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工笔画自20世纪80年代以来,蓬勃发展,其成就有目共睹。工笔画这种长时期处于边缘的绘画样式成为主流样式,让认同写意为正宗观念的人们很不适应。作为受外来艺术影响很大的当代国画样式,工笔画自身当然也有很多问题。故国画界批评声四起。郎绍君曾提出了当代工笔画创作存在的十个问题:一、一味求大。二、一味制作。三、集群性的风格化。四、无意义的变形。五、格调趋俗。六、装饰性“陷阱”。七、想象力贫弱。八、缺乏真情。九、没有独立思想。十、高原停顿。~([1])这十个问题,客观的说,可能仅第二条和第六条属工笔画专有的问题,其他八条用在国画的其他样式例如写意画上,也是完全符合实际的,甚至用到其他画种上,大多也能符合。
Meticulous strokes have flourished since the 1980s and their achievements are obvious to all. The long-term marginal painting style has become the mainstream style, making it unmanageable for those who agree on the concept of freehand writing. As a contemporary Chinese painting style greatly influenced by foreign art, there are of course many problems with the painting itself. Therefore, the criticism of the traditional Chinese painting four. Lang Shaojun has put forward the contemporary work of creating ten strokes problems: First, blindly seeking big. Second, blindly production. Third, the clustering of stylized. Fourth, meaningless deformation. Fifth, the style of popular. Six, decorative “trap ”. Seven, poor imagination. Eight, lack of truth. Nine, there is no independent thinking. Ten, plateau pause. Objectively speaking, objectively speaking, only Article 2 and Article 6 may belong to the problem of the exclusive use of mechanical strokes. The other eight articles, which are used in other forms of traditional Chinese painting such as freehand brushwork, are entirely realistic , And even used on other paintings, most can also be consistent.