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从1904年康有为提出“中国近世之画衰败极矣!”之后,到今天巳八十多年,将近一个世纪了。中国画坛已更替了好几代。八十年来,对中国画的革新,不乏有志之士,有承先启后的先辈,也出了不少名作名家。但也有大量的人在苦闷、在徘徊。对陈腐的、僵化的确已感到腻烦,而向何处去?又感到迷茫,这是很可以理解的,也符合实际的。近年来,由于双百方针的贯彻,在中国画领域,学术上的争鸣,颇为热闹,已打破近几十年来一潭死水的局面。国画如何创新?有否危机成为热门话题。老中青三代都已卷入这场论战的洪流,各抒己见,畅所欲言。提出许多方案,许多预言,许多设想。什么向民间借鉴,向西洋借鉴,多元化,互补格局,一直到穷途末路。因为其中难免夹杂人为的因素,并非艺术规律,所以也难免出现言辞激烈,耸人听闻,水火不容的局面。“取其精华,弃其糟粕”已喊了多少年,到今天还没有见到一本专著对
From 1904, Kang Youwei has proposed that “the decline of the Chinese modern painting is extremely serious!” It has been more than 80 years now, nearly a century ago. Chinese painting has been replaced for generations. In the past eighty years, there have been many people with lofty ideals in the innovation of Chinese painting. But there are also a large number of people in depression, hovering. It is very understandable and realistic to be tired of the old, inflexible, and really boredom. In recent years, due to the implementation of the “two hundred principles”, academic contestation in the field of Chinese painting has been quite lively, and the situation of stagnating water has been broken in recent decades. How to innovate traditional Chinese painting? Is there any crisis that has become a hot topic? All three generations of old, middle and old people have been involved in the torrent of this controversy, expressing their opinions and making their own choices. Proposed many plans, many prophecies, many ideas. What to learn from the people, learn from the West, diversified and complementary pattern, has been to a dead end. Because of the inevitable inclusion of artificial factors, not art rules, it is inevitable there will be fierce words, sensational, over-crowded situation. “Take its essence, abandoned its dregs,” has been calling for many years, to today have not seen a monograph