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在张岚军的画面中,无论是铜版、水彩、或是油画,总有一些恒定的元素贯穿始终:纵深或高远处的空白;空白中细若丝,淡到无的色、线与笔触;一段遗世独立的山水树石;一个取自中国古典诗词的系列冠名,比如“听泉”、“素水”、“夕阳西下”、“空山新雨”、“空谷幽兰”等等。把这些画面并置在一起,会让人觉得那些树、那段山、那条水岸其实一直都停留在那里,只是云、雨、风、阳光、色彩,还有人的心境一刻不停地在涂改、塑造着风景的色相。
In Zhang Lanjun’s picture, there are always some constant elements throughout the scene, whether it be copperplate, watercolor, or oil painting: the space is deep or high, the space is thin, A series of ancient Chinese poems from a series of titles, such as “Listen to the spring ”, “Sunshui ”, “sunset”, “empty mountain new rain”, “Empty Valley Orchids” and so on. To put these pictures together, it will make people feel that those trees, the mountain, the waterfront has actually stayed there, but clouds, rain, wind, sunshine, color, and people’s mood moment by moment Modify, shaping the hue of the landscape.