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国画不单是区别于其他绘画族类的画种术语,更不是一种简单的材质界定。国画有着它本身的传统渊源和时代表征。国画中的诗、书、印的丰富含括;表达主旨的寄情于物;状写立场,等等一切,都是国画以及民族的瑰宝。在西学东渐中、在多元文化的碰撞中、在与其它画种的非正常的接轨中,我们所看到大多数国画已经面目全非了--承继太少而缺位太多。因此,我对那些能在传统范式中寻求自我状写,并坚定捍卫中国画“宗脉”和“味道”的画家充满着敬意。我们所敬畏的一切关乎于中国画的创新、探索、实验甚至颠覆,都不应脱离中国画本质和本源的东西。
Traditional Chinese painting is not only a painting term different from other painting families, but not a simple material definition. Chinese painting has its own traditional origins and symbol of the times. Painting in the poetry, books, printed on the rich include; express the purpose of the love affair; shape written position, and so on, are all Chinese painting and national treasures. In the course of Western learning, most of the paintings in Chinese paintings have gone beyond recognition in the multicultural collision and the abnormal integration with other paintings - inheriting too little and missing a lot. Therefore, I pay tribute to those painters who can seek self-expression in the traditional paradigm and firmly defend the Chinese painting “Romance ” and “flavor ”. All that we are awaiting about innovation, exploration, experiment and even subversion of Chinese painting should not be divorced from the essence of Chinese painting and its origins.