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美术界对吴先生和关先生不同零的观点引起了普遍关注和讨论。吴先生提出“远离了具体画面孤立的笔墨,其价值等于零”,关先生则强调“否定了笔墨中国画等于零”,拜凌二位先生文章以为二者观点并非对立,实为统一。吴先生说:“孤立的色无所谓优劣,品评孤立的笔墨同样是没有意义的”又说:“笔墨只是奴才,它绝对奴役于作者思想情绪的表达。”这个观点显而易见,对于笔墨的认识,我们是从发现最早的绘画作品即战国时期《人物夔凤帛画》开始,画中妇女
The viewpoints of the art circles on the different zeros of Mr. Wu and Mr. Guan aroused widespread concern and discussion. Mr. Wu proposed that “the value of painting isolated from a concrete picture be equal to zero” and that “the value of painting is equal to zero” is emphasized by Mr. Guan. “The painting of a Chinese painting by painting is equal to zero” is rejected by Mr. Guan. Mr. Wu said: “Isolated color is indifferent to merit and criticism, and isolated inscriptions are equally meaningless,” adding: “The pen and ink are merely minions, and are absolutely enslaved to the author’s expression of his emotions.” Obviously, We started with the discovery of the earliest painting, the painting “Portrait of Feng Shui”, in the Warring States Period, in which women