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中国当代工笔画的创作热潮和市场盛况,并没能掩饰它的文化虚弱与精神匮乏。不少画家和评论家不约而同地在困惑中产生了突围的想法,也在思考中萌发了前瞻的意愿。近两年来,有关工笔画的实验探索和学术论争甚为频繁,恰如某些学者所言:“当代工笔画到了一个需要进行学术前瞻与理论探讨的时期。”2010年11月15日在湘潭市齐白石纪念馆举行的“湖南省工笔画探索展暨学术论坛”便是这类强劲的艺术行动之一。相对而言,本次活动并不隆重、也不浩大,只是展示了湖南省近两年来工笔画的探索成果,进而围绕探索展召开了画家自省与专家把脉相结合的学术论坛。这样的姿态与“工笔画大省”的美誉很不相称。众所周知,20世纪80年代,以陈白一为核心的工笔画湘军,发挥地域文化优势、强化民族特色、关注现实生活,为中国工笔画的现代转型
The creative craze and market boom of contemporary Chinese contemporary painting did not mask its cultural weakness and lack of spirituality. Many painters and commentators spontaneously produced the idea of breaking through in confusion, and they also made forward-looking wishes in their thinking. The past two years, the experimental exploration and academic controversy on the strokes is very frequent, just as some scholars have said: “Contemporary Meticulous painting to a need for academic foresight and theoretical discussion period.” “November 15, 2010 at Xiangtan Qi Baishi Memorial held at the ”Hunan Fine Art Exploration Exhibition cum academic forum“ is one such strong artistic action. Relatively speaking, this event is not grand and not huge. It only shows the exploration achievements of the past two years in Hunan Province, and then explores the exploration exhibition to convene an academic forum combining the painter’s self-examination with the experts’ mentality. Such a gesture is not commensurate with the reputation of the ”great province of mechanical drawing". As we all know, in the 1980s, the Xiang Army, with Chen Baiyi as its core, exerted regional and cultural advantages, strengthened ethnic characteristics, paid attention to real life and created a modern transformation of Chinese painting