笔者曾撰文谈中国画概念问题,主要从中国画定义的由来、范围及演变的情况入手,其实是谈“什么是中国画”的问题。本文想从“什么不是中国画”的角度再辩“中国画”之名实。 蒋兆和的人物画现在是绝对不会有任何人说或想过不是“中国画”的了,不仅如此,蒋兆和的人物画还被整个画坛公认为是本世纪中国画的典范性作品。但是,在半个世纪之前,却不是这样。蒋兆和这些把素描意味揉进水墨之中的人物画,当时的论家就不把它们归入“国画”。一九四二年,反对融合中西的京华美术学院院长邱石冥为蒋兆和的画册写序时就承认“真正老牌的国画家,对于他的画,也都说‘好’,‘有意识’”。邱石冥是从“具有真正艺术价值”的泛艺术角度去评的,而决不承认蒋的画是“国画”。“如果拿国画的画法,来衡量他的画,不对。拿洋画的画法来衡量他的画,也不对。”照邱石冥看来,蒋兆和的这些四不像的“好”,是因其“完成了艺术品条件的原故”。而一生谦逊乃至谦卑 The author has written about the concept of Chinese painting, mainly from the definition of Chinese painting origin, scope and evolution of the situation, in fact, talk about “what is Chinese painting” issue. This article tries to argue the name of “Chinese painting” from the perspective of “what is not Chinese painting”. Jiang Zhaoguan’s portrait painting is now absolutely no one will say or think it is not “Chinese painting”, not only that, Jiang Zhaoguo’s portrait painting is also accepted by the entire painting as a typical Chinese painting this century’s work. However, this was not the case half a century ago. Chiang Kai-shek and these figure sketches that paint the sketch into ink and wash, and the theorists at the time did not categorize them as “traditional Chinese paintings.” In 1922, when Qiu Shi-ming, dean of the Jinghua Academy of Fine Arts, who confronts the integration of China and the West, wrote for Jiang Zhaohe’s album, “a genuinely established painter in the country paints” good “and” consciousness “about his paintings. . Qiu Shi Ming is judged from the pan-art angle of ”having true artistic value,“ and he never admits that Chiang’s painting is ”traditional Chinese painting.“ ”If you take the traditional Chinese painting method to measure his painting, that’s not right, and it’s not right to measure his paintings with the method of painting with foreign paintings.“ According to Qiu Shi-min, these four different ”goodnesses“ ”Completed the art condition of the original." Humble and humble life