论文部分内容阅读
中国当代的油画风景画因为源于西方,故大多仍直接以模仿西方为能事。司空见惯后,人们也多津津乐道于“无一笔无来历”地历数其西方的祖宗,而忘了中国自身还有早于西方一千五百余年的山水画传统。本世纪,油画的民族化倡导使部分画家在吸收中国山水画上有所尝试,但流于表浅的对中国山水画的线条、墨法、章法和宣纸意味的模仿借鉴者多,能立足于传统绘画本质而又不失油画自身特征的民族性现代油画探索者却相对地较少。 事实上,中国传统山水画的精髓主要不在对自然的着意再现和描摹,而在于体现中国人那种包天容地,天人合一的东方自然观,亦即二千五百余年前的孔子“仁
Because contemporary Chinese oil painting landscapes originated in the West, most of them are still directly imitating the West as their will. After commonplace, people also rejoice in the “no origin” calendar of its ancestors of the West, but forget that China itself as early as the Western landscape of more than 1500 years of tradition. This century, the nationalization of oil painting prompted some painters to try to absorb the Chinese landscape paintings. However, the superficial myths of the Chinese landscape painting lines, the Mohist, the Zhang Fa and the rice paper imitation can be borrowed from many traditional painting However, there are relatively few ethnic modern oil explorers who are intrinsically and yet still losing their own characteristics in painting. In fact, the essence of Chinese traditional landscape painting is not primarily the reproduction and tracing of nature, but the embodiment of the oriental outlook on nature that is inclusive of nature and harmony between man and nature, that is, the Confucianism of more than 2,500 years ago "benevolence