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一九九九年像是中央工艺美术学院的展览年,风风火火,甚是热闹,学院展厅,踵武相续,令人应接不暇.十一月二十八日——十二月一日是赵茂生、苏华、关东海、聂跃华的水彩联展.中央工艺美术学院的教师大多对水彩都不陌生,水彩几近于所有专业设计时的工具凭藉,日夕厮磨,心手相应,因此造就了一批擅长水彩的画家.茂生一向画山水,已成就十分个人化的样式,有深有浅有大有小的点是其结构画面的唯一元素,形态、意韵在点的依序铺陈的过程中徐徐凸显.画面中的山很纯粹,光裸着,没有花草林木,没有人迹鸟影,没有云遮雾绕,点呈灰色,但山形依然清晰,恍惚间隔着空间与时间的距离,有一种那山影来自记忆的错觉.这次展览,他改作静物,几乎同样的方式,鸡冠花、莲藕、瓶瓶罐罐,仍然是灰色,仿佛同样隔着一层记忆的帷幕.但终于有些变化,虽说悭吝,还是多了一抹颜色,融合在那有心加重却依然灰蒙蒙的氛围中.我忽然想起莫南迪,那个在意大利的一座小城清寂地度过
In 1999, it was an exhibition year for the Central Academy of Arts and Crafts, and it was full of vigor and contentment. It was overwhelmed by the success of the exhibition hall and the heel Wu. From November 28 to December 1, Zhao Maosheng, China, the East China Sea, Nie Yuehua watercolor exhibition. Central Institute of Arts and Crafts most of the teachers are not unfamiliar with watercolor, watercolor design tools almost all the professional virtue of virtue, day and night, grinding, corresponding to the heart, so created a group of good at watercolor The artist has always been painting landscapes, has become very personal style, there are deep and small points is the only element of the structure of the screen, the shape and meaning of the rhyme in the order of the points laid out in the process of slowly highlighted. The picture of the mountain is very pure, bare naked, no flowers and trees, no human shadow, no cloud cover, gray, but the Yamagata is still clear, trance interval of space and time, there is a kind of mountain shadow from memory The illusion that this exhibition, he changed to still life, almost the same way, cockscomb, lotus root, bottle jar, still gray, as if the same across a layer of memory of the curtain, but finally some changes, although stingy, or more A touch of color To blend that is still determined to increase the gray atmosphere. I suddenly remembered Mo Nandi, the Qing Ji spent in a small town in Italy