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油画在明代初入中国时,色彩繁复是其要点,但在当时,尚被视为“奇技淫巧”。及至清末民初,民族信心几近崩塌,此时的油画则以改造中国文化或“师夷长技”等心理引为重视。于是,油画被套上高尚的光环,部分艺术家拜服其下,对其孜孜以求,力图不失。当然,也有部分精英据守水墨传统形成对峙,于是,从文化取源,工具材料和思维方向上,国画与油画分立至今。这期间,油画界经历了几番思潮转变,从正本清源到潮流追赶,从围观并参与眼花缭乱的现代派语汇尝试到走出国门,油画家按部就班学西方经典的劲头渐显颓势,继
Oil painting in the early Ming Dynasty into China, the complex color is the point, but at the time, is still regarded as “magic trick trick.” By the end of the Qing Dynasty and the beginning of the Republic of China, the national confidence had nearly collapsed. At this time, the oil paintings were valued by reformation of Chinese culture or psychology of teachers. As a result, the painting was put on a noble aura, and some artists worshiped it and diligently pursued it. Of course, some elites also stand in confrontation according to the tradition of ink and wash. Therefore, from the perspective of culture, tools, material and thinking, traditional Chinese painting and oil painting have been separated from the present day. During this period, the oil painting industry has undergone several changes in thought, from the original source to the trend of catching up, from onlookers and participate in dazzling modernist vocabulary try to go abroad, oil painters learn step by step learn of the West Classic momentum gradually declining, following