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龙瑞的山水,最初师承李可染、梁树年等,重视写生,但他一开始就喜欢有力的笔线勾皴,而不特钟情于反复的渲染。约20世纪80年代后期,龙瑞多次赴欧美考察艺术,观念有所变化,以为“外师造化不等于写生”,决定“跳出形的束缚”,创作了一批强调构成的作品,拉开了与写实山水的距离,突出了视觉张力,成为革新山水画的代表之一。20世纪90年代以来,他逐渐向传统回归,追求气韵、味道,深感笔墨的奥妙变化与传统艺术精神,需要穷其力追求把握。在回归式求变的过程中,笔力益发自由雄健,阳刚浑融之气笼罩画面,个性面貌、传统意趣和现代感,也愈加明晰而统一了。
Longrui landscapes, the first division Cheng Li Ke, Liang Shu-year, etc., pay attention to sketching, but he liked a strong pen line at the beginning, rather than love in repeated rendering. About the late 1980s, Longrui went to Europe and the United States for many times to examine the art and change his conception. He thought that “outsider’s fortune does not mean sketching” and decided to “jump out of the shackles” and created a number of compositions that emphasized the composition and opened And the distance from the realistic landscape, highlighting the visual tension, as one of the representatives of the reform of landscape painting. Since the 90s of 20th century, he gradually returned to the tradition, pursued his charm and flavor, deeply touched the subtle changes of the ink and the traditional artistic spirit, and tried hard to grasp it. In the course of the process of regression, there is more freedom and brilliance in writing, the mask of masculinity, the personality, the traditional taste and the modernity are more and more clear and unified.