试析黎雄才写生作品中的笔墨艺术

Brief Discussion on Pen and Ink Art in Li Xiongcai's Sketch Works

写生在东西方的绘画中都尤其重要。对于中国山水绘画来说,到大自然里面去寻找人与自然的联系,已是中国历代山水画家的目标之一。古人在大自然中提取概括出的无数种笔墨符号,能让我们更直观地观察自然界的事物,但经过历史推进,难免会出现一种程式化绘画的面貌。而黎雄才的写生作品却能使我们看到其固有笔墨符号新的境况,他既能运用古人在进行山水画写生时所用的固有的笔墨符号,又能不受制于这种符号的约束,因景制宜,把山水画写生符号化的困境打开了一个新的窗口。

Sketching, as an important link in frame painting, plays an important role in the field of painting in East and West. For Chinese landscape painting, sketching is the most important part. And it has been one of the goals of Chinese landscape painters in the past dynasties to look for the connection between man and nature.The ancients extracted and summed up numerous strokes and ink symbols in nature, which allowed us to observe things in nature more intuitively. However, because of the symbolized scenery of nature, and the advancement of time history, it is inevitable to face the phenomenon of the stylized painting. In Li Xiongcai＇s sketching works,one can see the new situation of the inherent brush and ink symbols. He can not only use the inherent brush and ink symbols used by the ancients in the painting of landscapes, but also be free from the constraints of such symbols. His painting is very flexible according to the scenery, and he has opened a window for the difficult position of symbolization of landscape painting.