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曾几何时,一些有识之士惊呼中国画至明清已经发展完善到了一个顶点,中国画穷途末路之说,一时间几乎使中国画坛哀鸿遍野、“危机”四伏。有人表示忧虑,有人主张改良,“美术革命”之风浩浩荡荡,各种观念风起云涌,各种流派纷至沓来,确实是“百花齐放、百家争鸣”热闹了一阵子。但在“危机”说和“美术革命”之后中国画又面临什么现状呢:骚动不安、良莠不分、画家不纯、批评不力、“卖蛋”的磨肩接踵,“养鸡”的寥若晨星,真正要命的危机正在眼下。 一 确切地说,从六届全国美展到八届全国美展历时十年,十年间,多少“平地”已高楼崛起,而中国画艺术却似乎一直在理论上兜圈子、在形式上做文章。一会儿传统、一会儿现代、一会儿高唱主题、一会儿张扬个性。引经据典、高谈阔论的文章一大堆,除了少数令人尊敬的手笔外,大都套用一些前人的观点再加上些生僻词藻、哲学概念、绕口语言,或吟诗,或抒情,用含含糊糊、模棱两可的文字堆砌成一座似乎高深莫测的大架子,一无自家思想、二无学术
Once upon a time, some well-informed men exclaimed that Chinese painting had developed and improved to its peak at the turn of the Ming and Qing Dynasties. As the Chinese painting ended in a dead end, the Chinese painting scene almost devastated the country for a time, causing a “crisis.” Some people expressed concern that some people advocated reform and the “art revolution” was so mighty and turbulent. All kinds of ideas surged in abundance and various schools of gentry came in full swing. It was indeed a lively period of “letting all flowers bloom and a hundred schools of thought contend.” However, what are the status quo of Chinese painting after “crisis” and “art revolution”: unrest, good and bad, painter’s imprecision, weak criticism, “sell eggs” grind to one another, The real deadly crisis is now. To be exact, the number of “flat territories” has risen from a high-rise building in the past ten years or more from the Sixth National Art Exhibition to the Eighth National Art Exhibition. However, Chinese painting art seems to have been circling in theory and making a fuss about the form. After a while tradition, while modern, while singing the theme, while a little publicity personality. In addition to a handful of venerable handwriting, most of the quotations and dreadful essays are quoted from the viewpoint of predecessors, coupled with some uncommon rhetoric, philosophical concepts, tongue-in-cheek language, or poetry or lyricism, , Ambiguous text piled into a seemingly enigmatic big shelf, without their own ideas, two non-academic