论文部分内容阅读
用笔墨纸砚完成的绘画在近代以来遭遇了多方面的挑战,检讨中国画的历史命运,既是为了对其进行恰当的定位,也是为了真正面对它得以继续存在的基础。新中国成立六十年来,有关中国画的讨论曾经异常热烈,在本文看来,无论真诚地辩护还是激烈地抨击,都有失之偏颇的地方。在日益多元的文化生态中,中国画要坚持自身的品格,它不会取代任何其他的艺术,它只能回到自身,作为一种中国人的生活方式、文化方式、身体实践方式,以其独特的气质卓然而立。没有任何理由让我们认可只有那些迅速变化的形式才有生命力,而那些在微妙之处显变化的中国书画反而没有意义。
The paintings completed with pen-and-ink paper have encountered many challenges in modern times. To review the historical destiny of Chinese paintings is both to properly locate them and to truly face the basis for its continued existence. Sixty years after the founding of New China, discussions on Chinese painting have been unusually lively. In this paper, it seems that there is a biased place to defend this matter, whether it is to sincerely defend or violently criticize it. In the increasingly diverse cultural ecology, Chinese painting should adhere to its own character, and it will not replace any other art. It can only return to itself. As a Chinese way of life, culture and practice, with its unique The perfect temperament stand. There is no reason for us to admit that only those rapidly changing forms have vitality, and those Chinese calligraphy and paintings that have changed subtly but meaninglessly have no meaning.