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与那些理想化、超现实时空的山水相比,范保文的山水画充满了鲜活生动的现实因素,这是他区别于那些过于矫情或过于抽象符号化而缺乏公共审美性中国画的重要特征,他的作品也因此而获得了更多的读者和观众。笔者曾为20世纪中国山水画的演变历程粗略地勾勒过一个轮廓,认为这一百年山水画最根本的价值判断发生了从笔墨个性向图式个性漂移的过程,但这种分析只限于语言之内,笔者并不认为这种图式个性完全发源于内在需求或主观设计,并不认为图式个性的形成可以远离对现实山水时空的体验,甚至于并不认为贴近生活的山水形象就一
Compared with those idealized and surrealistic landscapes, Fan Baowen’s landscape painting is full of fresh and vivid realistic elements. This is the important feature that distinguishes him from those traditional Chinese paintings that are too hypocritical or overly abstract and lacking in public aesthetics. His As a result, the works have gained more readers and audiences. The author once sketched out an outline for the evolution of Chinese landscape painting in the 20th century. He thought that the most fundamental value judgment of this hundred-year landscape painting took place from the individuality of brush and ink to the pattern individuality drifting, but the analysis was limited to the language , I do not think this kind of schema personality completely originated from internal needs or subjective design, do not think the formation of schema personality can be far away from the realistic experience of landscape time and space, and even do not think close to life landscape image