面对这独具一格的城市山林,画家竟然像摄影一样将它的全景几乎通盘拿来入画,艺术手法有点四不像,而它的视觉效果,却恰当地迎合了我们的感觉与想象。这有点不可思议!把鳞次栉比的西式洋楼如此满山满幅满满地画出,呈现出一派撒豆成兵的效果,它与传统国画之画一草一石一角,委实是不一样的。吴冠中长期在清华大学建筑系任教,故而他多画城乡的老屋和楼宇。画白墙黑瓦的水乡人家,飞燕和拂柳;画北国山区的农家小院,磨盘和碾子;画重庆、深圳与香港入夜的灯火楼台。那些画,他多用水墨和墨彩表现,但这一幅《青岛红楼》,仿佛只是对景写生过后不经意的加工,却为读者营造了有意味的滨海城市景象。 In the face of this unique urban forest, the artist even used the panoramic view of the artist almost as a whole for painting. The artistic technique is somewhat different, and its visual effect caters to our feeling and imagination. This is a little weird! The row upon row of Western-style buildings so full of hills full of painted, showing a group of beans into the soldiers effect, it is a stone’s throw of traditional Chinese painting, really is not the same. Wu Guanzhong has long taught at the Department of Architecture of Tsinghua University, so he painted old houses and buildings in urban and rural areas. Painting white walls and black tiles of water people, swallows and brushing Liu; painting the northern farm mountain courtyard, grinding disc and roller; painted Chongqing, Shenzhen and Hong Kong at night into the light of the balcony. Those paintings, he used more ink and ink color performance, but this one “Qingdao Red House”, as if only after the accidental processing of landscape painting, but for the reader to create a meaningful coastal city scene.