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环境一词,不只是指自然生态,也包括意识形态的自然化。自然在中国绘画中一直是一个重要的主题,绘画和道家美学结合在一起,中国文人的社会意识往往通过对自然山水的肯定而被消解,达到“欲辩已忘言”、“天人合一”的境界。在今天中国绘画中呈现出的山河意象,往往遮蔽了历史的悲剧。帅好先生在《大饥荒时代,画家在于什么?》一文中,以确凿的数据为我们呈现了中国绘画中的风景到底何为。在巨大的政治灾难面前,没有任何自然性可言。上世纪80年代,“土地”一词以批判现实主义取代了之前的山水的表述。在以罗中立
The term environment refers not only to the natural ecology but also to the naturalization of ideology. Nature has always been an important theme in Chinese painting. The combination of painting and Taoist aesthetics has often resulted in the social awareness of Chinese literati being resolved through the affirmation of the natural landscape and reaching “ One person ” realm. The images of mountains and rivers present in Chinese paintings today often obscure the tragedies of history. In his article “What is the painter in the era of Great Famine?”, Mr. Shuaihao presented us with solid data about the landscape in Chinese painting. In the face of a huge political catastrophe, there is no such thing as nature. In the 1980s, the term “land” replaced the previous landscape with the critique of realism. Neutral in Israel