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很长时间里水墨人物画在很大程度上游离于当代艺术氛围,可以说是水墨语言的一种损失。不能反映当代生活现实和文化现实空间的人物画,只能停留在矫饰主义的虚假情调中。这些问题已逐渐被画坛所识。画坛所以逐渐认识到这些问题,因为有刘庆和这样的画家在“进入当代”的过程中提供了可信的范例。他从二十世纪九十年代以来的十几年探索,就是一个使水墨语言与当代现实感受逐步融合无间的过程。他对于他自己是收获,对于画坛则是启示。
For a long time, the portrait painting of ink-wash is largely free from the contemporary art atmosphere, which can be said to be a loss of ink language. Can not reflect the realities of contemporary life and cultural realities of the portrait painting, can only stay in the fake mood of the mannerisms. These problems have gradually been recognized by the painting industry. Therefore, painting circles are gradually recognizing these problems because there are credible examples provided by such artists as Liu Qinghe in “entering the contemporary era.” He explored more than ten years since the 90s of the 20th century. It is a process of gradually integrating the language of ink and wash with the feeling of contemporary reality. He is a gain for himself and an inspiration for the painting world.