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中国画首重笔墨,山水画尤其如此。古人云:“作画第一论笔墨。”然而当下中国画大多舍笔墨之本而求形象之末。上世纪80年代,画家吴冠中抛出惊人之论:“笔墨等于零!”一语戳穿当代中国画的虚伪面纱。当代中国画只在工具和形式上以貌示人,其画理与画法早已改弦易辙,沦落为西画的附庸。这实际上是盗国画之名,行西画之实。当代中国画不是与西画并驾齐驱,分庭抗礼,而是被钉在西画的十字架上,难以获得独立的审美品格,自然也失去了宝贵的民族
Chinese painting first heavy ink, landscape painting especially. The ancients said: “The first painting on the pen and ink.” However, most of contemporary Chinese painting and painting of the pen and seeking the end of the image. 80s of last century, painter Wu Guanzhong throwing astonishing argument: “Pen and ink is equal to zero! ” Piercing the false veil of contemporary Chinese painting. Contemporary Chinese painting only presents appearances on tools and forms, and its art and method of painting have long ago changed course and become vassal of western painting. This is actually the name of Pirates of the Chinese painting, painting the real West. Contemporary Chinese painting does not keep pace with western painting, but rather it is riveted on the cross of Western painting, making it difficult to obtain independent aesthetic qualities and naturally losing precious nationalities