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瞎子摸象的成语今天似乎还有它的意义,认识某一对象,往往从局部开始,可怕的是窥一斑而舍全貌。例如一提王学仲先生们就喜欢简单地将其归入书法家行列。不错,王学仲是书家,还担任着中国书协的领导职务,但他不仅仅是书家,他在绘画文学等方面所下的功夫和取得的成就比书法方面大得多,只不过近年来被书名所淹没,他本人甚至认为被划为书法界是一种误会。看了王学仲的绘画作品,你可能向全面观察一个艺术家迈进一步。 林蓝是画坛的小字辈,出生于70年代,但其对艺术的探索精神大有超越父辈之势,正应了“后生可畏”之老话。在成都现代艺术馆展出的“世纪之门——1999中国艺术邀请展”虽已闭幕数月,但精品效应仍在回响,从艺术总监邓鸿的文章中,读者可以看到成都现代艺术馆的远大理想。
The idiom of the blind man seems to have its meaning today. To know an object often starts from the local part. What is terrifying is the glimpse of the whole picture. For example, Mr. Wang Xuezhong simply likes to put them in the ranks of calligraphers. Yes, Wang Xuezhong is a book writer and also holds the leadership position of the Chinese Book Association. However, he is not only a book writer. His efforts and achievements in painting and literature are far greater than those in calligraphy. Only in recent years He was submerged by the title, and he even thought it was a misunderstanding that he was classified as a calligraphy circle. After reading Wang Xuezhong’s paintings, you may take a step towards a comprehensive observation of an artist. Lin Lan is a small print altar, was born in the 70s, but its exploration of the spirit of art greatly exceeded the potential of his parents, is the “epaulety” old saying. At the Chengdu Museum of Modern Art, “The Gate of the Century - The Invitation Exhibition of Chinese Art in 1999” has been closed for several months. However, the fine product effect is still echoing. From the art director Deng’s article, readers can see the Chengdu Museum of Modern Art Lofty ideal.