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如果要我们评出20世纪末中国画工笔画坛最引人注目之现象的话,岩彩画的出现与推广将毫无疑问地位居前列。近十多年来,作为一种以新材料(?)制作的绘画样式,岩彩画在有关刊物上出现频率之高,高规格展出密度之大,都是值得一提的。“岩彩现象”的出现,无疑为变革中的中国工笔画带来了一种思考方向和可能性,也着实推出了一批新作品。然而,在取得一定成绩的同时,岩彩画整体意义上的轻薄与花哨,也折射出当下中国画家们的某种心态。这里笔者将自己的一些思考写出来就教于各位专家学者。和传统中国绘画所散逸的书卷气息及其在绘画样式上的独树一帜相比,岩彩画至少有两点缺憾。第一,缺少新意。尽管不少画家、理论家都撰文说岩彩画新,可实事求是地讲,岩彩画的“新”是需要满足一定条件才能
If we want to rate the most striking phenomenon of Chinese painting and calligraphy at the end of the 20th century, the appearance and promotion of rock paintings will undoubtedly top the list. For more than a decade, as a painting style made of new materials (?), Rock paintings have the highest frequency of publication and the high density of exhibitions of high specifications, which are all worth mentioning. The appearance of “Rock Painted Phenomenon” undoubtedly brought a kind of thinking direction and possibility for the Chinese strokes in the process of reform and actually launched a number of new works. However, while attaining certain achievements, the overall sense of lightness and fancyness of rock color paintings also reflects some of the current state of mind of Chinese painters. Here I write some of my own thoughts to teach you experts and scholars. Compared with the breath of scroll in the traditional Chinese painting and the unique style of painting, rock color painting has at least two defects. First, lack of new ideas. Although many painters and theorists have written articles on rock paintings, they can tell the truth from facts. The “new” of rock paintings is that they need to meet certain conditions