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点击理由20世纪80年代是中国画坛最生猛也最有活力的时期,自由的空气,创造的热情,以及从英雄式的凌空高蹈复归平民化、生活化的创作观念,使得一大批年轻的画家尽展身手。其时李文亮虽远离文化中心,但他以天赋的悟性和艺术直觉力,在一个相对封闭的环境中,做着创新与努力。他打破了传统折枝花鸟画的表现形式,重视作品的整体结构,借鉴山水画的技法和构成方式,表现心目中的花鸟世界。与当时众多借助西方艺术观念进行创新试验的画家不同,李文亮的创作灵感来自于多年农村生活的独特感受,这使他的画在形式的背后,有一种显而易见的温情和生活气息,在追求形式创新的同时,有一种与传统人文精神内在的“不即不离”的关联。
Click on the reason 1980s is the most vigorous and most dynamic period of Chinese painting circles, the freedom of the air, the enthusiasm to create, and return to the concept of common people, life from the heroic volley, make a large number of young painters Do their best. At the time, although Li Wenliang was far away from the cultural center, he was creative and hardworking in a relatively closed environment with natural savvy and artistic intuition. He broke the traditional forms of flowering bird and bird painting, emphasizing the overall structure of the work, drawing on the techniques and composition of landscape painting, the performance of the birds and flowers in his mind. Different from the painters who at the time used many innovative experiments with western art concepts, Li Wenliang’s creative inspiration came from the unique feelings of many years of rural life. This made his paintings have an obvious warmth and life style behind the formality. In pursuit of formal innovation At the same time, there is a kind of “inseparable” relationship with the traditional humanistic spirit.