正文 65 第二次斗画4(第1页/共3页)
小良渐入佳境，第一轮上色完毕，五幅历史名画都抽取一个镜头，已经被他凭着坚固的记忆临摹在纸上，用黑白水彩代替水墨淡彩，调出的朱红色与青色代替国画中的丹青。在调色盘里混杂颜料与水，水的分量比往常多了一倍，调出的颜色都偏淡，加上一点乳白色的调料，调出清新淡雅的韵律，迎合了小良心中对古画的理解：淡淡的写意，淡淡的点染，淡淡的心绪……这便是古画的意境，一幅幅古画中流淌着悠久的文化，吟诵着历史的诗句，“落霞与孤鹜齐飞，秋水共长天一色”，“远上寒山石径斜, 白云生处有人家”，“杨柳岸，晓风残月”。一句句古诗词在古画中得到更深刻的表现。
对于国画的启蒙，还要追溯到小良的初中时代，是从坐在后排的徐学文那里明白了什么是国画。在众多的画风画种中，小良最不愿意画的便是传统山水画，相反学文最擅长的就是水墨画。对学文的一幅幅青松叠嶂，江阔云低、千川万壑、江流湖海的水墨画中明白，古朴与平淡的图画能激荡起人们内心最平静安稳的思绪。
三年里，出身在画家家庭的学文用一张张自己的作品不断充斥着小良的眼球，让他不仅对自己的画技感到深深的折服，也对优美的国画感到崇拜。虽然口里没对学文这样说，小良心里清楚地明白，学文在国画上对他有着深厚的影响。
自打高中以来，小良画国画的次数并没有增加，但是每周在美术课上，听着夏老师对美术史的讲解，又通过在图书馆里翻阅美术史图书，他对国画的鉴赏能力有着本质的提升：
——从画工着手，从画工是否殷实与精致评价画面的真实感
——从线条着手，是否苍劲有力、设计是否和谐一致、意境是否情景交融来判断作者的功力，即是区别于年轻画家的丰富人生经验
——从整体布局着手，来观察画面的设计，尤其是国画传统上不加底色，留白甚多的表现，疏、密、聚、散的“留白”，体现了作者胸怀中的天地
——从诗句着手，是否运用恰当的诗文词句将主题画龙点睛，能准确彰显了主人的心声，若是作者能自己为画面题诗，不抄袭他人旧作，更能显现作者的内涵和学养……
其实还远不止这几点，还需从印章、装框、框饰、印文、内涵、学养、人品等方面审视作品的好坏，在此不一一赘述。
这两个月在启墨的学习，小良的绘画功力在飞快的提升，学习的速度超过了人生的任何阶段。从绘画技术的硬实力也好、合理使用绘画工具也好，还是美术的鉴赏能力也好，都有了本质的飞跃。这些都是令人骄傲的事情。
“该好好感谢学文，是他启发了我对于国画的兴趣，回头一定请他吃饭。”小良在心中默默许诺，“可是目前还是要专注于眼前的比赛。”他的思绪立刻从温馨的回忆中切回来，脑海中学文微笑的表情和他笔下优雅的水墨画暂时消失，眼前的景象重新回到焦灼的比赛现场，其他七位选手正在赶紧的上色阶段。
向左望去，小雨正细心地手执水彩笔，涂抹着调好的颜色，从她安
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