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鲁迅、钱钟书讥国画之弊鲁迅推崇第一流的写意画,以为真正传神的作品,寥寥几笔而神情毕肖。(《五论文人相轻》)。但他对国画又颇有看法:“我们的绘画,从宋以来就盛行写意,两点是眼,不知是长是圆;一画是鸟,不知是鹰是燕。竞尚高简,变成空虚。”(《记苏联版画展览会》)其实,鲁迅对宋元以来文人山水画的涵养,唐代佛画的灿烂,线画的空实明快皆极深寄意。他所瞧不起的,是明清以来国画界不长进的风气造成的浮靡和懒惰。这种风气酱制影响,逐渐造成一种国画的末流,而引起观者的反感。钱钟书先生对这种末流国画也颇加讥嘲。小说《猫》中写民国时期地方老名士:
Lu Xun, Qian Zhongshu ridiculed the drawbacks of traditional Chinese painting Luxun respected the first-rate freehand brushwork, thinking that the real vivid works, a few pen and look Bi Shao. (“Five Theses Are Relatively Light”). However, he also quite a lot of views on traditional Chinese painting: “Our painting, popular since the Song freehand brushwork, two is the eye, I do not know long or round; a picture is a bird, I do not know the eagle is swallow. In fact, Lu Xun since the Song and Yuan Dynasties literati landscape conservation, the Tang Dynasty brilliant brushwork, line drawing empty real bright are extremely deep meaning. What he looked down upon was the ups and downs and the laziness caused by the unhealthy culture in the traditional Chinese painting circles since the Ming and Qing Dynasties. This style of sauce affect the system, and gradually led to the last flow of a painting, which caused the viewer’s dislike. Mr. Qian Zhongshu is also quite ridiculed about this final flow of Chinese painting. Local novelists in the period of writing ”Cats" in the novel: