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毫无疑问,就中国画数十年的发展历程看,最富生机、发展也最为迅猛的画种,当属工笔画。且就绘画的可能性而言,工笔画的空间亦无疑是最为广阔的。自元明文人画兴起,数百年间,该画种因其取向上的细腻工整与疏朗松弛的文人性相背离,故而一直未能获得足够的重视,甚至是在一种鄙视中游离了绘画的主流。然而在当下,相对于已程式化了的写意,工笔则显现出了极大的包容性与可塑性,也更为容易处理融合中西风格的时代问题。从某种意义上说,工笔一脉在当下画坛最有条件站在传统与现代、东方与西方等各种绘画样式、技巧与材料的交叉点上自由地择取、吸收,乃至于融会为一种全新的现代性图式。确实,20世纪中国画史中工笔画的异军突起,不可争辩地显现了这种空间的存在与价值。工笔画在20世纪的发展,呈现出一种逐渐回归主流的倾向。
Undoubtedly, judging from the history of decades of Chinese painting, the most productive painting and the most rapidly developing type of painting are due to the fine brushwork. And as far as the possibility of painting is concerned, there is no doubt that the space for painting is the most extensive. Since the rise of Yuan and Ming literati painting, for hundreds of years, the painting has been unable to obtain sufficient attention due to its delicate and neat laziness and relaxation of literati, even in a despised free painting The mainstream. However, at present, compared with the stylized freehand brushwork, the stylistic brushwork shows great inclusiveness and plasticity, and it is also easier to deal with the problems of the times of merging the Chinese and Western styles. In a sense, the art of writing and painting can freely choose, absorb and even integrate at the crossroads of various painting styles, techniques and materials between tradition and modernity, the East and the West in the current moment. A brand new modernity schema. Indeed, the sudden emergence of fine brush strokes in the history of Chinese painting in the 20th century has indisputably demonstrated the existence and value of such a space. The development of fine brushwork in the 20th century has shown a tendency to gradually return to the mainstream.