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当今的中国画坛热闹非凡,存在观念与主义之争,也有传承与革新之辩,更有新画派、新画风的不断涌现。当然,这对于中国画在新时代的背景下的不断革新是有益的,但也存在着受西方现代艺术观念的羁绊和一些评论家的蓄意造势。诸如扛着“新工笔”、“新水墨”等一批具有创新意识的中国画家被推向了风口浪尖。他们的展览活动很多,他们的作品市场表现很好,受到学术界的热议,也受到收藏家的亲睐。这些都无可厚非,因为这些都是不断推动中国画的发展动因。然而,今天我所关注的一位生活在西安的山水画家——崔伟刚则是
Today’s Chinese painting scene is full of excitement. There is a dispute between concept and doctrine. There is also a debate about inheritance and innovation. More new paintings and new styles are emerging. Of course, this is beneficial to the continuous innovation of Chinese painting under the background of the new era, but there are also fetters of the concept of Western modern art and the deliberate uproar of some critics. A number of innovative Chinese painters such as “New Styles”, “New Ink” and others were pushed to the cusp. Their exhibitions are numerous, their works performed very well in the market, received the hot discussion in academia, and also received the favor of collectors. These are understandable, because these are the driving force behind the development of Chinese painting. However, one of the landscape painters in Xi’an I care about today is Cui Weigang