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当今的写意花鸟画面临这样一个尴尬的境遇,一方面,它是中国画中普及最广的一科;另一方面,它在当下流行细密制作画风的画展上却往往没有话语权。而写意花鸟画本身也鲜有内涵丰富、个性突出的作品。这种现象的出现是写意传统的缺失还是时尚好恶的影响,抑或是写意花鸟画真的需要适应当代的标准而进行改变?如果这些问题都相伴存在,那么,写意花鸟画需要怎样的坚守与应变才能重焕生机?这是当下写意花鸟画发展中决定价值判断取向和实施方法途径的问题。
At present, the freehand bird-and-flower paintings face an embarrassing situation. On the one hand, it is one of the most widely used Chinese paintings. On the other hand, it often does not have the right to speak in the current fine and painterly style exhibitions. The freehand flower and bird painting itself also has a rich connotation, outstanding personality works. Whether this phenomenon is caused by the absence of traditional Chinese painting or the influence of fashion evil or whether the freehand flower and bird paintings really need to be adapted to contemporary standards? If these problems are accompanied by each other, what kind of persistence and adaptation Can we regain our vitality? This is the moment when the development of freehand flowers and birds decides the value orientation and the method of implementation.