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两千年的中国绘画一直在中国人文哲学的认知体系之上构建意象精神,并逐渐以笔墨作为自己的本体语言,直至文人墨客以笔墨为旨趣所归。毛笔行走于宣纸之上,体现的正是不断进化的笔墨传统,而透过生动的笔墨运用,绘画者所欲言说的自情、人心、事理,乃至宇宙真气,又无不纤毫毕现。七月流火,九月授衣。心宿下坠,秋意渐起。又是负阴抱阳、沟通南北的时节,北京正观美术馆与杭州信雅达·三清上艺术中心首次合作联展,提名南北方十二位中青年画
The two-thousand-year Chinese painting has been building an imagery spirit over the cognitive system of Chinese humanities and philosophy, and has gradually adopted the ink and brush as its own ontology language until the literati and ink are ascribed to the pen and ink. Brush walking on rice paper, reflecting the continuous evolution of the pen and ink tradition, and through the use of vivid ink and brush, the painter’s self-esteem, people’s minds, things, and even the universe infuriating, but also all without exception. July flow fire, in September clothing. Heart sink, fall gradually. It is also a negative yin and yang, communication north and south of the season, the Beijing Museum of Art and Hangzhou Xin Yada · Sanqingshang art center for the first time a joint exhibition nominated young artists in North and South 12