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清代方薰《山静居论画》云:“世以画蔬菜、花草随手点簇者,谓之写意;细笔勾染者,谓之写生。”此处之“写生”亦即我们所说的“工笔”。中国画中工笔与写意是两种不同的表现方式,各有其深厚的传统,所以,当代画家分为两个系统接受传统资源的恩泽,几乎是自然而然的。然而,卢东却与众不同,在多年的艺术探索中,他通过广泛借鉴,渗入现代的审美观念,强化传统绘画中主观写意的一面,在工笔画创作中强调表现而非再现,致力于工笔画精谨不苟的造型手法和写意画水墨淋漓的表现手段的融合。由此,他的画充分显示出与众不同的面貌。工笔是中国绘画的原生状态,山水、人物、花鸟诸科皆然,
The Qing Dynasty Fang Xun “mountain still home painting” cloud: “The world to draw vegetables, flowers readily point those who say that freehand; thin pen infected person, that the sketch.” Here’s “sketch” that is, our Said the “fine brushwork.” In Chinese painting, both the art of brushwork and the freehand brushwork are two different ways of expression. Each has its own profound tradition. Therefore, it is almost natural that contemporary painters are divided into two systems whose grace is accepted by traditional sources. However, Lu Dong was different from others. During his many years of artistic exploration, he tried to infiltrate modern aesthetic concepts and strengthen subjective and freehand aspects of traditional painting. Painting the meticulous modeling techniques and freehand brushwork ink dripping performance means of fusion. As a result, his paintings show a completely different appearance. Meticulous Chinese painting is the native state, landscapes, figures, flowers and birds are all subjects,