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建国初,以写生为标志兴起的山水画改造运动,既有对传统的继承,也有时代创新。继承主要体现在对传统笔墨意蕴的持守,是一种民族传统和文化精神的维系;而创新既反映在题材内容的转化,也体现于笔墨语言的创构,是一种时代精神和文化诉求的凸显。写生中,山水画逐渐脱离了文人笔墨儒雅禅悦式的玄风逸韵,形成了鲜明的时代意境;而艺术风格和审美趣味也不断趋向宏大、阳刚、浑厚。但是,山水画领域所延续的20世纪前期以降以科学主义改造中国画的观念,无疑在某种程度上对笔墨表现与意境营造形成了戕害。
After the founding of the People’s Republic of China, the landscape rebuilding movement, which was marked by sketching, was not only inherited from tradition, but also era. Inheritance is mainly manifested in maintaining traditional brushwork and implication of a nation’s tradition and cultural spirit. However, innovation is reflected not only in the transformation of the subject matter but also in the creation of brush-and-ink language, as well as in a spirit of the times and a cultural appeal The highlight. In the sketches of life, the landscape paintings gradually separated from the refined and elegant style of the Xuan style, which formed a distinct artistic conception of the times. However, the artistic style and aesthetic taste tended to be grand, masculine and vigorous. However, the continuation of the landscape painting in the early twentieth century to reduce the scientific concept of Chinese painting, no doubt to some extent on the performance of the pen and ink and the creation of a mood to create harm.