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站在2005年岁末金色的阳光下,回望中国油画的历史和发展,这是我个人渺小生命和硕大艺术整体的一次带有因缘色彩的际遇。面对“中国油画”四个字,我竟莫名地发现,自己仿佛孤独地站在一望无垠的广袤大地的边缘,遥望着天边的地平线,心头涌上了一阵很壮丽的伤感,夹杂着丝丝惆怅的苍凉。我在内心深处加固了中国油画和大地的内在关联,并且确认“大地”乃是中国油画的最好意象。唯有大地最为广博的胸襟,最为丰富的地貌,竭尽变化和层次的形态,才能概括中国油画的整体面貌和它
Standing in the golden sunshine of the end of 2005, looking back at the history and development of Chinese oil painting, this is an enchantment of my own personal life and huge art. In the face of “Chinese oil painting,” I actually found myself inexplicably discovered that I was standing alone on the edge of an expansive vast expanse of earth with a magnificent sadness in my heart, Melancholy of desolation. In my heart, I reinforced the internal connection between Chinese oil painting and the earth, and confirmed that “the earth” is the best image of Chinese oil painting. Only the vast land of the most broad-minded, the most abundant landscape, make every effort to change and the level of morphology, can sum up the overall appearance of Chinese oil painting and it