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“水墨”一词虽起自宋代,却是在20世纪后半叶才被确定为一种画种(谢稚柳《水墨画》,上海人民美术出版,1957),用来代指自晋唐以来的中国传统绘画,这是继“中国画”和“国画”之后,又一体现民族国家观念的词语。当代水墨对自身文脉的清理,无疑是维系这一画种独立性的有效方式,水墨在观念和表现形式上的当代转型,又为水墨拓展了生存和发展的空间。
Although the term “Ink and Wash” started in the Song Dynasty, it was identified as a kind of painting in the second half of the 20th century (Xie Zhiliu “Ink and Wash Painting”, Shanghai People’s Fine Arts Publishing, 1957) Chinese traditional painting, which is the second phrase that embodies the concept of nation-state after “Chinese painting” and “Chinese painting”. Contemporary ink and wash of its own context is undoubtedly an effective way to maintain the independence of this kind of painting. The contemporary transformation of ink and wash in terms of concept and expression forms a space for survival and development for ink and wash.