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中国山水画在充满激荡和冲撞的20世纪裂变为错综交织的格局,蜕变出繁复多元的面貌。今天无论我们以什么样的姿态来评判它,都不能否认,中国山水画这种蔚为大观的走势正是其作为一个画种而富有强劲活力的彰显和确证,这种活力源于千百年来无数山水画家经无数探索而蓄积出的一个豁达、自足而充满魅力的表现语汇体系和精神内核,给我们今天的艺术创造留下了开阔的空间和丰富的资源。当然,这还不能完全说是中国山水画的活力之根源,应该说,其活力之根源是“人情”,正是“人情”对山水的渴慕与追忆牵动着山水画生生不息地演进着。中国山水画的未来还是有赖于此。本期刊登的吕品田和杭间先生的文章,就是以浓浓的“家园”意识来探寻当代与未来中国山水画“人情”之源的 主持人/杨斌
Chinese landscape painting in the 20th century full of agitation and collision fission into a pattern of intertwined, transformed a complicated and diverse outlook. No matter what kind of attitude we judge today, we can not deny that the trend of this grand landscape of Chinese landscape painting is precisely the demonstration and confirmation of its powerful vitality as a kind of painting. This vitality stems from countless landscapes of thousands of years The painter’s open-minded, self-sufficient and attractive expression system and spiritual inner core accumulated through countless exploration have left open space and rich resources for today’s artistic creation. Of course, this can not be completely said that the root of the vitality of Chinese landscape painting, it should be said that the root of its vitality is “human”, it is “human” for the landscape of the thirst for and reminiscence of the landscape affects the endless evolution. The future of Chinese landscape painting still depends on this. The articles published in this issue by Lv Pintian and Hang Hang are the moderators of the “human sentiments” of contemporary and future Chinese landscape paintings with a strong sense of “homeland” / Yang Bin