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主持人语 油画原本是以西方文化为土壤的一个画种,面对西方油画艺术传统,如何以中华艺术精神为本,根植于中国的现实生活中,探索一条使中国油画逐渐走向成熟的必由之路,这既是我国几代油画家为之努力的,也是至今摆在我国油画界和理论界的重大研究课题。洪瑞生先生认为,油画家必须确立中华文化的主体意识,他提出一种从“消化”走向创造的学术方法和路子,以促进中华艺术精神与西方油画的融汇。 东晋戴逵“善铸佛像及雕刻”,这在以往的美术史研究中几乎已成定论。殷力欣先生通过考察历史文献资料和现存文物,认为这一说法是不可靠的。 本期“学人档案”介绍的李学勤先生,是在美术考古、文物鉴定和历史学、古文字学等多方面有重大建树的学者,他的勤奋精神和科学的治学方法对我们很有借鉴意义。
In the face of Western oil painting art tradition, how to root in the real life of China and explore a necessary way to make Chinese oil painting mature gradually? This is not only the effort made by several generations of oil painters in our country, but also a major research topic in the field of oil painting and the theory of our country so far. Mr. Hong Ruisheng believes that oil painters must establish the subjective consciousness of Chinese culture. He proposed an academic approach and path from “digestion” to creation in order to promote the fusion of Chinese artistic spirit and western oil painting. Dai Jin in the Eastern Jin Dynasty “good cast Buddha and sculpture”, which in the history of art history has almost become a conclusion. Mr. Yin Lixin considered the historical documents and extant antiquities as unreliable. Mr. Li Xueqin, who is described in this book, is a scholar who has made great achievements in many aspects such as art archeology, cultural relics appraisal and history, and ancient philology. His diligence and scientific method of study have great reference for us.