杜世禄的水墨画,我认为那是一种心境。有了心境才有画境。世上的山水概言之都是心中山水。因此,我们才看到了杜世禄山水意象的“这一个”。这是他不纠缠于石涛,不纠缠于黄宾虹,不纠缠于傅抱石的原委所在。也正是在这一点上,他实现了自己的艺术主张,对自我的“个体”的“感受”——主体意识进行独特的体会与把握,才使得他的山水世界扑朔迷离却又十分真实可感。 我曾将艺术语言概分为简约与绵密两大类。杜世禄的山水画显然属于后者,可以看出,他试图在绵密丰实中追求整体感的努力,尽管还不免于力不从心。但是,以他的心志才思,我相信他会克臻斯境,更上层楼的。 ——梅墨生 Du Shilu’s ink painting, I think it is a state of mind. With the state of mind only painting. The general landscape of the world is the heart of landscapes. Therefore, we can only see “this one” of Du Shilu’s landscape imagery. This is where he is not entangled in Shi Tao, not entangled in Huang Binhong, do not dwell on Fu Baoshi’s whereabouts. It is also at this point that he realized his own artistic proposition and uniquely understood and mastered the “feeling” of his “individual” -subjective consciousness, which made his landscape world confusing but very real . I once divided the art language into two categories: simplicity and sophistication. It is clear that Du Shilu’s landscape paintings belonged to the latter, showing that he was trying to pursue a sense of unity in a dense and abundant manner, though he could not help it. However, in his mind to think, I believe he will take the state of justice, a higher level. - Mei Mo students