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现代水墨作为当代中国画整体发展的一个方面;无疑是国门开放后的一种文化现象,从20世纪80年代开始酝酿,到90年代形成一股强势。其发展轨迹告诉我们,现代水墨必将要经历由对传统的被动的解构和否定,到对自身的自觉梳理和整合这样一个历史过程。 改革开放后,中国画坛对传统的认识,曾出现了前所未有的危机,并以解构、否定传统的文化态度作为其思维取向,其程度超越了“五四”时期。因此,许多人就以此认为,它是现代水墨“自觉”的表现。其实这是缺乏说服力的,这并没有准确把握现代水墨作为一种文化现象的脉动。事实上,所谓解构传统、否定传统,只是对开放后西方文化侵入的一种被动的回应;只是带有片面性的、近乎幼稚的冲
As an aspect of the overall development of contemporary Chinese painting, modern ink painting is undoubtedly a cultural phenomenon after the opening of the country. It began brewing from the 1980s and formed a strong force in the 1990s. The track of its development tells us that modern ink and wash must go through a process of historical deconstruction and negation of the tradition to its own self-construal and integration. After the reform and opening up, the traditional understanding of Chinese painting and calligraphy has seen an unprecedented crisis. Deconstruction and denial of traditional cultural attitudes have been taken as the orientation of thinking of the Chinese painting society, to an extent exceeding that of the May 4th Movement. Therefore, many people think that it is the “conscious” performance of modern ink and wash. In fact, this is a lack of persuasion. This does not accurately grasp the pulse of modern ink painting as a cultural phenomenon. In fact, the so-called deconstruction tradition and the tradition of negation are only a passive response to the invasion of Western culture after the opening up. They are only one-sided and almost naive