穷理尽性自具风裁：王家训人物画探析

王家训作品

　　王家训的人物画重视“神”的表现，以线条为主，稍加淡墨、淡色或笔皴擦，也有泼墨写意和工写兼顾的多种表现手法。有极高的收藏价值和审美价值，其作品构图有寓意之美、笔法有韵味之美、造型有夸张之美和设色有古雅之美。传达了王家训创新审美的思想，使得读者耳目一新。

　　王家训的画在勾勒方面，善于从篆、隶书法中提炼出极富表现力的因素，线条的运用，或若行云流水，或若春蚕绵绵吐丝，或若折铁顿错方硬，真实而美妙地展示了所绘物象的质感、量感、空间感和韵律感。他以飘逸、洒脱的笔法描绘隐者，以淡雅、细柔的描法画仕女儿童；以凝重苍润的用笔画山石、树干，浓淡疏密，各臻其美，气概成章，意韵无穷，给人以强烈的审美感受。

王家训作品

　　他的画风源于自身的求变精神，是为了抒情传神，是根据客观物象的形体规律，对形象特点加以合理的取舍与夸张，使形象更符和他的理想，是王家训按照美的规律去创造。

　　王家训画作的这些特征，是他透彻地研究所要表现对象的本质之后，体验入微，掌握了常理，才能从容的表现出来的。也可以说王家训的画是“写”出来的，他一方面遵循“六法”，对传统画法进行透彻的研究，汲取其精华，却又不囿于古法，能对自然各造其妙，“写”代表了王家训用笔的功力，这是他画作中最为重要之处。他以一种创新的精神，对自己对人物的理解，运用个性化的笔墨和线条，塑造出了一个又一个新颖的自具风裁的人物形象，化入了氤氲的自然，神韵生动。贯通了传统与现代，融汇了人物与山水，形神并至，笔境兼夺。其意象、境界和笔墨之美，显现出特有的艺术魅力，在当代画坛独树一帜。

王家训

文章关键词： 王家训 人物画

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