论文部分内容阅读
2016年1月16日,“有泉山居·2016李勇迎新作品展”在重庆市文联美术馆正式开幕,笔者亦有幸列席此次画坛盛事。李勇,字无忌,四川仁寿人,从艺三十余年来,惯习山水,亦以此知名。近世以来,写意性笔墨在中国山水画坛颇为流行,而对物象营造的相关理论技法则相对轻视。造成此种时风的一个重要原因便在于写意性笔墨重个体情感抒发,轻外在物象刻画的倾向颇合乎西方现代主义绘画的理念,进而在无形中沟通了
January 16, 2016, “Springs Spring Residence 2016 Li Yong welcomes new work exhibition ” in Chongqing City Federation of Literary and Art Museum officially opened, I also have the honor to attend the event. Li Yong, the word loudly, Renshou people in Sichuan, arts more than thirty years, habitat landscape, but also well-known. Since modern times, the freehand writing and brushwork have been quite popular in the Chinese landscape painting circles, while the relevant theories and techniques for the creation of objects have been relatively neglected. One of the important reasons for this kind of hourly wind lies in the fact that the intentional brushwork emphasizes the individual emotion and the tendency of the portrayal of the light external things is in line with the concept of western modernist painting and thus virtually communicates