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在当今画坛大环境下确实存在着“重工笔、轻写意”的现象,试看一些国家级的大型中国画展,工笔画占据了绝大多数的比例,写意画并不多见,写意人物画就更加少了,这与中国画坛要做到“百家争鸣、百花齐放”的局面的宗旨似乎相去甚远,相信这是每一个学习中国画的人所不愿意看到的。珍稀生物的灭绝是因为地球环境的改变和恶化,很多情况下是无可奈何又不可避免的事情,但是作为珍贵画种的写意人物画,没有理由在日臻繁荣的中国画坛越来越衰退。作为中国画专业的同仁们,特别是各高校的中国画教师,有责任担当起让写意人物画繁荣起来的任务。
In the current environment of painting circles, there is indeed a phenomenon of “heavy workmanship and lightness ”. Try some national large-scale Chinese painting exhibitions. It is even less. This seems to be a far cry from the aim of “one hundred schools of thought contend and flourish” in the Chinese painting society. I believe this is what every Chinese who studies Chinese painting would not want to see. The extinction of rare creatures is due to the change and deterioration of the earth’s environment. In many cases, this is a helpless and inevitable affair. However, as a portrait painting of precious paintings, there is no reason for it to decline more and more in the increasingly prosperous Chinese painting scene. As a Chinese painting professional colleagues, especially the Chinese painting teachers in colleges and universities, it is the responsibility to take up the freehand portraits flourishing task.