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一前不久,在北京参加中国美术馆主办的“冰魂雪魄:廖冰兄的艺术”学术研讨会。不少同行专家在会后的交流中,又谈起20世纪美术史上的“遮蔽”现象。作为这种似乎“老生常谈”的话题,一旦落实到具体的文化区域,甚至具体的书画家的时候,总有不少新发现。有的书画家,貌似已被研究得较为全面了,细细敲打之后,发现仍有不少内容还待发掘。有的书画家,尽管在特定区域的有限范围之内被熟知,却没有被更为广泛的研究者所注意。广东画家卢子枢(1900-1978),就是其中之一。
Not long ago, in Beijing to participate in the China Art Museum sponsored “ice soul snow soul: Liao ice brother art ” seminar. Many experts in the exchange of experts after the meeting, talked about the history of 20th century “shelter ” phenomenon. As such a topic that seems to be “cliché”, there are always new discoveries when it comes to specific cultural areas and even concrete calligraphers. Some calligraphers, seemingly have been studied more comprehensive, careful tapping, there are still many things to be found. Some calligraphers, though well known within a limited area of a particular region, have not been noticed by a wider range of researchers. One of these is the painter Lu Zishu of Guangdong (1900-1978).