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一位批评家于20世纪80年代所作的预言似乎并不灵验,中国画逃过了“穷途末路”这一大劫——不是作为“保留画种”,而是堂而皇之地跨进了新世纪的门槛。其实,批评家的忧患意识并非杞人忧天。当下中国画华丽的外表难以掩盖萁精神的病态与空虚。中国画的病患不一而足,而媚俗则是中国画坛最大的流行病,媚俗的根性在媚骨。媚俗危害之大,却至今未能引起学界与画坛的反思。
The prophecy made by a critic in the 1980s does not seem to be an experiment, and the Chinese painting escaped the tragedy of “end of time” - not as a “preservation of painting,” but rather as a grand attempt to step into the threshold of the new century. In fact, criticism of the sense of crisis is not unfounded. Contemporary gorgeous appearance of Chinese painting is difficult to cover up the spirit of illness and emptiness. There are many Chinese painters, while kitsch is the biggest epidemic in Chinese painting. The root cause of kitsch is Mei Mei bone. Kitsch harm great, but so far failed to arouse the reflection of academia and painting.