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张明弘的写生绘画富有很强的感染力,艺术家在面对自然的时候会情不自禁地触景生情。面对不同的景色,创作出来的写生作品就会有所区别,所以写生并不具有公式化、概念化的倾向。陶咏白先生把张明弘的写生作品界定为“风景画的图式,山水画的气韵”。我觉得这个概括比较准确,因为张明弘的写生没有考虑山水画的结构方式,却具有山水画的气韵,他所强调的是笔墨关系很具有传统山水画的气息。由此可见,张明弘的传统功力确实比较深厚,虽然他在画面上打破了很多传统绘画的因素。
Zhang Minghong’s sketch painting is very contagious, and artists can not help but touch the scene in the face of nature. In the face of different scenery, the sketches created will be different, so sketching does not have the tendency of formulation and conceptualization. Mr. Tao Yongbai defines Zhang Minghong’s sketches as “landscape painting style, landscape painting ”. I think this generalization is more accurate because Zhang Minghong’s sketches did not consider the structural style of landscape painting but possessed the charm of landscape painting. What he stressed was that the relationship between brush and ink was very much like the traditional landscape painting. From this we can see that Zhang Minghong’s traditional skill is actually quite profound, although he broke many of the traditional painting factors on the screen.