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在杨士奎近两年的水墨风景画系列作品中.我读到了一种坚持——关于我们生活的这个城市.许多细碎的记忆片段与城市的昨天.今天.明天有所关联。这种联系不只是理性的文化思考.那静远又亲近的温度是通过时间慢慢积淀起来的。观察当代中国画的发展沿革轨迹.我们知道.从20世纪90年代初(85美术新潮之后)开始.对传统“中国画”的现代化改造从未停歇过。从形式到观念.短短三十年.不论坚持“中学为本”.“正本清源”的保守改良派还是坚持“中西融合”努力使水墨进入当代语境的激进改革派.无疑都从自身的层面开拓了新中国画的形式语言空间.扩展了文化视角维度。在这个过程中.
In Yang Shikui’s series of ink and wash paintings for nearly two years, I read about a city that insists that “we live in our lives.” Many fragments of memory are associated with the city yesterday, today, and tomorrow. This connection is not just a matter of rational cultural thinking, and the temperatures that are far and near are slowly accumulated through time. Observe the development track of contemporary Chinese painting.We know that from the early 1990’s (after the 85th fashion trend), the modernization of the traditional “Chinese painting” has never ceased. From the form to the idea, just three decades, the conservative reformists who insist on “middle school-based” and “original-source” are radical reformists who stick to “integration of Chinese and Western cultures” and strive to bring ink and wash into the contemporary context. Undoubtedly opened up the formal language space of new Chinese painting from its own level and extended the dimension of cultural perspective. During this process.