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从上世纪80年代李小山先生提出“中国画已到了穷途末路的时候”开始至今,近20年过去了,中国画的各种改革、创新层出不穷,但大多围绕着中国画的形态,而在视觉美感上并无根本的改观。其根源关键在于中国传统文人画的审美标准仍占据中国美术界的主流,文人画“以墨为彩”的视觉审美趣味仍在很大程度上影响着中国画家的创作,此审美趣味在一定程度上脱离了现代大众的审美生理习惯,与审美心理需求,限制了中国画进一步改革与发展。
Since the 1980s when Mr. Li Xiaoshan proposed that “Chinese painting has come to a dead end”, almost 20 years have passed. All kinds of reforms and innovations of Chinese painting are emerging in an endless stream, but most of them center on the form of Chinese painting and on the visual beauty There is no fundamental change. The key point is that the aesthetic standards of Chinese traditional literati paintings still occupy the mainstream of the Chinese art circle. The aesthetic taste of the literati painting “using ink as ink ” still influences the creation of Chinese painters to a great extent. This aesthetic interest lies in To a certain extent, it is out of the aesthetic habits of the general public and the needs of aesthetic psychology, which limits the further reform and development of Chinese painting.