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毫不夸张地说,从吴昌硕到齐白石到徐悲鸿到李可染,甚至到谷文达,近一个世纪的中国画变革其思维方式基本上是一致的——建立在笔墨传统加西洋的某些因素的基础之上的。而偏离这根主线之外的刘国松在六十年代的台湾喊出革笔的命,革中锋的命,在与我们互为隔绝的情况下层开了另一种方式的革命,在严善錞看来,这是早已超越了台湾本土的现代美术运动情境逻辑,而成为整个二十世纪中国绘画吏上一个具有转折性意义的环节。而高居翰则认为它属于一个大运动,井认为二十世纪后多数令人感兴趣的画家亦属于这个运动。刘国松把这些非笔墨的实验水墨画通过个人展览的方式带进大陆。1982年之后这种方式就成了大陆探索性水墨画的先躯。
It is no exaggeration to say that from Wu Changshuo to Qi Baishi to Xu Beihong to Li Keran and even to Gu Wenda, the way of thinking of Chinese painting transformation in the past century is basically the same - based on some elements of the traditional Caribbean of ink and calligraphy . While departing from this main line, Liu Guosong shouted the life of revolutionary center in Taiwan in the 1960s and opened another way of revolution under the condition of being isolated from us. In a strict view, This is the logical logic of the modern art movement that has already surpassed Taiwan’s native land and has turned into a turning point in the twentieth century for Chinese painting officials. Gordon, on the other hand, considered it a major movement and considered most of the interesting painters of the twentieth century to belong to the movement. Liu Guosong brought these non-ink-based experimental ink paintings to the mainland through his personal exhibitions. After 1982, this approach became the forerunner of explorative Chinese ink painting.