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观梁耀近年之作,力道日厚,韵味已显……务追每张画的内在韵律、韵味、文采、神采……他才能以气韵统领其笔墨,领其思路,能将山水、人物、花鸟三者贯通笔法,且能融诗文、书法题跋为一体,放笔取象、随手轻松写来而意蕴叠出。这说明了梁耀从更长远深广的认识范围对认识结论和一切相对短暂的现象作了全面的思考与把握,并将之置于一个能使矛盾转化为植入自我心田的艺术形态之内,来去自如、从容自信地表述于画面中,达到“取象不惑”的国画初始和终极目标。
In view of Liang Yao’s works in recent years, the strength has been obvious ... Charm chasing the inner rhythm of each painting, charm, Wen Cai, demeanor ... ... he can lead the ink and the spirit to lead its ideas, landscapes, people, Birds and flowers through the three strokes, and can melt poetry, calligraphy inscriptions as one, put the pen to take the picture, easy to easily write and meaning stacked. This shows that Liang Yao has comprehensively considered and grasped the cognition conclusion and all relatively short-lived phenomena from a broader and longer range of understanding and placed it within an art form that can turn contradictions into an implanted self-heart. Come and go freely, calmly and confidently described in the picture, to achieve the initial and ultimate goal of traditional Chinese painting.