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在当代中国画坛,“60后”的郑利平君异常引人注目。上世纪90年代中叶,他便已经在画坛中脱颖而出。虽然不是从美术院校毕业,又因供职于政府机关而政务繁重,但他的写意花鸟画在很早的时候便画得非常出色。这主要得益于他一开始就领悟了传统写意画的奥义,在认识上突破了写实思维的遮蔽,故而能够“一超直入如来地”。同时,他又以传统大家为学习对象,继承了他们开拓万古之心胸的经验。因此,他的绘画起点高,功夫用在了刀刃上,自然出手不凡。
In the contemporary Chinese painting society, Zheng Liuping, who was “60”, was unusually noticeable. The mid-90s of last century, he has already come to the fore in the art scene. Although not graduating from a fine arts academy but also having a heavy administration due to his work in government agencies, his freehand bird-and-flower paintings drew very early on. This is mainly due to his understanding of the primitive meaning of traditional freehand brushwork from the very beginning, which has shattered the cover of realistic thinking in his understanding and thus can “go beyond a straight line.” At the same time, he took traditional people as objects of learning and inherited their experience of pioneering the ever-changing mind. Therefore, his high starting point of painting, Kung Fu used in the blade, natural extraordinary shot.