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绘画不是无源之水,在当下标榜着“创新”的艺术创作中,时常会有着曾经有过某种相同或相似的影子。沿袭着传统没骨画的轨迹,尤其是岭南撞水撞粉法的传承和发展,并伴随着中外艺术文化的相互融洽及新种画材的广泛应用,现代没骨画向着多元化的发展已成为一种趋势,并在当代中国绘画高举创新的旗帜下取得了令人欣然的景象。然而我们在审视现代没骨画崛起的同时却似乎很少去关注关于中国绘画所应遵循的一个核心问题——意境。新画材的兴起和技法的不断开拓创新,使得现代没骨画在很大程度上注重技巧上的表现和媒材美感的发掘,这似乎已经越离了中国绘画的审美宗旨,但中国画的发展创新始终离不开中国固有的传统文化,因为创新的基础之一在于对传统审美意趣的继承和发展。
Painting is not a passive source of water. In the contemporary art works that flaunt “innovation,” there is often a shadow of something that is the same or similar. Following the traditional trajectory of no bone painting, especially the inheritance and development of the collision and collision of the Lingnan law and the wide application of the new species of Chinese painting and calligraphy and painting, the development of modern bone painting toward diversification has become A trend that has made spectacular progress under the banner of innovation in contemporary Chinese painting. However, while examining the rise of modern bone painting, we seldom pay attention to one of the core issues about Chinese painting - the artistic conception. The rise of new materials and the constant exploration and innovation of techniques have made modern boneless painting largely focus on the performance of techniques and the discovery of the beauty of media. This seems to have departed from the aesthetic purpose of Chinese painting, but the development and innovation of Chinese painting China can not do without the traditional culture, because one of the foundations of innovation lies in the inheritance and development of the traditional aesthetic interest.