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中国画的水墨属性在1985年批评家李小山的《中国画穷途末路》一文之时就已经面临现代性转变的问题,1997年,吴冠中先生的“笔墨等于零”更是在指“新传统水墨画”创作方式的陈陈相因,抱残守缺,拒绝革新,难以个体自由表达,更难以介入当下时代语境。上溯水墨画历史,宋元以来,水墨画是文人士大夫仕途之余修为、明志、趣味、品性的文化载体,其中的性情与审美和文人们毕生的儒道佛浸染是分不开的。老传统的水墨形式语言发展到“四王”时已经既是顶峰也是极端僵化,
In 1985, the ink-and-ink attributes of Chinese painting were already facing the problem of the transformation of modernity when critic Li Xiaoshan wrote his article “The Dead End of Chinese Painting” in 1985. In 1997, Mr. Wu Guanzhong’s “Pen and Ink Equal to Zero ” was referring to the “new traditional ink painting ”Chen Chen Xiang creative way, clinging to keep absent, refusing to innovate, it is difficult for individuals to freely express, more difficult to intervene in contemporary context. Since the Song and Yuan dynasties, ink and wash paintings have been the cultural carrier of the literati’s career as a doctor, mingzhi, taste and character, in which temperament and aesthetics can not be separated from the aesthetic life of Confucianism and Taoism. The old traditional form of ink and wash language development to the “four kings” has both peak and extreme rigidity,