论文部分内容阅读
杨佴旻自小生长在河北省曲阳县一个世代工匠之家,深受民间艺术传统“巧手艺”的陶冶。十二岁习画,在老师的指导下临摹《芥子园画谱》。他第一次看到国画原作,曾被宣纸上的水晕墨章效果惊得“两腿发软”。这使我们知道他对中国画材料工具的敏感。及长,进大学学习美术并作教师。后来旅居日本,现任日本东洋美术研究所名古屋水墨画研究室主任研究员。 杨佴旻目前的画法风格肇始于1992年的一幅静物《白菊花》。用宣纸,没骨兼勾勒,渲染背景,全画笼罩在一片淡
Yang Mi Min grew up in Quyang County, Hebei Province, a generation of craftsmen home, by the folk art tradition “skill” art. Twelve-year-old painting, under the guidance of the teacher copy “mustard Park picture book.” For the first time, he saw the original works of traditional Chinese painting. He was shocked by the water halo effect on the rice paper. His legs were weak. This makes us aware of his sensitivity to Chinese painting materials tools. And long, into the university to study art and as a teacher. Later, she lived in Japan and is currently a research fellow at the Nagoya Ink Painting Research Laboratory at the Toyo Art Institute in Japan. Yang Jiumin’s current style of painting began in 1992, a still life “white chrysanthemum.” With rice paper, no bone and outline, rendering the background, the whole picture shrouded in a light