论文部分内容阅读
在陕西中国画界,陈国勇的山水画不是黄土画派正宗。虽然他读研究生期间,在西安美术学院受过严格的基本功训练,但看其早期山水画,并没有炫耀笔墨之处。让人注意的是他不甘于步前人后尘,锐意创新,画面呈现出《山海经》一样的奇诡之气,具有丰富的想象与不同寻常的图式。以传统笔墨的标准来看,陈国勇的画不够敦厚中正,过于追求奇险,想象虽然大胆,但与自然形象相去甚远。换言之,陈国勇的山水画并非依据现实景象写生加工,组合而成,其中更多的是画家梦中所见,情思所寄,具有一种冥想的怪诞意味。
In the Chinese painting circles in Shaanxi Province, Chen Guoyong’s landscape paintings are not authentic in the art of loess painting. Although he was trained as a graduate student at the Xi’an Academy of Fine Arts with a rigorous training in basic skills, his early landscape paintings did not show off the brushwork. It is noteworthy that he is unwilling to follow the footsteps of our predecessors, keen on innovation, the picture shows the “Shan Hai Jing” the same weirdness, with rich imagination and unusual schema. In terms of the traditional ink and color standards, Chen Guoyong’s paintings are neither too thick nor too thick, too daring to pursue extraordinary wonders. Although the images are bold, they fall far short of the natural images. In other words, Chen Guoyong’s landscape painting is not based on the actual scene sketch processing, a combination of which more is seen in the artist’s dreams, emotions sent, with a weird meanings of meditation.