《崔如琢谈艺录》:传统与创新(节选二十二)我在北京曾遇到一个画家,二十世纪五六十年代很多人都觉得他的画很好。但现在他八十岁了,画却越来越差,这是为什么?为何如此优秀的画家到晚年作品会那么差,而不像黄宾虹那样“后出转精”?我想,这与我们美院沿袭的艺术改革体制有关系。这位画家用素描来画中国画,走的路子本身就有问题。中国画毕竟不是素描。好像有人评论某大师的画,认为最大的缺点就是画画有素描稿,所以他的画有些像版画,而齐白石就完全不同。 “Cui Ruochu Tan Arts Record”: Tradition and Innovation (excerpt 22) I met an artist in Beijing. Many people in the 1950s and 1960s thought his paintings were very good. But now that he is eighty years old, the painting is getting worse and worse. Why is this so good? Why is such a good painter as late as the works would be so poor, unlike the Huang Binhong that “after the fine”? I think this is The art reform system that follows our Academy has a relationship. The artist draws Chinese paintings with sketches, and there are problems with the path itself. After all, Chinese painting is not a sketch. It seems that someone commented on a master’s painting, thinking that the biggest drawback is drawing a sketch, so his paintings are a bit like printmaking, and Qi Baishi is totally different.