这一个世纪来,写实或具象艺术的态势,最能反映中国美术整体格局的消长变迁。它目前的非一统面貌,恰好表明世纪末中国美术的多元走向。 “本期名家”毛焰看重“彻底的真实”,在他笔下,学院修养和卓异天赋流畅地融合成一种颇为风格化的样式。从色彩、笔触或衔接关系等具体层面逸散的独特精神气质,显示了画家“贯彻自己”的实在性。因此,这种个人经验耐人寻味。面对具体的画面,我想最佳的办法是平铺直叙。 尽管彼此“艺术心路”未必尽然一致,但王少伦亦如毛焰那样“贯彻自己”并“为自己所累”。在当下情境中,他对现实主义方式的个人选择,之所以受人关注和思考是有现实根据的。 或在“品评”或在“展厅”,本期所评介的刘大为、金鸿钧、徐大为、杨剑平、杨克勤、于志学、古仪、王赞、俞晓夫、姜建忠、冷军、马保中等一批艺术家,都以他们真诚敬业的劳作,增进了当代写实或具象艺术的深度和广度。 In this century, the trend of realistic or figurative art can best reflect the ups and downs of the overall pattern of Chinese fine arts. Its current non-unified appearance just shows the pluralistic trend of Chinese art at the end of the century. “The current famous” Mao Yan value “thoroughly true”, in his pen, college culture and extraordinary talent smoothly into a rather stylized style. The unique spirit of temperament that escaped from specific aspects such as color, brushwork or cohesion shows the artist’s “actuality” of its own. Therefore, this personal experience is intriguing. In the face of specific pictures, I think the best way is to lay the groundwork. Although they are not necessarily in agreement with each other’s “artistic mentality,” Wang Shaolun also “implements himself” and “takes himself for himself” as Mao Yan did. In the current context, his personal choice of the realist approach, the reason why people are concerned about and think there is a realistic basis. Or in the “product evaluation” or in the “exhibition hall”, the current review of Liu Dabei, Jin Hongjun, Xu Dawei, Yang Jianping, Yang Keqin, Yuzhi Xue, Gu Yi, Wang Zan, Yu Xiaofu, Jiang Jianzhong, Leng Jun, Artists, with their dedicated and dedicated work, have enhanced the depth and breadth of contemporary realistic or figurative art.