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有人认为,评价一幅画,主要不是看它“画”得好不好,而是看它的“文化价值”高不高;评价一位画家,主要也不是看他的绘画技术高明不高明,而是看他的画外功夫也就是“文化修养”高不高。这是一种非常蛊惑人心的偏见,贬低唐宋画,贬低唐宋画家,尤其是“画工”画家,主要就是依据这一偏见而未。在这里,首先就是根据社会分工的原则,各行各业,都应该以本行业的标准为主,而不是以另一个行业的标准为主。“文化革命”中,江苏太仓有一个农民老太叫顾阿桃,不好好种地,却用象形文字去研究哲学,撰写哲学的“论文”,“文化革命”中把她作为一个“好农民”的榜样。这其实既有害于农业,也有害于哲学。绘画与文化、画家与文化的关系,同样也是如此。通常认为,三绝、四全、文史哲、诗书印才是文化,绘画只是技术,是“狭隘的学科”,而不是文化。这样的认识,就算它有一
Some people think that the evaluation of a painting is mainly based not on whether it is a good painting or not, but on the basis of its high “cultural value.” An artist who evaluates a painting mainly does not regard his painting techniques as clever and unscrupulous. Is to see his kung fu painting is “cultural accomplishment” is not high. This is a very demagogic prejudice, belittling the Tang and Song dynasties and belittling the Tang and Song painters, especially “painter” painters, mainly based on this prejudice. Here, first of all, according to the principle of social division of labor, all walks of life should be based on the standards of the industry rather than the standards of another industry. In the “Cultural Revolution”, a farmer in Taicang, Jiangsu Province, called Gu A-pei and did not cultivate it well. Instead, he used hieroglyphs to study philosophy and write philosophy’s Theses and the Cultural Revolution as a “good peasant ”Role model. This is actually detrimental to agriculture and philosophy. The same is true of the relationship between painting and culture, painter and culture. It is generally believed that the three absolutes, the four complete, literature, history and philosophy, poetry and print is culture, painting is only technology, is a “narrow discipline,” not culture. This understanding, even if it has one