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相对于上个世纪而言,今天就像一个沧海桑田之后的新世界。现在回首看看曾自况为“沧海一粟”的刘海粟老人和他一生的艺术求索,会有一种别样的意味。丁寺钟一直以水彩画这个富于技术色彩的载体来记录和表达他对世界的看法,结果他所强调的“意象”却让我们获得了一种超越技术的感受。说到感受,中国人常常把优秀的美术作品给人的感受称之为“耐看”。可是,今天的中国画还耐看吗？本期我们带着这个问题请三位先生来谈谈他们对有关现象的看法。
Compared with the last century, today is like a new world after a long and gloomy period. Now look back and have a self as “a drop in the ocean,” Liu Haisu old man and his artistic pursuit of life, there will be a different kind of meaning. Dingsi Bell has always recorded and expressed his views on the world with watercolor, a technology-rich carrier. As a result, his “imagery” has given us a feeling of exceeding technology. Speaking of feelings, Chinese people often refer to excellent people’s feelings as “good-looking”. However, today’s Chinese painting is also resistant to see it? In this issue, we ask the three gentlemen with this question to talk about their views on the phenomenon.