论文部分内容阅读
近半个世纪以来,中国画每举办一次大型全国展览,评论的焦点几乎总是众口一辞:笔墨功力今不如昔云云。作为中国画家,对此现象常深感困惑,人类进化、文明进步,何以单单中国画例外? 中国传统绘画,特别是文人水墨画,偏重笔墨、讲究书法趣味,对笔墨优劣的重视品评经常超越描绘对象本身。这是绘画本体的一种觉醒,西方绘画直至印象派才真正开始这种自觉追求;而笔墨在中国绘画里出现,几乎是与生俱有的本能,因为在画之先就存在着高超的书法艺术。书法与绘画的结合就造就了世界上独一无二的中国画形式。这是特定文化背景下形成的文化产物,随着古代社会文化的昌盛繁荣,这种绘画得到了丰富滋养,到了宋元时代,达到了颠峰状态,之后又随着封建社会的衰败而日趋式微,元以后一代不如一代的哀叹成了代
Nearly half a century, Chinese painting held a large-scale national exhibition, the focus of the comments is almost always one word of mouth: the pen and ink is not as good as ever. As a Chinese artist, this phenomenon is often deeply puzzled by human evolution and the progress of civilization. Why not use Chinese painting? Traditional Chinese painting, especially literati ink painting, emphasis on penmanship, emphasis on calligraphy, itself. This is a kind of awakening of painting ontology. Western painting did not really begin until the Impressionists began this kind of conscious pursuit. The emergence of brush and ink in Chinese paintings is almost an innate instinct because there is a superb art of calligraphy before painting . The combination of calligraphy and painting has created a unique form of Chinese painting in the world. This is a cultural product formed under a specific cultural background. With the prosperous and prosperous ancient society and culture, this painting has been enriched and nourished. By the Song and Yuan dynasties, it reached its peak and then became increasingly declining with the decline of the feudal society After the yuan generation after generation lament became generation