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我一直在试图与用一种方式来接近马刚,切人马刚生命情感根植于自然土壤的真实体验。怀着对山水画在当下的疲倦与盲从的体征,感悟画家的激情与理性,追问画家在萧散清逸审美意象之后的个性状态。可以说,马刚的作品在尝试一种新的笔墨探索。有一种游离于传统和现代之间的东西存在,落实到具体物象上的笔墨语言并不是简单的,透过画面表象,一种亦古亦今、亦中亦西的“物语”停留或者漂移。仿佛间我们看到荆浩、石涛、龚贤、黄宾虹,甚至还有印
I have been trying to get in touch with the true experience of the natural soil in a way that approximates the feeling of life in Magang. With the present signs of tiredness and blind obedience to the landscape paintings, he comprehends the passion and rationality of the painters and asks the artist’s personality status after the aesthetic image of Xiao San Qing Yi. It can be said that Ma Gang’s work is trying out a new exploration of ink and color. There is a kind of thing that exists between tradition and modernity. The implementation of the pen and ink language on specific objects is not simple. Through the appearance of the screen, a kind of ancient, modern, central and western language, drift. As if we see Jing Hao, Shi Tao, Gong Xian, Huang Bin Hong, and even India