980s, when I first entered the university, I encountered a variety of art forms and I decided to choose a realistic path. I feel that there is an instinctive “conflict” with other modeling tools, and I feel that they can not express their feelings “real”. So I copied a large number of Rembrandt and a number of classical paintings based on the work, and gradually try to create some still life works. In the course of learning from the master and learning from the tradition, he gradually formed his own orientation of realistic painting based on the seemingly ancient visual form in the context of the western cultural environment. Some people think that my recent work is too regional, traditional and lacks the passion in today’s social environment. This involves two basic questions of realistic painting, that is, what and how to express it.