刘懋善同我交往已二十余载,他是我最熟悉的苏州画家之一。在美专时,他无论是学的还是教的都是西画。调入苏州国画院后,主攻中国画山水。他的勤奋与执着精神一直令人钦佩。 近几年来,他迷恋于苏州一带水乡的风光。恬静的水巷就像美术馆的长廊那样吸引着他,各式各样的小楼,临水的窗户与扉门、供人洗衣的驳岸石级、飘着炊烟的渔舟……如同一幅幅美妙的画图,使他流连忘返。有时甚至一小块已经剥落并露出了砖石的粉墙,也能使他停下车来欣赏一番。那大小砖石的参差错落与色彩斑斓的自然组合,那由常年雨水流淌而形成的绿苔与苔上的杂草……都给他以各种遐想,亦使他想起了画面上变化无穷的墨韵与色彩。总之,他发现了家乡的美,又同时在继续发掘这种美,并竭力探索表现这种感觉的艺术语言——用他的绘画。 日复一日,年复一年.他走了不少路,也读了不少书,画夹里的素材日益丰富,笔下所画水乡的风格也日臻成熟。对于他现在这种风格的形成,他在最近由港台编辑出版的一本画册《水乡行吟》所作的自序中作如此的解释: “在中国绘画的所有传统中,山水画不论在技法上与理论上都最为丰富。明代苏州的四大家也几乎成了当时中国画最高 Liu Maoshan has been with me for more than 20 years, and he is one of the most familiar Suzhou painters. At the United States, he studied and taught Western painting. After transferred to Suzhou Chinese Painting Academy, the main Chinese painting landscape. His diligence and dedication have always been admirable. In recent years, he is infatuated with the scenery of the water village in Suzhou. Tranquil Water Lane, like the galleries of the gallery that attracted him, all kinds of small buildings, water windows and doors, laundry barbeque stone shore, floating with smoke fishing boats ... ... as an amplitude Wonderful drawing, make him linger. Sometimes even a small piece of masonry that has been peeled off and exposed in masonry can stop him from enjoying it. The large and small masonry patchwork and colorful combination of natural, that from the perennial rain flowing green moss and the moss on the moss ... have given him a variety of reveries, but also reminds him of the endless changes in the ink screen Rhyme and color. In short, he discovered the beauty of his homeland while at the same time continuing to explore this beauty and endeavoring to explore the artistic language that manifests this feeling - with his paintings. Day after day, year after year, he went a long way and read a lot of books. The material in the clipboard is getting richer and the style of the painting is also becoming increasingly mature. For his current style of formation, he explained so in the preface made by Hong Kong-Taiwan editorial board “Shui Xiang Xing Yin” recently: "Among all the traditions of Chinese painting, The most abundant in theory.The four great masters of Suzhou in Ming Dynasty almost became the highest Chinese painting at that time