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近来,继又一次中国画大讨论之后,新文人画作为一种美术现象正在全国各地兴起。其倡导者和创作家都认为,它与古代的文人画虽属审美内蕴多有不同的艺术,但也存在着一定的历史联系。也可以说前者是后者在新时代的蜕变。 实际上,成熟于北宋中叶的封建士大夫的文人画,发展到鸦片战争之际已经名存实亡,代之而起的则是以文人画面貌出现并赋予了新意蕴的后文人画。可以视为后文人画家的人并不是个别的,自我国沦为半封建半殖民地社会至社会主义共和国建成初期这百年间,不但前有吴昌硕(1842——
Recently, following another major discussion of Chinese painting, the new literati painting is emerging as a fine art phenomenon all over the country. Both its advocates and creators think that although it is different from the ancient literati in the art of aesthetics, there is also some historical connection. It can also be said that the former is a transformation of the latter in a new era. In fact, the literati painting of the feudal literati, who was mature in the middle of the Northern Song Dynasty, had existed in name only when it came to the Opium War. Instead, the literati painting, which appeared as a literati, added a new meaning to the literati painting. The people who can be regarded as post-written painters are not isolated from one another. Since our country became a semi-colonial semi-colonial society to the early days of the founding of the Socialist Republic, not only did Wu Changshuo (1842 -