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随着西方艺术观念、教育体系的引进以及各院校中国画专业化、学科化的发展,山水写生逐渐成为连接山水画临摹和创作不可缺少的重要环节。“写生”一词在中国画史中一直存在,然而在中国画经历20世纪创变百年后,它的内涵与价值指向都发生了根本的改变,“写生”也从一种绘画技法的准备过程逐渐变为某种艺术价值的体现,这其中反映的是我们对中国传统文化、西方绘画价值观、中国画发展等重要议题的观点的转变。随着当前写生活动的热潮化,如何看待山水写生不但关系到山水画创作的良性发展,也进一步关系到我们应该如何面对中国画的传统与当代性困境。因而本刊将围绕山水写生这一核心问题,陆续刊登系列专访,旨在厘清相关概念、观点,在当代文化视野下,以艺术史观念的发展为基础,对相关议题进行重新审视、反思和梳理。
With the introduction of western art concepts, education system and the professionalization and discipline development of traditional Chinese painting in colleges and universities, landscape painting has gradually become an indispensable link in the process of copying and creating landscape paintings. The term “sketch” has always existed in the history of Chinese painting. However, after the Chinese painting experienced a century of creation in the 20th century, its connotation and value orientation have undergone fundamental changes. The “sketch” also changes from a painting technique The preparation process has gradually become a manifestation of some artistic value. This reflects the shift in our views on such important issues as the traditional Chinese culture, the values of Western painting and the development of Chinese painting. With the upsurge of the current sketching activities, how to treat landscape sketching is not only related to the healthy development of landscape painting, but also to how we should face the traditional and contemporary dilemma of Chinese painting. Therefore, this journal will focus on landscape sketching this core issue, published in series of series of interviews, aimed at clarifying the relevant concepts, ideas, under the perspective of contemporary culture, the development of the concept of art history as the basis, the relevant issues to re-examine, review and combing .