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从清末至今一百多年,中国画的发展是混沌的,缺乏艺术主见。在西方“实体”认识论与中国“辩证”认识论相对立的前提下,中国出现了以怀疑和排斥中国传统文化,片面追求西方文化为主导的艺术取向,致使中国画发展失去了抚育之根——中国的传统文化。其结果是将中国画的发展推向一个极端,要么保守自封,坚守陈腐;要么全盘西化,以西方理论将中国画改造得不伦不类。围绕中国画创新和发展的论争一直不断,进入21世纪,“传统”一词的复现率近些年也越来越高,表面看起来似乎进入现代社会以来近乎失落了的传统又有了重新得到重视的机遇,然而对于究竟什么是传统以及如何才能做到创新始终难有一个统一而又能取得广泛认同的回答。
From the end of the Qing Dynasty to the present one hundred years, the development of Chinese painting is chaotic, lacking in artistic vision. Under the opposite of Western epistemology of “entity” and “epistemology of dialectics” in China, there emerged an artistic orientation dominated by doubting and rejecting traditional Chinese culture and unilaterally pursuing Western culture, resulting in the loss of development of Chinese painting Roots - Chinese traditional culture. As a result, the development of Chinese painting has been pushed to the extreme, either conservative and self-styled, clinging to obsolescence, or Westernization in general and the transformation of Chinese painting from the West into the West. The controversy surrounding the innovation and development of traditional Chinese painting has been constantly debated. In the 21st century, the recurrence rate of the term “traditional” has also become higher and higher in recent years, and the seemingly lost tradition since it appeared in modern society appears again However, it is always difficult to find a unified and widely accepted answer to what is tradition and how to achieve innovation.