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近年来,由于西方现代绘画的“引进”,刺激了中国画的发展,这对于消除某些国画的保守和僵化观念,起到了一定的推动作用,因而是有其积极意义的。但,我的发言是注意到另外一个方面的问题。目前一段时间,一些国画留给我的印象,是将西方现代绘画的效果无限地扩大,这最终会导致国画走向一个死角,丢弃民族传统的宝贵精髓。我认为盲目地迷信西方绘画,盲目地尊崇祖宗,都不利于国画的健康发展。我们研究绘画上的一些问题,不应该采用极端的方式,强化艺术创作中从来就存在的各种流派、各种语言和风格互相对立的矛盾,应该记住历史上盲目性给我们民族带来的灾害。采实事求是的态度,以求得在人类文艺的百花园中,各种鲜花都能开放在合适的位置上。且不论中国画艺术的高低,我们视它为一种绘
In recent years, the “introduction” of western modern paintings has stimulated the development of Chinese painting, which has played a certain role in promoting the conservative and rigid concepts of certain Chinese paintings. Therefore, it has its positive significance. However, my speech takes note of another issue. For some time now, the impression left by some Chinese paintings is that the effect of modern western painting is infinitely expanded. This will ultimately lead to the death of traditional Chinese painting and discard the precious essence of national tradition. I think blindly superstitious Western painting, blind respect for ancestors, are not conducive to the healthy development of Chinese painting. We should study some of the problems in painting. We should not adopt extreme methods to reinforce conflicts between various genres, languages and styles that have always existed in artistic creation. We should remember that blindness in history has brought us to our nation disaster. To adopt a realistic attitude in order to achieve in the humanities and cultural hundred garden, a variety of flowers can be opened in the right place. Regardless of the level of Chinese painting art, we see it as a painting