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从总体的发展来看,相对历史发展的鼎盛时期,应该承认不仅是中国画,中医、武术乃至京剧等被称之为国粹的东西,在一些时期以来都存在着程度不一的不景气,或者说似乎失去历史那种辉煌无比的趋向。在当今艺术多风格取向的年代,在西方“现代主义”、“后现代主义”泛全球化趋势下,在面对当今艺术日益走向自由的开放空间,在面对21世纪中国画坛的“多元时代”之际,对中国画现状的重新判断定位,特别是对中华传统文化的反思,对中国画价值,特别是对文人画价值的重新认识,特别是如何“去拾取我们丢失的东西”(美术史家温克尔曼语),中国艺术家们如何保持和发扬自己的民族精神,如何在认真承继前人经验的基础上,在真正认识传统的前提下,循序渐进,才能以理性的自觉更好地捍卫和发展民族传统。
Judging from the overall development, the heyday of relative historical development should admit that not only the Chinese culture, Chinese medicine, martial arts, and even Beijing opera, which are called state quintessence, have suffered from periods of varying degrees of depression Seems to lose the glorious history of the kind of trend. In the era of multi-style art today, under the trend of globalization of “modernism” and “postmodernism” in the West, in the face of the increasingly open space in which art today moves towards freedom, in the face of “the pluralistic era of Chinese painting in the 21st century” “The occasion of the re-judgment of the status quo of Chinese painting, especially the reflection of traditional Chinese culture, the value of Chinese painting, especially the value of literati painting re-understanding, especially how to” pick up what we lost "(art historian Kerman). How can Chinese artists maintain and develop their own national spirit? How can Chinese artists, with their true understanding of the tradition, step by step on the basis of earnestly inheriting the experience of their predecessors, can better defend and develop themselves in a rational sense? National tradition.