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在我们美术界,有一种怪观象,就是越简陋、越荒谬的“理论”越是为人注意,重要的理论反而很少有人去研究和注意。比如:有人说中国画已穷途末路了,是一棵枯树,画家们不要白费力气。于是全国的画家都吓得半死,“啊!这怎么办啊,怎么已穷途末路了呢?我们以后怎么办啦。”画也不画了,忙着去讨论,争辩,希望能使中国画起死回生。有人说:“中国画笔墨等于零。”大家一听又吓得半死。“啊,了也了不得了,这中国画的笔墨已有二千年历史,怎么一下子就等于零了呢?赶紧起来捍卫啊。”怎么捍卫呢?于是全国上下讨论、研究,又是开会,又是出版文集,闹得不亦乐乎。争论还没有结束,又有人提出“传统型中国水墨画废纸论”,大家一听,又是吓得半死,于是各
In our art world, there is a strange phenomenon, that is, the more primitive and absurd “theory” is the more noticeable one, and the less important one is the theory that is rarely studied and noticed. For example: Some people say that Chinese painting is dead, is a dead tree, painters do not waste it. So painters of the whole country are scared half to death, “ah! How to do ah, how is the end of the dead? What to do after we.” Painting is not drawn, busy to discuss, argue, hoping to make the Chinese painting back to life. Some people say: “Chinese painting pen ink is equal to zero.” Everyone is scared to death again. “Ah, it was incredible. The brushwork of this Chinese painting has been 2,000 years old. How can it be equal to zero at once? Quickly defend.” How to defend? So the whole country discussed, studied and held a meeting again Is published in the collection of articles, fooling around. The debate is not over, and others have proposed “traditional Chinese ink and wash paper on paper”, we all hear, but also scared half-dead, so each