论文部分内容阅读
20世纪对中国画的讨论,主要围绕中国画的前途,即要不要改革及如何改革中国画等问题,大体是在艺术社会学范畴,很少涉及中国画的形式语言。上个世纪五六十年代在笔墨问题上有过争论,但都是作为“革新”与“保守”的附属问题提出来的,并作为保守派的观点被批评的;到80年代末,笔墨问题逐渐得到部分论者的重视;90年代末,《笔墨等于零》一文引起了艺术界广泛的关注,通过两种基本观点的交锋,笔墨的内涵、价
The discussion of Chinese painting in the 20th century mainly focused on the future of Chinese painting, that is, whether or not to reform and how to reform Chinese painting. Generally speaking, it was in the field of sociology of art and rarely involved the formal language of Chinese painting. There was controversy over the pen and ink issues in the fifties and sixties of the last century, but they were all raised as a subsidiary issue of “innovation” and “conservativeness” and were criticized as conservative ideas. By the 1980s At the end of the 1990s, the problem of ink and ink gradually gained the attention of some of the commentators. In the late 1990s, the article entitled “Pen and Ink Equal to Zero” caused widespread concern in the art world. Through the confrontation of two basic points of view,