摘要
＂中国的文学艺术,是一般的极重实际,但又能摆脱外面种种手续与堆砌,超脱一切的束缚,用空灵渊微的方式直入深处他们一片天机,自由自在,是人生的艺术化。＂这是钱穆先生所言。老先生熟识了中国文化的根柢,看透了中国艺术人生的本质。在他看来,中国的文学艺术,抑或工艺美术,都是在一片天机中追求自由自在人与物,人与自然的交融。为此,中国的画家往往是画山未必是山,画水未必是水,他们画画往往是为写胸中逸气,或为心中的悠然寂静,为心中的浑沌鸿蒙,为心中的无尽虚空。而这种追求不仅是在画界,在中国的陶艺界,在中国的雕塑界都是如此,谓之＂写意＂。
Zhu Legeng＇s artworks take advantage of clay and kiln fire to show freehand style,which really depict landscape and pure land in his heart.His artworks boast secular nature and unconventional style.For these artworks,glaze colors of reveal infinite autumn feeling and infinite brilliance, red and green decorations convey unlimited harvest and unlimited prosperity,and demonstrated figures and things ail long for the happiness in their lives.His artworks can be pushed to the utmost remoteness which is the temporal and spatial distance in the heart rather than the realistic spatial distance.Leisurely shepherd boy,quiet lotus pond. sandpipers flying between heaven and earth and lonely swan geese returning to the north region shod all pompous appearances,embody the seclusive paradise,and search for peace of mind.Zhu Legeng magnifies the limited articles. In this way,he prints the vast universe on the porcelain plates,and gives vents to his own heart by means of a windswept thin horse.
出处
《上海工艺美术》
2013年第1期42-45,共4页
Shanghai Arts & Crafts
