摘要
1984年首届海平线画展,张桂铭被戏称为“花布头”的画作展出,张桂铭穿起了西装。这大概是他第一次装模装样地穿起了西装,他穿的是他画中色彩布料精心制作的西装。这一年,他四十五岁,新任上海中国画院副院长。这一年、这一天,他的画惊世骇俗,他的服装惊世骇俗。谁也看错了张桂铭。一个安分外表下的一颗不安分的心,一副平静容颜里的一颗狂野的心,而上苍知道,这就是张桂铭。
To Shaoxing natives, every of their dreams is mellow as wine and open as words. They paint, and in the end they paint their own culture, expressing the capacity and connotation of written words with painting brushes in their hands. Zhang Guiming is just one of them. His dream about painting is not just to paint figures, blossoms, birds and landscapes. In his eye and in his heart, a painting is a painting. Paintings are not to be distinguished by the content, whether there is figure, or flower, or landscape on it. He is well acquainted with the history of Chinese people. He believes that in the beginning, Chinese culture focused on the philosophy of“nature and people in harmony”. Starting from this line of thinking, he felt an impulse to create a brand-new language of painting, a language consists of lines and ink colors of traditional Chinese painting, in which he could tell of every phenomenon in the world, tell of his spirit and dreams at will. When he is depicting flowers and birds realistically as those in real life, he considers it a loss of the meaning of the nature existence, and a loss of the meaning of painting as well. It is to him a most distinct mistake to have the depicted object a mimic of real life in literatures and paintings. When the blossoms and birds are no longer“like”their natural counterpoints, it might be called a genuine painting of blossoms and birds. That is the core and true meaning of Zhang Guiming's paintings.
出处
《大美术》
2006年第8期64-71,132,共9页