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美术创作中的传达活动,是美术家运用物质媒介材料和技艺手段,将其对社会生活的审美认识表现出来,使其物化。就绘画材料而言,大体包括两大类,即画家用什么东西画和画在什么东西上。洪惠镇先生的文章认为,中国画以墨为主的胶性颜料和以水为稀释剂的材料系统,基本稳定,两千多年来没有太大变化,而画在什么上面的材料却有多次改革。中国画基本上是在绢和纸这两种材料上作画,它们之被择用,主要出自两方面原因,一是社会生产力和材料本身的性质,二是画家的艺术观念。而生宣的优越性到了现当代,被发挥到了极致。可是目前对于中国画纸张的改革,却非常滞后。作者提出自己的构想,认为中国画需要继续发展,宣纸不舍.很难解决水墨画的语言危机;中国画要向世界传播,如果中国画非用宣纸作画不可,而在国外又买不到或买不起宣纸,那就只能永远将中国画幽闭在国门之内。这当然只是一家之言。希望大家都来关心中国画的材料改革。历代的宫廷绘画是中国绘画史的重要组成部分。聂崇正先生在研究清代宫廷绘画时,查阅了大量的清内务府造办处的档案资料,经过整理分析首次披露公诸于世,对于了解清代宫廷的绘画制度有着重要史料价值。
Communication in art creation is the artist’s use of material media and technical means, showing his aesthetic understanding of social life and making it materialized. As far as the material for painting is concerned, there are generally two major categories, namely, what is the artist painting and drawing on? According to Hong Hui-zhen’s article, the glue-based pigments and water-based material systems dominated by Chinese ink are basically stable and have not changed much in more than two thousand years, but the materials drawn on top of them have more Secondary reform. Chinese painting is basically done on two materials, silk and paper. Their choice is mainly due to two reasons. One is the social productive forces and the nature of the material itself, and the other is the artist’s concept of art. The superiority of the proclamation to the present and contemporary, has been played to the extreme. However, the current reform of Chinese painting paper, but very lagging. The author proposes his own conception that the Chinese painting needs to continue to develop and the paper is discarded .It is very hard to solve the language crisis of Chinese ink painting. Chinese painting should be spread to the world. If Chinese painting can not be made with rice paper but can not be bought or can not be bought abroad , Then you can only keep the Chinese painting clandestinely within the country. This is of course only one statement. I hope everyone will care about the material reform of Chinese painting. The court paintings of successive generations are an important part of the history of Chinese painting. When studying the court paintings of the Qing Dynasty, Mr. Nie Chongzheng consulted a large amount of archival materials of the Qing Government Office, and after the first disclosure of the publicity, it has an important historical value for understanding the court painting system of the Qing Dynasty.