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一 鲁迅《故事新编·序》对小说写作,说他“只取一点因由,随意点染,铺成一篇,到底须怎样手腕。”这话对非小说的艺术创作也有概括性,作者有不受素材拘束而发挥想象的自由。 包括石鲁绘画《转战陕北》,我一再称赞的新作,既有豪放的气概,又有独特的艺术个性与“随意点染”的自由创造。但是这种可贵的自由创造的自由不是绝对的。罗中立绘画《父亲》的主题也富有具象的概括性,但人物造形近似肖像画,不能不服从细节的真实。正如司马迁
A Lu Xun’s “Story of a new sequence,” the writing of the novel, saying he “only take a point of origin, random point dyeing, paving the way, in the end how to be Wrist.” This non-fiction artistic creation is also generalized, the author is not Material constraints and play the freedom of imagination. Including Shulan’s painting “Fighting in Northern Shaanxi”, the new work I have repeatedly praised has both boldness and grace, as well as unique artistic personality and free creation of “random dyeing.” But the freedom to create this valuable and precious is not absolute. The theme of Lo Chung-tzu’s painting Father is also richly conceptualized, but the characters are portrayed as portraits and must not obey the truth of the details. As Sima Qian