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中国画家常常迷失在牡丹的“富贵”象征里,把牡丹画得妖艳而俗。熊广琴画牡丹恰恰相反,不要艳而俗.甚至不要艳而不俗。而是追求更具人格象征意味、更富精神性的东西。在画法上,她有时弱化花朵的刻画.强化枝叶的描绘,努力透过枝叶与花朵的生动姿致,表现花卉本身的生态自然之美,也传达一种散淡优雅的神情;有时着意刻画牡丹花之“淡”:在颜色的显隐之间.欲退未退之际,显示一种平淡朴素的气质.暗示一种別样的情怀。有时又借物喻人,通过诗词题跋引发观者的联想,如《横幅牡丹》题:“玉容谁得顾,无风自婀娜。品性谁人识,大美自不言,何劳丹青手,真态自鲜妍,晨露彩云里,暮宿烟霭中,春荣秋亦谢.
Chinese painters are often lost in Peony’s ”richness“ symbol, the peony painting is sexy and vulgar. Xiong Guangqin painting peony exactly the opposite, do not Yan and vulgar .Not even Yan and not vulgar. But the pursuit of more personality symbolic, more spiritual things. In her painting, she sometimes weakens the portrayal of flowers, emphasizes the depiction of branches and leaves, and endeavors to show the ecological natural beauty of flowers through the vivid poses of leaves and flowers, and also conveys an elegant and dismal expression; Flower of ”light “: between the color of the hidden. To retreat occasion, showing a plain simple temperament. Implies a different kind of feelings. Sometimes by means of objects metaphor, through the epigram of poetry lead viewer association, such as ”Banner Peony“ title: ”Yu Yung who care, no wind from the graceful. Hand, true state since Yan, morning dew in the clouds, the night to live in the mist, the Spring and Autumn also thanks.