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在中国当代工笔画坛上,梁文博是少数清醒而有独立学术风格的画家之一。他立足于朴实的生活态度和考究的艺术语言,成为工笔画领域的佼佼者。梁文博,山东威海人,1956年生于烟台,1983年毕业于山东艺术学院并留校任教,现为中国美术家协会会员,美协山东分会理事,山东青年美术家协会副主席,山东艺术学院美术系副教授,国画教研室主任。他的作品曾入选第六、七、八届全国美展,全国青年美展,首届中国画展等高水准画展。其中,《冬往春来》、《秋》分获第六、第八届全国美展优秀作品奖,《秋深》获中央电视台主办的中国画、油画精品展银奖,《远去的风帆》获国际青年美展铜奖,可谓硕果累累。梁文博为人亦道亦儒,道在他于生活中宠辱不惊,居斗室养小家,一派淡定天然;儒在他于绘画里谋作为,求完美,在画面中体现内在精神。他总能在尘世间辟一块精神净土,调和俗与雅、圆熟与童真的关系。在城市文明里,在被钢筋水泥和人工色彩分割占据的空间中,国画还有多少“师造化”的余地和笔墨辗转自如的可能呢?画家在面对这一问题时,或将故有的图像分解后重新排列组合,或将真实情景作趣味性的夸张变形。然而这些手段在难以逾越的前人典范与充满困惑的物质现实面前无不显得苍白无力。梁文
Liang Wenbo is one of the few sober and independent academics in the contemporary Chinese painting and calligraphy scene. He based on simple attitude to life and elegant art language, become the leader in the field of painting. Liang Wenbo, Weihai, Shandong, was born in Yantai in 1956. He graduated from Shandong Art Institute in 1983 and stayed in the school. Now he is a member of Chinese Artists Association, member of Shandong Association of Shandong Artists Association, vice chairman of Shandong Youth Artists Association, art of Shandong Art Academy Department of Associate Professor, director of the Department of Chinese painting. His works have been selected for the sixth, seventh and eighth National Art Exhibition, the National Youth Art Exhibition, the first Chinese painting exhibition and other high-level art exhibition. Among them, “Winter to Spring” and “Autumn” won the sixth and the eighth National Art Exhibition Outstanding Works Award, “Autumn and Deep” won the CCTV sponsored Chinese painting, Oil Painting Fine Exhibition Silver Award, “the sailing” by the International Bronze Youth Art Exhibition, can be described as fruitful. Liang Wenbo is also one of the people in Confucianism and Confucianism. Tao did not scruple in his life. He lived in a small room and was a natural person. Confucianism sought his works in painting, seeking perfection and embodying the inner spirit in his paintings. He is always able to offer a spiritual Pure Land in the earthly world to reconcile the relationship between vulgarity and elegance, maturity and innocence. In urban civilization, in the space occupied by reinforced concrete and artificial color division, how much of traditional Chinese painting is possible and the ease with which ink and brush can be easily removed? When the painter faces this problem, Some images are rearranged and disassembled, or the real scene is exaggerated and distorted. However, these measures are pale and feeble in the face of insurmountable predecessors and perplexed material reality. Liang Wen