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编者按在中国传统山水画的艺术海洋中,五代赵幹的《江行初雪图》、北宋范宽的《雪山萧寺图》、元代黄公望的《九峰雪霁图》,再到近代李可染的《昆仑雪山图》,均属传统以冰雪为主题的画中佳作和精品。但在传统乡土本源文化的影响下,山水画中所体现出的中原文化、汉族文化和儒、释、道传统精神世界,一直是画家们表现的主题。而对那片静默如谜的雪域高原,对那隐藏在大山之中的高原文化和少数民族文化,在中国传统山水画中却鲜有表现。然而,四川画家李兵却凭着他独特的眼光和视角,以一位优秀艺术家所具备的高度敏感性,发现了那巍峨圣洁、宽阔宏大的雪域圣地。
Editor’s note In the art of traditional Chinese landscape painting in the ocean, the five generations of Zhao Gan’s “snow”, “snow-capped mountains in the Northern Song Dynasty Temple Fan Temple”, Huang Yuan Wang Huang Yuanwang’s “Jiufeng snow map” to the modern Lee dye The “Kunlun Mountains Snow map”, are all traditional ice and snow themed paintings and works of art. However, under the influence of the traditional native culture, the Central Plains culture, Han culture and the traditional spiritual world of Confucianism, Buddhism and Taoism embodied in landscape paintings have always been the themes of painters’ performance. However, there is little expression in the traditional Chinese landscape painting on the piece of snow-covered plateau that is silenced mysteriously, that is, the plateau culture and the minority culture hidden in the mountains. However, Li Bing, a Sichuan painter, relied on his unique vision and perspective to discover the holy, spacious and magnificent snow-covered holy land with a high degree of sensitivity by a good artist.