出生年份： 1919~年
擅 长： 水粉水彩,油画,国画
毕业院校： 其他学校
| 创作年代 | 1996年作 | 尺寸 | 140*180cm |
|---|---|---|---|
| 材质 | 水墨 · 宣纸^_^ Ink on rice paper |
装裱 | |
| 题材 | 所属系列 | 《耕耘与奉献：吴冠中捐赠作品集》在线 | |
| 作品描述 | 中国美术馆藏^_^ Collection of National Art Museum of China 最早吸引我画江南屋是由于其黑块与白块的组合美，三两间民居或一个村落，其间黑、白块的对照与交错千变万化，永无止境，从不重复。黑白块的组合美引我进入抽象美领域，房屋本身的具象细节倒无关重要了。于是我逐渐在内心塑造自己的房屋之群，如《中国城》、《吴家庄》及《故宅》等等，这些作品曾展出于巴黎、香港和台湾；^_^ 这幅《围城》比以上那些创作更深入抽象之境了，星罗棋布中着力于结构之美，我曾经想命名为“迷宫”，但仔细思考，我的本意并非为设计迷途，而是为创造“构成”之美，追求严谨的包围感，看似落墨轻松随意，其实是经得住坚攻的；^_^ What attracted me first to Jiangnan houses was the combination of the black and white patches. The contrast between black and white patches in two or three houses or a village is kaleidoscopic, endless and never repetitive. The beauty of such combination initiated me into abstract beauty, and the concrete details of houses became unimportant. Gradually I shaped my own house groups, such as China Town, Wujiazhuang and The Old House, which have been shown in Paris, Hong Kong and Taiwan. The Besieged City is more abstract, highlighting structural beauty in the elements scattered all over it. I had intended to name it The Maze, but on second thought, my intention was not to design a labyrinth, but to create the beauty of composition and produce a sense of precise enclosure. It can withstand scrutiny though it seems to have been casually executed. |
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