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一九八九年十一月,中国美术评论家代表团访问日本,参观了众多的美术馆,并与日本画家、评论家进行了交流。归国后,夏硕琦先生在《日本画印象》的散纪中给予现代日本画高度评价,同时在结尾时提出了感到困惑的问题,即:“……就是有些画家新创作的日本画和油画放在一起难以区分。任何画种都有自身的界定,界定的消失就可能导致自身的被融化或者消亡。……” 一九九○年八月,日本美术评论家桑原住雄在《文部时报》以《今后的日中美术》为题作答。桑原氏在解释诞生于日本文化风土的国画日本画这一根本事实时,借用世界语所以没有成为国际通用语的例子来说明日本画的一部份一日本油画也从大和绘等传统绘画及同时代的日本画中汲取了大量养份,从而摆脱了油画的直译阶段,创造了日本风格的油画……。桑原氏似乎并不看重日本画的材质问题,而更多的关注日本风格的绘画本身。文章结尾处,桑原氏也毫不隐讳地陈述了对中国美术的恐惧感:“其一,我怕他们过于着眼民族主义而难以拓展未来。其二,伴随着六
In November 1989, a delegation of Chinese art critics visited Japan, visited numerous art galleries and exchanged ideas with Japanese painters and critics. After returning from his hometown, Mr. Xia Shuoqi highly praised modern Japanese painting in the book Dissemination of Japanese Painting Impression, and at the same time, he raised the question of being puzzled: “... there are Japanese artists and oil paintings newly created by some artists Together difficult to distinguish .Any painting has its own definition, the disappearance of the definition may lead to their own was melted or extinct .... ”In 1990 August, Japanese art critic Yukio Uehara in the“ Ministry of Culture ” To “future art in Japan” as the answer. Sangamori explained part of Japanese painting by borrowing Esperanto as an example of a Japanese painting in which Japanese painting was born in Japanese culture. Japanese painting has also evolved from traditional paintings such as Yamato and other contemporary paintings Japanese painting draw a lot of nutrients, so as to get rid of literal translation stage of oil painting, creating a Japanese-style painting ... .... Kuwabara does not seem to value the material of the Japanese painting, but instead focuses more on the Japanese-style painting itself. At the end of the article, Kuwabara did not hesitate to state his fear of Chinese art: “First, I’m afraid that they are overly nationalistic and will not be able to expand the future.” Second,