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年近花甲的水墨画家杨育智,在创作心态上仿佛还是个“学童”,他近乎贪婪的求知欲和创造热情不但丝毫未减,反倒越来越强烈。特别是近几年,他日思夜想的是如何突破几十年来的习惯定势,走出审美停顿的误区;为此,他忽而花鸟、忽而山水,忽而西藏写生,忽而新疆采风……,面对着大量的速写、画稿,他不无欣慰地说,没有“废纸三千”的精神,难有艺术上的进步,有了“废纸三千”,即便获取丝毫进展,也是弥足珍贵的。杨育智以“废纸三千”的精神,稳中求变。无数个日日夜夜,他独坐画室,苦思冥想,在量变中求质变,以向前看的意识激励自己,把过去的成绩看作是今日的起点,渐渐的他走出了固守的传统窠臼,思维获得解放,笔墨不再恪守把玩式的“复古”与“典雅”,而是着意于汪洋恣肆般地激荡,以此去追求新的诗情和表现现代审美的魅力。
The ink painter Yang Yuzhi, who spent nearly half a year, seems to be still a “school boy” in her creative attitude. His almost greedy curiosity and enthusiasm have not diminished, but have intensified. Especially in recent years, what he thought day after day wondered how to break through the habits of decades and get rid of the erroneous zones of aesthetic pause; for this reason, he suddenly turned his eyes on the flowers and birds, In the face of a large number of sketches and drafts, he said without any hesitation that without the spirit of “three thousand paper wastes,” there is no difficulty in making progress in the arts. With “three thousand wasted paper”, it is also precious to obtain the slightest progress of. Yang Yuzhi to “waste paper 3000” spirit, steady change. Numerous day and night, he was alone in the studio, thinking hard thinking, qualitative change in quantitative change, with a forward-looking sense of motivation, the past achievements as today’s starting point, and gradually he walked out of the traditional stereotypes, Instead of abiding by the playful “retro” and “elegant” style of writing, the thought is liberated. Instead, it is intended to stir up unbridledly in order to pursue new poetic and modern aesthetic appeal.