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 | 水墨设色 · 宣纸^_^ Ink and colour 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 中国文字多半来自象形，来自图画，后来则又因运用同一毛笔工具，书画同源便形成了客观现实与独特的理论体系。但书法原本是缘于实用价值，因之必须让读者认清字迹。在字迹可读辨的前提下讲究字体笔墨之美，这应是书法的固有范畴。今日不少书法远远超出了这传统的约束，完全进入了抽象艺术的宇宙，这个宇宙很大，西方人进进出出，东方人也进进出出，各显其艺，西方人于此吸取书法或东方别种因素，东方的书法于此吸取西方各样美术流派的特色，均无可非议。西方绘画也始于描摹物象，同中国或东方的情况正相似，而今天西方的一些流派却又趋向东方的书法抽象，不禁令人感到：书画本同源，分道扬镳后，如今又同归，东方西方正相仿；^_^ Most of the Chinese characters derived from pictures. Later, the use of the same tool, the writing brush, turned the common origin of painting and calligraphy into reality and a special theoretical system. Traditionally, eligibility takes precedence over beauty in calligraphy. Much of today’s calligraphy goes far beyond the confines of tradition and is completely in the vast realm of abstract art, in which both westerners and easterners show their talent. It is beyond reproach for westerners to imbibe calligraphic or other elements of the East, and for eastern calligraphers to incorporate features of Western artistic schools. Like Chinese or eastern painting, western painting started from depicting objects. The fact that some of today’s western schools lean toward the abstractness of eastern calligraphy makes one think that painting and calligraphy are converging after separation, and that this is taking place in the East and the West. |
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