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当代中国画,面临着更多的文化心理的压力与挑战。这种压力来自当代艺术在多方面的发展与展开。尽管中国画的发展空间日渐广阔,甚至说,艺术家在宣纸上的任何艺术行为,都容易被官方、社会所承认:刘国松的“现代水墨”、谷文达的“观念水墨”、周韶华的“平面化重组”、吴冠中的“抽象形式”……一方面在中国画发展逻辑的自然延伸中,一批为学术而创作的艺术家,以宣纸墨彩为媒材,竭尽其全部的智慧,把中国画引向“现代”;另一方面,传统风格的中国画从上世纪90年代以来基本上稳步发展,从技术到风格,整体趋于大幅度提高。杨留义的中国画,显然是当代传统风格阵营中的优秀者之一。
Contemporary Chinese painting faces more pressures and challenges in cultural psychology. This pressure comes from the development and expansion of contemporary art in many aspects. Despite the growing space for the development of Chinese painting, it is even argued that any artistic act on the rice paper by an artist is easily recognized by the government and society: Liu Guosong’s Modern Ink and Wash, Gu Wenda’s Ink of Concept, Zhou Shaohua On the one hand, in the natural extension of the logic of the development of Chinese painting, a group of artists who have authored their academic work make every effort to use the Xuan paper ink color as their medium The traditional Chinese painting has basically developed steadily since the 90s of last century. From the technology to the style, the whole picture tends to greatly increase. Chinese paintings by Yang Liuyi are obviously one of the best in the contemporary traditional style camp.