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于桂秋,是先识其人,次读其文,后品其画。1998年,黑龙江画家荆桂秋,在躁动急功的世风中,弃临渊羡鱼之念,退而结网,暂辞白山黑水,负笈中国美术学院中国画系,成为花乌画研究生班的一员,以求深造。我与桂秋遂得相交。在其后的硕士学位论文的撰写中,我有幸作为指导者,每周晤面商酌。桂秋选择了中国没骨花鸟画的先行者、明代大家孙隆为研究对象,在图像、文字资料匮乏的艰难中,苦苦收集爬梳,藉助历史遗留的零星材料。桂秋辨伪寻真,深入内里,
Yu Guiqiu, is to first identify their people, read the article, after the painting of their products. In 1998, the painter Jing Guiqiu from Heilongjiang Province, abandoned the poem of Lin Yuan Xian in the troubled world of quick success, retreated and ended up in a torrent of white water and took the Chinese painting department of China Academy of Art as a member of the Huawu painting postgraduate class. In order to further study. I had to meet with Gui Qiu. In the subsequent master’s thesis writing, I was fortunate enough to be a mentor, meet with the business people every week. Gui Qiu chose the forerunner of the Chinese painting without bird and flower, Sun Long, who was the object of study in the Ming Dynasty, painstakingly collected and combed the hardships in the lack of images and textual materials, with sporadic materials left behind by history. Gui autumn authenticity, depth inside,