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写意精神是近年来一直备受关注的话题,当几乎所有人都无可争议地认为写意精神是中国画最重要的民族审美品格、是中国画的精髓、是中国艺术的本色的时候,又提出了许多现实问题,如当写意精神遭遇西方绘画思潮冲击,它是否已经面临衰亡的危险?写意精神还有否延续的可能和必要?又该如何延续和创新?而作为最能够“深沉复杂”的承载写意精神的写意花鸟画,在刚刚落下帷幕的第十一届全国美展上的惨淡表现,不得不引起我们深刻的思考。
The spirit of freehand brushwork is a subject that has drawn much attention in recent years. When almost all people think that freehand brushwork is the most important national aesthetic character of Chinese painting, the quintessence of Chinese painting and the essence of Chinese art, Realistic questions, such as when the freehand spirit experiences the impact of the Western painting thoughts, is at risk of decline? Is it possible and necessary for the freehand spirit to continue or not? How can it be extended and innovated? And as the most capable of “deep and complex” The dismal performance of freehand flowers and birds bearing the freehand spirit in the eleventh National Art Exhibition has just ended and has caused us deep thinking.