论文部分内容阅读
所有艺术都是象形文字,艺术的象形文字愈接近对自然的感官印象,创造它就愈需要想象力的努力。 ——〔德〕马克斯·利伯曼 (Max lietermann,1847-1935) 我不主张以“变法”与否来判定一个画家艺术生命的张力。我总以为,风格展开的轨迹,必定是画家独特的生命经验和对风格理解的综合,齐白石“衰年变法”,毕加索终身不定,而马蒂斯则沉溺于自己的色彩之梦至死不渝,这只能由每个画家的艺术见解与人生机缘而定,决不意味着各人命运之间必然的可比性,应当允许风格的形成与跃变有其自身的逻辑。如果我没看错的话,陈守义先生的水墨组画,正体现了这样一种逻辑发展的过程。 陈守义并不被认为是一个风格善变的画家,甚至就我所知道的范围内,画家本人也很少有求变的“宣言”,然而这组水墨作品却真正体现了一种风格发展的逻辑,这一逻辑的形成,用一句说俗了的话来讲,那只能是风格自身发展“瓜熟蒂落”的结果。
All art is hieroglyphic. The closer the hieroglyphics of art to the sensual impression of nature, the more imaginative it is to create it. - Max Lietermann (Max lietermann, 1847-1935) I do not advocate the tension between an artist’s artistic life and her “alternative method.” I always thought that the track of style development must be painter’s unique life experience and comprehension of style, Qi Baishi’s “Law of Degeneration”, Picasso’s life is indecisive, and Matisse is addicted to his dream of color to the end This can only be determined by the artist’s artistic opinions and life chances of each artist. It does not in any way imply the necessary comparability between each person’s fate, but should allow its formation and transition with its own logic. If I am not mistaken, Mr. Chen Shou-yi’s ink painting is a manifestation of such a logical process of development. Chen Shouyi is not considered a painter of changeable style. Even within the scope of what I know, there are few “changes” in the artist’s own declaration. However, these works of ink and wash really embody a logic of style development , The formation of this logic, in a word that is vulgar, it can only be the result of the “self-improvement” of the style itself.