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2003年,长期困扰画坛的中国画文化种姓问题,因当时一些大型展事上中国画金奖作品或出现空缺,或得不到广泛认同的触发,终于引爆了一场关于中国画评审标准的大讨论。这场由《中国书画报》组织的历时三月有余的大讨论,不仅涉及中国画的评判标准、界定原则,而且涉及中国画的创作理念和文化种姓,具有深远的意义。如今讨论已尘埃落定,中国书画报社和天津人民美术出版社将参加讨论的文章结集成册,正式出版。然而当人们翻开这本厚厚的大书时,却惊异于这样一个事实:问题并未解决,分歧依然存在!这就不能不引起人们的再度思考:问题的症结究竟在哪里?中国画的文化种姓到底是什么? “规矩”必须有,还是不应有讨论是由一篇题为《中国画评审:没有规矩岂能成方圆》的访谈录拉开序幕的。然而就是这样一个貌似天经地义,不证自
In 2003, the issue of Chinese cultural and cultural caste, which had long plagued the painting circles, triggered a large debate about the criteria for judging Chinese paintings because of the vacancy or lack of approval of Chinese gold medals at major exhibitions at that time. The grand debate in March, organized by the “China Pictorial”, is of far-reaching significance not only in the criteria and principles of Chinese painting, but also in the creative concept of Chinese painting and cultural caste. Now the discussion has been settled, the Chinese painting and calligraphy newspaper and Tianjin People’s Fine Arts Publishing House will participate in the discussion of the article into a book, the official publication. However, when people open this thick large book, they are amazed at the fact that the problem is not solved and the differences still exist! This can not but cause people to rethink: Where is the crux of the problem? The culture of Chinese painting What is a caste in the end? “Rules” must have, or should not be discussed by an article entitled “Chinese painting review: no rules how to become a radius” of the interviews kicked off. However, it is such a seemingly justified, not self-evidence