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靳卫红:最近,我们涉及写生的话题比较多,恐怕是,眼看着一种绘画的手艺即将消失而带来的心有忧虑吧。我们先从写生这个概念谈,针对你重提写生这样一个话题,你认为这对当前中国的艺术有什么样的意义?于小冬:我是这么想的,因为我们和古代画家会有一个很大的区别,现在的知识体系或者是接触西方绘画的深入程度和前辈画家都不太一样,全人类的美术资源可能都可以为我所用。中国人学习西方油画,积累起来看已经是非常长的时间了,从明代开始接触,利玛窦(Matteo Ricci)他们那些最早来中国的传教士把油
Jin Weihong: Recently, we talked more about the topic of sketching. I am afraid that we may be anxious to see that the art of painting is about to disappear. We first talk about the concept of sketching, focusing on your topic such as re-sketching, do you think this is what the current Chinese art mean? Yu Xiaodong: I think so, because we and the ancient painter will have a very large The difference between the current knowledge system and the depth of exposure to Western painting is not the same as that of the older painters. Art resources of all mankind may all be used by me. It is already a very long time since the Chinese studied western oil painting to accumulate it. Starting from the Ming Dynasty, Matteo Ricci, the earliest Chinese missionaries, brought oil