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传统像一条大河或似生命的遗传基因,越是上游则越古朴,一路上的河流慷慨携带来自不同时段的支流,汇合后涌入海洋。华夏绘事呈现三大表象:汉唐丹青、宋元的水墨和20世纪之彩墨。面临大海,它们合流汇聚,是汹涌澎拜,还是缓滞湖泊,甚至重返原点等待新一轮的基因重组?其何去何从乃21世纪中国绘画直面的迫切命题。本文对应生命科学的生物学原理,对民族绘画的生命周期作纵向与横向的巡礼后认为:高山峻岭的晶莹雪水与波澜壮阔的蓝色海水虽然其享味觉咸淡的纯,杂合体的性状差异,但热量致使它们在两极之间聚合而变异,不论是源头的纯净之水(隐性基因),还是五味俱全的汪洋波涛(伴性遗传),实则终归自然。
The tradition is like a big river or a life-like gene. The more upstream the more ancient, the rivers along the way are generous carrying tributaries from different time periods, and they merge into the ocean. There are three major manifestations of Chinese painting: Danqing of the Han and Tang Dynasties, ink and wash of the Song and Yuan Dynasties and color ink of the 20th century. In the face of the sea, they converge, surging, or lagging lakes, or even return to the original waiting for a new round of genetic reorganization? What to do is the urgent proposition of Chinese painting in the 21st century. This paper, based on the biological principle of life science, made a vertical and horizontal inspection of the life cycle of the national painting. It is considered that the crystalline snow and the magnificent blue sea water of the mountainous mountains enjoy the pure and heterozygous trait However, the heat causes them to polymerize and mutate between the two poles. Whether it is the source of pure water (recessive gene) or the all-encompassing ocean wave (sex-linked inheritance), it is only natural after all.