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本期刊发祝帅《从“国画”概念谈建树“中国美术观”之必要》,通过对20世纪前期“国画”概念形成过程的考察,呈现了20世纪在西方艺术观念冲击下中国传统艺术所承受的挤压和肢解,揭示了“国画”这种被“发明”的“传统”与古代文明本原之间断裂的深度。王菡薇的《南朝写经与楷书》,通过对敦煌、吐鲁番早期写本的断代研究,描述了这一融合写经书法和南朝书法的特殊体系,指出百年来从敦煌、吐鲁番等西北边陲出土的南朝写经在中国书法史上意义非同寻常,它弥补了传统书法史南朝写本史料不足的缺憾,再现了隶书在楷化过程中的蜕变与选择。
In this issue, I wish Zhu Shuai “the necessity of establishing the concept of Chinese art” from the concept of “traditional Chinese painting” and through the investigation of the formation of the concept of “traditional Chinese painting” in the early 20th century, The squeezing and dismemberment of Chinese traditional art under the impact of concept have revealed the depth of the break between “traditional Chinese painting” and “the traditional” of “invention” and the original civilization of ancient civilization. Wang Wei’s Southern Scripture and Regular Scriptures described the special system of combining calligraphy and calligraphy in the Southern Dynasties through the study of the dynasties of early Dunhuang and Turpan texts and pointed out that the southern dynasty was written from the northwestern border of Dunhuang and Turpan in the past century It has an extraordinary significance in the history of Chinese calligraphy. It makes up for the shortcomings of the lack of historical materials in the traditional calligraphy history of the Southern Dynasties, and reproduces the transformation and choice of the official script in the process of normalization.