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俞振林是位朴讷刻苦的写意花鸟画家,我认识他十几年了,有机会便一起讨论创作,讨论中国画从传统走向现代过程中难度较大的写意花鸟画的发展。不久前,我带学生到镇江收集美术史料,趁便过江到泰州,又来俞振林的悟学斋作客,逐一观赏他近年的作品。他近年作画并不太多,每年只完成三两件,精而不滥。披览之际,我高兴地发现,勇于实践又善于悟学的俞振林的写意花鸟画,在他跨越知命之岁的近几年,已经出现了新的飞跃。一些成功之作,比他刚从北京进修归来时的佳作,不仅更加清雄大气,势足力强,而且颇善迁想妙得,已臻境高意远。虽然这一飞跃刚刚开始,但已显示出从深层领悟传统及其现代转化中形成的有别于前人也不同于时贤的手眼,稍加分析,启示良多。
Yu Zhenlin is a painterly and painterly freehand flower and bird painter. I know him for more than a decade and have the opportunity to discuss the creation together and discuss the development of the freehand bird and flower painting that is more difficult in the process of traditional Chinese painting. Not long ago, I took students to Zhenjiang to collect art historical materials and took the opportunity to cross the river to Taizhou. Then I came to Wu Zhenzhai, a guest of Yu Zhenlin, and watched his works in recent years. He painted in recent years is not too much, completed only 32 pieces each year, fine rather than abuse. On the occasion of the briefing, I was glad to find that the freehand flower and bird painting of Yu Zhenlin, who is both practical and encyclopedic, has taken a new leap forward in recent years when he crossed the threshold of his life. Some of the successes of this book are not only better than the masterpieces he returned when he just returned from Beijing, but not only improved the atmosphere of the Qing Emperor Xiong, but also made him powerful and energetic. Although this leap has just begun, it has been shown that there is little analysis and much enlightenment from the deeper understanding of tradition and the transformation of its modern history that distinguishes it from its predecessors.