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主持人语 造型艺术通常分为具象、抽象两大系统。每一系统下又有许多子系统。它们既平行又交叉、既互斥又互补地发展着,呈现出丰富多彩、复杂多变的视觉形态。艺术史证明,那种认为抽象必然取代具象、写意一定取代写实的看法,是一种脱离创作实际的线性思维的发展观。 新与好并不能划等号。屈服时尚反而会威胁创作自由。“迹有巧拙,艺无古今”(谢赫),“根本没艺术的赛跑,如果有的话,那我们最好还是记住龟兔赛跑的寓言”(贡布里希)。中外艺术史家的话值得我们深长思之。 这里发表的一组文章从不同角度论述了具象写实绘画的价值和生命力,以及作为一个独特的审美体系,它如何在历时传承和共时汲取中迎接挑战,继续发展,散怀扫俗。走向更好。
Host modeling language art is usually divided into two abstract, abstract system. There are many subsystems under each system. They are both parallel and cross, both mutually exclusive and complementary development, showing a colorful, complex and changeable visual form. Art history proves that the view that the abstract is bound to replace the concrete, the freehand must replace the realistic view is a kind of development view that deviates from the actual linear thinking of creation. New and good can not be equated. Converse fashion will threaten creative freedom. “Traces are clever, art is old and new” (Sheikh) “There is no art at all, and if anything, we’d better remember the allegory of the tortoise and the hare” (Gombrich). The words of Chinese and foreign art historians deserve our deep thinking. A series of articles published here discusses the value and vitality of figurative realistic painting from different angles and how it meets the challenge, continues to develop and sweeps vulgarity as a unique aesthetic system in its diachronic and synchronic experiences. Towards better.