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中国文化在漫长的发展过程中,其整体风貌、精神气质就明显具有一定的地域差异性,表现在文学、艺术上的南北之分、地域之别,就更为历代谈艺者所常道。所谓“大而经济、心性、伦理之情,小而金石、刻画、游戏之末,几无一不与地理有密切之关系”(梁启超《中国地理大势论》)。自明代始,中国绘画的一个突出特点就是出现了大批以地为别的画派,极其鲜明地体现出文化的地域性特征。西晋末年的晋室东渡,造成了中国文化地理中心由北向南的首次迁移,随后的唐代安史之乱与南宋迁都临安,更确立了江南地区作为全国文化与经济中心的地位。“东南财赋地,江浙人文薮”,因此,明清时代林立的地方画派在江南的涌现就是毫不奇怪的了。1949年中华人民共和国的成立,开创了中国画创作的崭新阶段,在60年代初,以傅抱石、钱松函为代表的新江苏山水画派(又称新金陵画派)在全国产生了广泛而深远的影响;80年代后期出现的“新文人画”,南京的画家也是一支中坚力量。本期我们辟出专版,系统地介绍建国以来特别是当下江苏中国画的发展与现状。我们无意重提或确立画派的名目,但作为一种艺术现象的整体考察,无疑具有深刻的现实意义,今后我们还将陆续推出专栏对具有鲜明地域特色的长安画派、岭南画派、新浙江人物画等予以系统的介绍。
In the long process of development, Chinese culture obviously has some regional differences in its overall style and spirit. It manifests itself in the distinction between the north and the south of literature and art, and the difference between regions. The so-called “large and economic, psychological, ethical feelings, small and precious stones, portraits, the end of the game, are all closely related with the geography” (Liang Qichao “Chinese geography”). Since the beginning of the Ming Dynasty, one prominent feature of Chinese painting has been the emergence of a large number of schools of art devoted to the other places, which show the regional characteristics of culture in an extremely vivid manner. The eastward transition of the Jin court in the late Western Jin Dynasty caused the first relocation of China’s cultural geography center from north to south. The ensuing chaos of the Andes in the Tang Dynasty and the temporary relocation of Linan in the Southern Song Dynasty established the status of Jiangnan as a national center of culture and economy. Therefore, it is no surprise that local schools of art in the Ming and Qing Dynasties emerged in the south of the Yangtze River. The founding of the People’s Republic of China in 1949 created a brand-new stage in the creation of Chinese painting. In the early 1960s, the New Jiangsu Landscape School (also known as Xin Jinling School), represented by Fu Baoshi and Qian Songtang, had a broad and far-reaching ; The “new literati painting” appearing in the late 1980s, Nanjing’s painter is also a backbone. This issue we devise a special edition, systematically introduced since the founding of the PRC, especially the current development of Jiangsu Chinese painting and the status quo. We do not intend to re-mention or establish the name of the school of painting. However, as a whole investigation of an artistic phenomenon, it undoubtedly has profound practical significance. In the future, we will also launch columns specifically for Chang’an School of Painting, Lingnan School and Lingnan School of Painting with distinctive regional characteristics Zhejiang figure painting to be systematically introduced.