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他笔下总是喜欢以悲剧质地的东西为审美对象,自然中的悲壮与苍凉、颓败与生机,岁月中形成的各种各样的斑驳,甚至小小的苔痕,都能和他产生思想上的共鸣,都足以引发他审美上的幻觉,激发起他创作的灵感,成为他心灵契合的创作形态。在他的《荒魂系列》、《苍生系列》、《原魂系列》等重要作品里都可以领略到这样的审美追求。像生养万物的“根”,黄莱不厌其烦地画它,试图通过它来表现人生的寓意。根深藏不露,“不自伐(夸)”、不自高自大,具备安静居下的“玄德”。在形态上,根斑驳、粗糙、坚韧,象征性强,属悲副质地,很适合黄莱所表现的绘画物质。但要达到“遗貌取神”的
He always likes the tragedy texture of the things as the aesthetic object, the tragic and desolate in nature, decadent and vitality, the years of the formation of a variety of mottled, and even small moss, and he can produce ideological The resonance is enough to trigger his aesthetic illusion, inspired his creative inspiration, as his spiritual fit of the creative form. In his “Aramaic series”, “common people series”, “original soul series” and other important works can appreciate this kind of aesthetic pursuit. Like the “root” of all things, Huanglai painstakingly paints it in an attempt to express the moral meaning of life through it. Root deep hidden, “not self-cutting (boast)”, not arrogant, with quiet Habitat “Xuande.” Morphologically, mottled roots, rough, tough, symbolic, is a sad vice texture, it is suitable for Huang Lai's painting material. But to achieve “the appearance of God.”