“重新洗牌”参展艺术家笔谈

• 作 者: 朱青生 史金淞 李晴
• 机 构: 北京大学艺术学系,湖北省美术院雕塑创作研究室,深圳大学艺术学院艺术系 教授,讲师
• 出 处: 美术观察
• 发表日期: 2001年11期
• 关键词: 参展艺术家 传统水墨画 一幅画 朱青生 中国画发展 水墨山水画 私人性 天寿 现代水墨 绘画形式

朱青生（北京大学艺术学系教授）: 传统的水墨画的私人性,意味着它的个人化。但是,一幅画如何在个人之外与他人共享,本来不应该是传统水墨画的高级问题。极端地说,传统水墨在于有人画了它。画这个动作就是它的目的,水墨画“重在参与”,所以它成为每一个有机会接触纸砚的人的普遍活动,尤为具备文化修养的文人所重视,进而影响到官僚系统,直至皇帝本人。水墨画的私人性传统成为水墨画的特性之一。

Zhu Qingsheng (Professor of Art, Peking University): The traditional nature of ink painting means its personalization. However, how a painting can be shared with others outside the individual should not have been a problem of the traditional ink painting. In the extreme, the traditional ink is that someone painted it. Drawing this action is its purpose. The ink painting is “heavily involved.” Therefore, it becomes a universal activity for every person who has access to paper Yan, especially the literati with cultural accomplishment, which in turn affects the bureaucratic system until the Emperor himself. The private tradition of ink painting became one of the characteristics of ink painting.