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九十年代后期,在中国水彩画界里,一批中青年画家基本上摆脱了传统水彩画的模式,逐步形成了具有现代感的现代形态。然而,在这一蜕变过程中,传统舆论在材料性质和语言特征上的种种因素抑制着其艺术上的独立性,笔者试图立足于水彩画发展现状的分析的基础上,对国内水彩界关于“水彩民族化”及“是否水性”的争论作一点深入化的分析。一、“水彩民族化”的讨论不少水彩界人士和批评家都在大力提倡水彩民族化,认为必须要走民族化的道路才能有发展。油画民
In the late 1990s, a group of middle-aged and young painters in the Chinese watercolor community basically got rid of the traditional watercolor model and gradually formed a modern, modern form. However, in the course of this transformation, the traditional public opinion has restrained its artistic independence due to various factors of material nature and linguistic features. Based on the analysis of the present situation of watercolor painting, Watercolor nationalization “and ” is water-based “debate for a little more in-depth analysis. First, the ”watercolor nationalization " discussion A lot of people and critics of watercolor are strongly advocate watercolor nationalization, that we must take the nationalization of the road to development. Oil painting people