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在当代美术发展过程中,工笔画的发展多是依赖于画家个体的实践,缺少整体的理论关注和较高学术层面上的探讨。一些画家的艺术实践只停留在传统的表层形式或材料与技法的实验上,而缺少对绘画本质与精神内涵等方面的深层思考。在各类艺术形式、各种艺术思潮争奇斗艳的今天,工笔画在其整体发展与创新过程中似乎缺乏明确而深刻的文化方向,缺少在当今时代所应具有的鲜明的民族性,缺乏关注时代生活、时代精神、人类发展价值观的意识,缺乏在强化工笔画画体特征基础上融合新观念、新材料、新表现手段和语汇的创造精神。这些问题带来的结果是本土绘画的优秀传统得不到应有的重视与弘扬,画家对现实生活的理解和体验十分肤浅,加之这个时代容易感染的浮躁的心理和功利主义风气的影响,一些作者一味追求画面的制作效果,以之掩饰作品本身的苍白与空洞,甚至出现了为展览入选而画、为获奖而画的倾向,这些都是中国工笔画发展的障碍。
In the process of the development of contemporary art, the development of fine brushwork mostly depends on the individual practice of painters, lacks the theoretical concern of the whole and the discussion at the higher academic level. Some artists’ artistic practice only stays in the traditional experiment of surface form or material and technique, but lacks of deep thinking on the nature and spiritual connotation of painting. Today, in all kinds of artistic forms and controversies of various artistic ideologies, it seems that the traditional painting strives for a clear and profound cultural orientation in the overall development and innovation process. It lacks the distinctive nationality that should be possessed in today’s era and lacks concern for the life of the times , The spirit of the times and the values of human development, lacking in the creative spirit of integrating new concepts, new materials, new means of expression and vocabulary on the basis of strengthening the characteristics of paintings, paintings and paintings. As a result of these problems, the outstanding traditions of local painting can not get the attention and promotion it deserves. The artist’s understanding and experience of real life is very superficial, combined with the impulsive psychology and utilitarian culture that is easily infected by this era. Some The author blindly pursues the production effect of the picture in order to cover up the paleness and the emptyness of the work itself, and even the tendency of drawing for the exhibition and drawing for the award is the obstacle of the development of the Chinese strokes.