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1989年后的中国水墨画,展示出一种与80年代不尽相同的新格局。这一格局大致可归纳为三个不同流向:以回归文人画传统为指向的新文人画的兴起,以歌颂为基本模式的现实主义新传统的回潮,以建立当代形态为目标的现代水墨的全方位实验。第一种流向就其宗教于文化针对性而言,有它的合理性及其意义,但其淡泊、隐退、无为的精神内涵及玩世心态与进取
Chinese ink painting after 1989 shows a new pattern that is different from the 1980s. This pattern can be roughly divided into three different directions: the rise of the new literati painting with the return of the literati tradition, the resurgence of the new tradition of realism celebrating as the basic model and the establishment of modern ink and wash with the contemporary form as its goal Orientation experiment. The first type of flow has its rationality and significance in terms of its cultural orientation to religion. However, its spiritual content of indifference, retreat and inaction and its cynicism and enterprising attitude