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现代中国画的走向经历了近百年的争论、改造、融合,终于从素描写生造像的意义确立到综合写意的表现形态,即“新写意形态”。为此,中国画家付出了艰辛的努力和漫长的时间。对历史而言,一百年只是一种瞬间,而对于一位画家而言,一个世纪便是一种生命的无涯期望。从以“革四王的命”为发端的序曲,到五个年代改造中国画,引入俄式美术教育基础训练,中国画进入了严肃的写实主义系列。中国画家的写生技法作为一种正业在不断地操练组合变幻中产生的图式,却不能逃出西方文化的模仿再现的光圈。从课堂到乡村,从矿区到山林,曾几何时,以契氏素描体系为基础的中国画教育导致中国画坛的千人一面,僵硬刻板。从反省回顾中发现,五十年代以来的中国画家,拼命地从写生追求写实主义的正臬,以致中国画基础得以更换,游离出民族传统文化的特质之外,而历史已被现实支离分解为片面的诠释,对立了“四王”与“四僧”的存在关系,也蔑视了赵孟頫、董其昌等人的绘画成绩。因此,中国现代美术模式产生的中国画家堕入了“写生代”。
The trend of modern Chinese painting has undergone nearly a hundred years of debate, transformation and integration. Finally, it has been established from the meaning of sketch creation to the comprehensive expression of freehand expression, that is, “new freehand form.” To this end, Chinese painters have worked hard and long time. For the history of a hundred years is just a moment, and for a painter, a century is a kind of infinite life expectancy. From the prelude to “the life of the four kings of the revolution” to the reformation of Chinese painting in the five years and the introduction of the basic training in Russian-style art education, the Chinese painting entered a serious series of realism. Chinese artist’s sketching techniques, as a kind of schema that is constantly evolving in practice, can not escape the illusion of imitation of Western culture. From the classroom to the village, from the mining area to the mountains and forests, once upon a time, the education of traditional Chinese painting based on the Chisholité system led to rigid stereotypes in the thousands of Chinese painting circles. From the retrospective review, we can see that Chinese painters since the 1950s desperately pursued the realism of realism from the sketching of life, so that the foundation of Chinese painting can be replaced and the traditional Chinese culture can be freed from the traits. However, history has been divided into one side by reality , Opposed the relationship between “Four Kings” and “Four Monks”, and also despised the painting achievements of Zhao Mengfu and Dong Qichang et al. As a result, Chinese painters born out of the modern Chinese art patterns fall into the “generation of sketch generation.”