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听到东光的名字,看他在中国美术馆举办的个展已是好几年前的事了,之后也不断在美术期刊上见到他的消息和作品,直到去年冬天才第一次见面。东光言语不多,象晋北原野里一棵不起眼的树,没有足够的营养和水份,但总是保持向上的姿态,顽强地生长着,并给人枝繁叶茂的希望。 韩东光曾入北京画院进修,在王文芳、贾浩义等先生的指导下,进行了扎实的中国画基础训练,经过几年学习,作品逐渐形成了自己的面貌,以晋北的自然人文景观和五台山佛教圣地为对象、用写实和写意结合的手法,充分展示晋北山区人民生活的纯朴和佛教圣地的神秘。由此,我们大致可以将东光的作品分为两大类。一类是乡上题材,还有一类是佛教题材。 读东光乡上题材的画,如同读他生活中永远的梦境。作品中被岁月和命运风化成的深沟壑的高原依旧
Hearing the name of Dongguang and seeing his solo exhibition at the National Art Museum of China was something that happened several years ago, he continued to see his news and works in fine art periodicals until the first meeting last winter. There are not many words in East Light, like an insignificant tree in the northern part of Shanxi Province. It does not have enough nutrients and water, but it always keeps its upward attitude and grows tenaciously, giving people hope of prosperity. Under the guidance of Wang Wafang and Jia Haoyi, Han Dongguang conducted a solid foundation training in Chinese painting. After several years of study, his works gradually formed their own appearance. Taking the natural and cultural landscape in northern Shanxi Province and the Buddhist shrine in Wutai Mountain as Object, with the combination of realistic and freehand, fully demonstrate the mystery of the simple and Buddhist holy places of the people in the mountainous areas of North Shanxi. From this, we can roughly classify the works of Tung Guang into two broad categories. One is the countryside theme, and the other is the Buddhist theme. Reading the subject matter of the East Light painting, like reading his dream forever in life. Works in the years and the fate of the deep ravines into the plateau remains