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百年来油画民族化的尝试实际上潜含着对于中国美术的内在的渴望,既在承续中国古典绘画传统的基础上.融会西方的油画思维与精神,而建构现代的中国绘画体系。这种思维与中国人的民族文化心理结构息息相关。在20世纪80年代,李泽厚曾指出,中国人积淀而成的传统文化——心理结构,使他们无法背离和完全否定传统的一切,需要在与西方的交流中改进自己的结构并进行创造性的转换。而正是在吸纳与融合过程中,中国的油画走入了“写意”的探索和创造转换的历史使命之中。
Attempts to nationalize oil painting in the past hundred years actually contain the inner desire for Chinese art, which not only inherits the tradition of Chinese classical painting, but also integrates Western thinking and spirit of oil painting to construct a modern Chinese painting system. This kind of thinking is closely related to the Chinese people’s cultural psychology. In the 1980s, Li Zehou pointed out that the traditional cultural-psychological structure accumulated by the Chinese made them unable to deviate from and completely negate the traditional needs and that they need to improve their structure and make creative changes in their exchanges with the West . It is precisely in the process of absorbing and integrating Chinese oil paintings into the historic mission of exploring and creating transformations of “freehand ”.