论文部分内容阅读
中国的书画同宗、同源、同理、同法。这一华夏民族特有的文化艺术形态,在一个基本封闭的社会中,已经延续发展了数千年。南齐谢赫的“六法”依然为中国画界奉为圭臬,中国画家视笔墨为本体、为其精髓的观点仍旧具有旺盛的生命力。然而,在近现代西方美术参照系的映衬之下,其局限性显而易见。所以近百年来,随着对外开放(先是被迫的)与文化交流活动的开展,不少有为的中国画家,如徐悲鸿、刘海粟、林风眠等前辈,在保持中国画原有特色、艺术价值的同时,把西方
Chinese painting and calligraphy same origin, homology, empathy, same method. This unique form of culture and art of the Huaxia people has been developed for thousands of years in a basically closed society. The “Six Methods” of Nancy Sheikh is still regarded as the preeminence of the Chinese painting circles. Chinese painters regard the ink and the ink as the body, and the essence of the Chinese painters still has strong vitality. However, the limitations of the reference frame of modern Western art are clear. Therefore, with the opening up to the outside world (first forced) and cultural exchange activities, quite a few promising Chinese painters, such as Xu Beihong, Liu Haisu and Lin Fengmian, kept their original features and artistic value At the same time, put the West