论文部分内容阅读
潘絜兹先生在1993年4月“第二届全国中国画艺术研讨会”的开幕词中提出了“树立大中国画观”的理论主张~([1])。20多年过去,随着中国画的多元发展,“中国画”这一概念已包容着多样的观念、样式与语言,确然已成为一个超越“笔墨”、“卷轴画”或“文人画”狭窄视界的“大”中国画,“大中国画”已为中国画界共识;而早在20多年前,在那以“水墨画”代替“中国画”的理论风潮过后不久,潘絮兹先生独具慧眼,提出“大中国画”主张,体
In his opening address “The 2nd National Symposium on Chinese Painting Art” in April 1993, Mr. Pan Xizi put forward the theoretical idea of “establishing the concept of large-scale Chinese painting” ~ ([1]). In the past 20 years, with the multi-dimensional development of Chinese painting, the concept of “Chinese painting” has embraced a variety of concepts, styles and languages and has indeed become a “scroll ink”, “scroll painting” or “ The Chinese painting ”Big Chinese“ in the narrow field of vision of the ”literati painting“ has become the consensus of the Chinese painting community; as early as 20 years ago, the theory of ”Chinese painting“ replaced by ”ink painting“ Shortly after the tide, Mr. Pan Xuesi was unique and discerning, putting forward the idea of ”large Chinese painting"