论文部分内容阅读
《周礼·考工记》中有载:“橘踰淮而北为枳。”据说,淮河以北过去没有橘树,有好事者从南方引种了橘苗到淮北,可是几年之后,本该结出甜美橘子的橘树上,却结的尽是小小的酸枳。这便是世人皆知的“橘化枳”的故事。在此,我们姑且不去考究这一记载是否属实,但它却告诉我们一个现象:任何事物由于所处的环境的变化,必然会导致事物不同程度的变化。由此,使我们联想到由于中国画在当代生存和发展的环境已发生了深刻的变迁,所以,中国画也不同程度地、有形无形地进行着现代嬗变。如果对这种嬗变过程中的诸多问题不甚清晰,缺乏足够的认识,那么,当代中国画画家的追求和探索就会陷入盲目,就会失去价值和意义。
“Zhou Gong Kaogongji” contains: “Orange over Huai and north is trifoliate orange.” It is said that there is no orange tree north of the Huaihe River, there are good things from the southern introduction of orange seedlings to Huaibei, but a few years later, this The knot of sweet oranges on the orange tree, but the knot is made of small acid trifoliate orange. This is the well-known story of “orange blossom”. At this point, let us not judge whether this record is true, but it tells us a phenomenon: because of changes in the environment, everything will inevitably lead to varying degrees of change. As a result, it reminds us that Chinese painting has undergone profound changes in a tangible and intangible manner due to the profound changes that have taken place in the environment of contemporary survival and development. If the problems in this process of transmutation are not clear and lack enough understanding, then the pursuit and exploration of contemporary Chinese painters will fall into blindness and lose their value and significance.