濡笔风骨——马锋辉水墨大写意的当代探求

Moisten Stroke with Power:The Contemporary Exploration of Ma Fenghui's Freehand Brushwork Ink Painting

在工具理性化的图像时代,大写意水墨画的式微已是无可争辩的事实。本文通过对马锋辉大写意水墨与写生作品的评析,梳理了画家在笔墨理路上与传统构成的内在联系,研判了他以宿墨表现松、荷、梅、蕉等题材所呈现出的当代精神,并认为画家所秉持的"写生"不只是到生活现场寻找可入画的题材,更是到生活对象中寻找笔墨之"气"和笔墨之"势",以此滋养当代中国画的"神气"、"灵气"和"生气"。作者认为,马锋辉的水墨画是从海派择取圆润用笔的苍劲骨力,并由圆润转为方苍,而湿濡之墨则为这种风骨糅入了秀雅静逸、雄浑壮伟之气。马锋辉对水墨艺术的当代探求,体现了对传统的创新性转化。

In the image era of tool rationalization,the decline of freehand brushwork ink painting is an indisputable fact.This paper,through the evaluation and analysis of Ma Fenghui’s freehand brushwork ink and live painting works,sorts out the painter’s inner connection with tradition composition on the way of brush and ink presentation,and studies the contemporary spirit he presented with old ink(one of ink using techniques)in pine,lotus,plum and banana paintings.It views that the painter’s“live painting”is not only to look for subjects that can be painted in life,but also to look for the“Qi”and“Shi”(vigor)of the brush and ink in life,so as to nourish the“spirit”and“vitality”of contemporary Chinese painting.In the opinion of the author,Ma Fenghui’s ink painting uses the rounded strokes of Shanghai school,added with power,and the moisten ink offers the painting with the elegant,vigorous and magnificent spirit.Ma Fenghui’s contemporary exploration of ink painting reflects the innovative transformation of tradition.