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如果将本文也算在内,我先后为邱振中先生写过三篇短文。第一篇发表于《中国书法》,主要谈他的传统书法;第二篇—其实是《论90年代书法思潮与创作》长文中涉及邱先生作品的几个片断—主要谈他的现代书法;最后就是眼下这篇。三文大体对应于邱先生的三种创作形态:传统书法、现代书法以及“绘画”。“绘画”二字要加引号。因为它们不是传统、现代意义上绘画,即以具象写实、变形表现或纯粹抽象为旨归的绘画。它们也不是当代意义上的架上画,即综合多种媒材或美学-技术手段、有明确观念指向的所谓“当代绘画”。邱振中的作品间于书法与绘画之间,但既不
If this article is also included, I have written three short essays for Mr. Qiu Zhenzhong. The first one is published in “Chinese Calligraphy”, mainly about his traditional calligraphy. The second one is actually a few pieces of his essay on the works of Qiu in his essay “On the Trend and Creation of Calligraphy in the 90’s” - mainly talking about his modern calligraphy; Finally, this is the moment. The three languages generally correspond to three creative forms of Mr. Qiu: traditional calligraphy, modern calligraphy, and “painting”. “Painting ” the word should be quoted. Because they are not paintings in the traditional and modern sense, that is, paintings that aim at figurative realism, transfiguration or pure abstraction. Nor are they contemporary paintings, that is, the so-called “contemporary paintings” with a clear idea of a combination of various media or aesthetic-technical means. Qiu Zhenzhong’s works are between calligraphy and painting, but neither is it