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杨刚的画,以拙厚的饱满团块、滞涩的焦墨皴擦、充实的内在张力,自由的激情挥洒,给我留下很深印象。 这种刚劲豪放不修边幅的“杨刚之美”,正是水墨画中久违了的“阳刚之美”！ 宋元以降,中国水墨画在文人手里变得技巧日益纯熟的同时,也渐渐变得文雅纤弱、轻巧绵薄起来。中间虽经石涛、八大的狂澜力挽,潘天寿、黄宾虹的魄力重振,但终觉积弱难返,同挥斥八极吞吐大荒的汉唐雄风还是有相当距离。
Yang Gang’s paintings have left a deep impression on me with a thick, lumpy, lumpy, coherent ink, a full inner tension and a free passion. This bold and unruffled “beauty of Yang Gang” is exactly the “masculine beauty” in ink and wash paintings for a long time! As the Song and Yuan dynasties decline, Chinese ink painting becomes increasingly skillful in the hands of the literati. At the same time, Chinese ink painting gradually becomes refined, delicate and lightweight. Although the middle by Shi Tao, eight of the mad Lan pull, Pan Tianshou, Huang Binhong the courage to revive, but finally feel weak, difficult to return, with the exception of the Great Wilderness expelled the Han and Tang Dynasties glory there is a considerable distance.